Dirk
2006-03-26 01:38:01 UTC
My uncle was a Bach organist in Antwerp (Belgium) and I remember as a
boy standing behind him, mesmerised, when he gave concerts in the
cathedral. I myself am a pianist and explore various fields, such as
jazz, funk, country, African, ... but I always come back to Bach,
relearning the pieces each time, playing them in different ways ...
One great way to get a Bach work 'under your fingers' is to play them
with different accentuation, e.g. in a 3/8 work play them both with
accentuation 'di dah di' and 'dah di dah'. It's amazing how the
different phrasing changes the character of the piece.
I recall reading one book in particular ... written by a friend of one
of Bach's sons (I think Johann Christian) ... He gives a great account
of his father's technique... I remember especially the observation that
he played every note with certainty, that really sums up a good Bach
performance: every note should be learned so well that it sounds
convincing.
He also used to teach his pupils by giving them nothing but finger
exercises at first. Only after he was satisfied with their dexterity
would he commence the real teaching...
Andras Shiff, a Bach performer said that the Well Tempered Clavier
was/is every composer's bible (including Mozart's and Beethoven's).
Every morning he (Andras) would wake up and play some preludes and
fuges from it and it would be like a 'breath of fresh air' ...
boy standing behind him, mesmerised, when he gave concerts in the
cathedral. I myself am a pianist and explore various fields, such as
jazz, funk, country, African, ... but I always come back to Bach,
relearning the pieces each time, playing them in different ways ...
One great way to get a Bach work 'under your fingers' is to play them
with different accentuation, e.g. in a 3/8 work play them both with
accentuation 'di dah di' and 'dah di dah'. It's amazing how the
different phrasing changes the character of the piece.
I recall reading one book in particular ... written by a friend of one
of Bach's sons (I think Johann Christian) ... He gives a great account
of his father's technique... I remember especially the observation that
he played every note with certainty, that really sums up a good Bach
performance: every note should be learned so well that it sounds
convincing.
He also used to teach his pupils by giving them nothing but finger
exercises at first. Only after he was satisfied with their dexterity
would he commence the real teaching...
Andras Shiff, a Bach performer said that the Well Tempered Clavier
was/is every composer's bible (including Mozart's and Beethoven's).
Every morning he (Andras) would wake up and play some preludes and
fuges from it and it would be like a 'breath of fresh air' ...