Hi,

In terms of interpretation, I find teaching baroque pieces quite difficult because there is very minimum performance directions, especially articulations, whether to play legato or non-legato (Eg: Arias, Minuet etc in Graded exam pieces). Generally, notes moving by steps may be played legato, and leaps are played non-legato. But of course there are exceptions. Can anyone tell me more about the interpretation of such?
Dynamics is also very much left to the performer. Usually, sequence of a higher pitch will be louder, and vice versa a lower pitch may be echoed (softer). Terrace dynamic rather than gradual crescendo/dim is more often applied for Baroque works. Even if gradation of tone exist, we never overdo it.
I would like to learn more about this. Please share your ideas and do recommend books on this subject.

Thanks

How about "A Performer's Guide To Music of the Baroque Period" by Anthony Burton. There are a couple of others in this series for the Romantic and Classical Period too.

Which instrument do you teach?

All sounds very helpful advice so far. The only thing I would add by way of cautionary tale is summed up in the word "consistency". The two examiners who listened to my piano diploma (ATCL) commented on the fact that I did not articulate a certain phrase in the same way on the second page of a Bach fugue as it had been played on the first page. I was mesmerised that they picked up on such a seemingly insignificant detail. It probably does help to keep in mind the period instrument when making such decisions. Or is that not perceived to be so important now as it used to be?

LR

Interesting, because my teacher has encouraged me to think about varying articulation some of the time, to keep interest going - thus in a Bach flute sonata I'm learning at the moment, I will reverse the double-tonguing pattern after repeating a harmonic series a two or three times, so it doesn't sound too repetitive. I'm not sure though how slavishly we should follow harpsichord idiom when playing baroque music on the piano - it can sound rather mannered if we try to play the piano as if it were a harpsichord. Having said that, playing Bach in a slushy romantic manner, or with Sturm und Drang intensity reeeeallly grates too .

The reason for limiting dynamic variation has to do with the fact that the harpsichord has almost none other than adding in or taking out registers, which is not possible to do at speed except with some very late instruments - it's normally done by using stop levers - so articulation is one way to give an impression of dynamic variation. Also other baroque instruments were generally quieter and therefore also had less dynamic range - but I don't see any reason for violinists, flautists or oboists using terraced dynamics. Wind players were generally expected to show their virtuosity by articulating lots, especially fast passages - and I use legato playing only sparingly. Violinists seem to use it more, but will still produce incredibly fast detached playing (I'm thinking of recordings I've been listening to by Andrew Manze, and also by Monica Huggett). Echoes are used frequently in baroque music, and using different, lighter articulation for the repeat can help to underline this.

I agree with the choice of the Burton book. I also refer a lot to Quantz' guide on playing the flute, because he has a lot to say about performance practice of his day, but it is rather a big tome, and best taken on holiday and dipped into rather than mugged up quickly just as term starts.....

That is something I've wondered recently too. On listening to the Baroque pieces on the TG piano cds, for instance, I've found them to be more legato, generally, than would be to my personal taste. I know we should be talking about 'detached' rather than legato/staccato, but has modern thinking moved towards things being slightly less 'detached'?

I would say, on the other point, that it would be important for there to be consistency of performance style in repeated phrases and subject/countersubject entries. Or has this idea changed too?

Thanks for that, Dulciana. In fact your post inspired me to dig out my 7-year old examination report for the Fugue VI in D Minor. Following some fairly pleasing compliments, the examiner(s) said: "there was some inconsistency of interpretation". I've tried to strain my memory to think of which bars (at the time) I thought he was referring to. I imagine it was bar 30 being slurred four s'quavers at a time whereas on the previous page at a similar juncture I hadn't done so.

As I recollect, the two gentlemen were quite elderly at that time (2000) so that may indicate I was being judged by the tastes and foibles of a former era - hence my question at the end of the previous post.

LR

I've just gone digging myself for the score of that fugue, as I was playing it at around the same time, to see I can remember what way I played those bars, but I can't find it. I wonder if we had the same examiners? I had Peter Wilde and another much older man, who did all the writing. It was ALCM, but they do move around between boards, and I've seen Peter Wilde in Trinty as well. They said about the fugue that it was 'playing of tremendous stature' - probably more down to my teacher than me, as he used to pace around the room listening intently for the subject coming in and telling me, long after I thought it was good enough, that it was 'not quite there yet'. When I did what I was told, he'd say, 'no - you've a harsh tone now'. I knew it was okay when he said nothing at all and just smiled. I suppose it's like everything else - listen, listen, listen is the key.

What I did find in my rummaging was the music for the fugue in G Major - no. XV - that I didn't think I had! I may be gone some time...

Thanks for all your replies
I read the Burton's book. It doesn't quite give a detailed guideline regarding the issue of articulation.
I suppose it's down to making musical sense. As long as it sounds good, whether legato or detached, it is acceptable. And above all, like what you've said, be consistent throughout.
And we often find detached bass at cadence. What's the reason for this?

esther

Maybe it just makes a statement that this is the end?

[/quote]
I wonder if we had the same examiners? I had Peter Wilde and another much older man, who did all the writing. It was ALCM, but they do move around between boards, and I've seen Peter Wilde in Trinty as well. [/quote]

Yes, Dulciana, I've just checked but they are two different names: Colin Coates and Geoffrey Hoth. I'm sure they were both well into their sixties, though I might have been too nervous to judge accurately. Certainly both white-haired.

It's amazing what you find when you're not looking for it. Happy hunting.

Hi Estherclaire

Part I of 'Essay on the true art of playing keyboard instruments' by CPE Bach (1714-1788) offers very useful information regarding the very issues you have raised. Although you are refering mainly to the baroque era I would not rule this text out because the author's education took place in the 1720's. It is also useful because he was well aware of the problems of interpretation on the relatively new fortepianos. Eg how can one execute a trilled turn neatly when there is the gradiation of tone that would not be encountered on the harpsichord?

With regard to articulation (esp staccato v legato) CPE Bach offers two extremes; those who play as if their fingers are glued together.....and those who play as if the keys are red hot! - according to Bach both approaches are wrong!

I think you will always get contrasting opinions on how baroque music should be approached on modern instruments.

T