It is mostly a fugue, while fitting into a structure that has an optional repeat of each half. Johann Christoph Bach of Ohrdruf, the big brother of the E major capriccio which is really a long-winded fugue in everything but name , was the one who took young Johann Sebastian age 9 in as a boarder and student when their parents died. He also took in Johann Jacob, the one who was probably the big brother of the B-flat capriccio in the melodrama style of Johann Kuhnau's set of Biblical Sonatas for keyboard.
Imagine it from Christoph's and his wife Johanna Dorothea's point of view: four months into their marriage they suddenly had to take in the two youngest brothers -- Jacob at 13 and Sebastian at 9. Instant household, making ends meet, and four months pregnant with their first baby to be born that same summer. Christoph had been a Pachelbel student, and now he was in charge of the music at a small-town but prestigious church that happened to have two organs. During these several years, young Sebastian surely went along to church services and many practice sessions -- perhaps as the bellows-pumper among his duties!
Outside his schoolwork and home chores, he had plenty of opportunity to try out musical ideas "under his brother's guidance" at these organs, plus any practice keyboard s they had at home. This was the same household where, according to legend, Sebastian would make copies of his brother's music manuscripts, working secretly at night and without permission. It was a good place to learn the daily craftsmanship of a working professional keyboardist playing, improvising, tuning, maintenance, teaching : the jobs that Sebastian himself would have soon, at various other towns.
Both of these capriccii happen to include hand-stretches that practically require some use of pedals. It is not clear if they were written principally for organ, pedal harpsichord, pedal clavichord, or whatever-you've-got I hesitate to read too much into the E major capriccio's dedication to this brother and household, presumably Is this a tribute to the environment where young Sebastian first learned to listen very carefully as a hands-on keyboard tuner, getting things to work out smoothly? And is the sharpness maybe about somebody in the household having a sharp or difficult personality, as viewed by a boy growing into his teen years?
The piece is awkward both to play and to read, with all kinds of difficulties to be worked out. The G major concerto, BWV , is less problematic than all this. It comes from Bach's working years in his early 30s, at Weimar. He and his cousin J G Walther were both there as performers and teachers, employed by the nobility. The young prince there, Johann Ernst, liked to buy and collect new Italian concertos from his travels, and to try them out at home.
It was an excellent exercise to reduce violin-solo parts and orchestral accompaniments down to playability by one keyboardist, for everybody's enjoyment.
This one is arranged from Antonio Vivaldi's Op 7 8, first published There is also a legend about Bach's pastime to sit down at pedal harpsichords to have a bash through full orchestral scores, not bothering to write out an arrangement first. That is indeed fun, to see what can be thought up to sound exciting and powerful. Accordingly, I add some ad lib pedal parts myself when pedals are available, re-arranging the piece a bit at tasteful whim: focusing more on the energy of the music than merely the literal notes in Bach's arrangement.
Wasn't that Bach's point as transcriber and teacher, to encourage his followers to go and think likewise, creatively in the music hands-on and feet-on? As for Johann Kuhnau, and the way his work fired Sebastian's creativity: it is not only the modelling of that little B-flat capriccio, having little scenes and descriptions.
Kuhnau was not only an organist and music director in a bigger city Leipzig , but also a lawyer, novelist, linguist, and theorist. He was definitely someone to look up to, and to try to emulate or surpass. Sebastian came back to this later. When at age 37 he applied to take over Kuhnau's job in Leipzig which position he did win, and kept for the rest of his life , he made a point of surpassing Kuhnau with even greater skill and comprehensiveness. Kuhnau had written a series of keyboard suites demonstrating most of the keys, but not all of them.
Angela Hewitt’s The Bach Odyssey
Bach, in the words on his title page of the Well-tempered clavier -- which was probably submitted as part of his audition material for that job -- directly parodied the words in Kuhnau's earlier publication. Give the man the job, and he will surpass the revered incumbent Kuhnau by handling all the "ut re mi" and "re mi fa" keys i. And that's where I believe Bach also wrote down the recipe of his tuning system, to accomplish all this harmonic magic The tuning I believe that Bach's elegant diagram at the top of his Well-Tempered Clavier title page defines a specific set of sounds for every musical scale and for all harmonies.
Every major scale and minor scale sounds different from every other. This allows music to project a subtly different mood or character in each melodic and harmonic context, with a pleasing range of expression as it goes along. It builds drama into the music. The resulting tuning sounds almost like the equal temperament we have been accustomed to, but it has much more personality and color, a "three-dimensionality" to the sound. A harpsichord and organ tuner who follows Bach's recipe exactly, making the intervals very slightly compromised on purpose as his drawing indicates , ends up with a keyboard tuned beautifully for music in all keys.
This carefully balanced result was apparently Bach's preferred system, and it solves all the practical problems in his music and the music of his sons.
Dave's J.S. Bach Works Catalog - Keyboard Works - Suites and Suite Movements
When you listen to music on a CD or tracks purchased via consumer services such as iTunes, you are hearing a low-resolution version of what was actually recorded and mastered in the studio. ProStudioMasters offers the original studio masters — exactly as the artist, producers and sound engineers mastered them — for download, directly to you. Toggle navigation Phase Diagrams. Program notes Overhead-projector slides describing the temperaments of the demonstration A shortened version of the article "Bach's Art of Temperament".
All one has to do is hit the right notes at the right time, and the instrument plays itself. Prepare the notes carefully, and then react to them with a free and easy manner of delivery, a natural flow.
I cultivate a quiet, unostentatious approach to the instrument and the compositions: seeking to let the music reveal itself in its sound, with very little extra assistance from the performer. Indeed "the instrument plays itself" The tuning and the contrapuntal writing already have plenty of interest in the multi-layered sound produced, without too-imaginative intervention from the performer's will.
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At least for my own work, I do not think a performance should draw undue attention to itself: but it should merely reveal the composition, reacting flexibly to its moods, starting from a basic position of relaxed muscles and alert attention. I am influenced also by the naturally paced dysfluencies in human speech--letting the different thoughts have various bits of space as they end and begin.
Music works the same way as speech, putting forth rhetorical points. Notes as syllables are grouped into meaningful units of words, phrases, and ideas, with a natural hierarchy to them. The especially important points tend to have additional space around them, with a more dramatic and noticeable presentation. Infants know how to use this, to get their needs and wishes met.
http://kinun-mobile.com/wp-content/2020-02-13/dosox-cell-number-tracking.php So do cats. It is basic communication. The goal is direct clarity of intent. Musical time is a liquid. Notes on a page do not have any specific length or accent until they are played within the flow of a piece of music. They describe little semi-determinate particles of sound at some relative positions within a field of possibilities.
When a performance converts them to organized groups of sounds, they get stretched or compressed slightly, according to the way the music around them is going. As with the syllables of speech, context determines their precise pronunciation articulation and accent , and the proper amount of time they deserve within larger thoughts. Phrasing--to hit all the right notes at "the right time"--is therefore to be decided in the moment, at least somewhat, by the composition's tensions, resolutions, surprises, and inevitabilities: as the music speaks.
- Suites and Suite movements (BWV 832-845)!
- Dances for the Keyboard (Piano): 31 Short Pieces to Play Before the Two-Part Inventions.
- Notes and Editorial Reviews.
There is no way to notate these speech-like nuances adequately, but that basic process of reactive flexibility is natural. Natural shapes tend to be irregular. Like this "high-falutin'" bunch of yakking, right here.
Slight dysfluencies of flow help listeners to "get" the music immediately without having to think about it. Time flows around obstacles. The most important thing to do while playing is to listen to the composition. Then, in response to its well-organized yet free thoughts, one may let the music go where it will in the given occasion, having its own living intention. Alfred Cortot reported playing Debussy's preludes to the composer's widow and daughter, and then asking: "Is that the way your papa played?
Bach: Keyboard Works
All the above is just a long-winded way to say: think about what you're doing, and practice, but in the end it's just about listening carefully and then going with the way you feel it should go. My four-year-old has things in good perspective. I'll go do that but first I want to plaaaaaaayyyy!
Related Suite A Major BWV 832 - Keyboard
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