Baroque music is formed in huge part from contrapuntal textures (having two or even more independent however harmonically relevant melodic parts seeming together). Composed for the harpsichord, these structures aren’t also matched to the modern piano’s thicker tone as well as rich, low consistencies. So, unique care has to be taken when you translate Baroque duration music on the piano.
In contrapuntal songs, the private parts are of equivalent value, even though their inter-relationship is consistently moving. To reproduce this sort of texture well, you need to educate your mind, ears and fingers to adhere to the course of private contrapuntal lines, as well as their consolidated structure, so the pianist offers a photo of an ever-changing whole.
Pianist H. Ferguson offers this example: You can think about the songs as a kind of conversation, in which the voice changes consistently from one person to another, as each person makes a payment without unduly elevating his tone. The vibrant variety shouldn’t be undue (a real fortissimo is unusual since several people shouting various points at the same time will never make themselves comprehended), and touch and tone must be lighter than in homophonic songs normal of the later 19th century.
A semi-legato is more typical than a lentissimo, especially if the notes are quick-moving, considering that it advertises clearness. It likewise enables freer to bet the refined rainbow modifications of thought and mood particularly characteristic of Bach. The damper pedal ought to be used sparingly; it ought to never be enabled to obscure the line or create the type of impressionistic haze that is only listened to in modern-day songs such as Debussy.
So, when you interpret Baroque songs during piano guideline, attempt to avoid the density of noise that is characteristic of the piano, yet was international to the harpsichord. This is especially vital with close-position chords in the bass. These sound clear as well as clear on the early tool, yet on the thicker-toned piano of today, they ought to be played meticulously to stay clear of a muddy noise. One option is to lighten the middle notes of the chord, so they are much less prominent than the octave played by the 5th finger and thumb. Often it assists to break the chord somewhat and play it as a quick arpeggio.
Periodically in Baroque songs, there are flows that would certainly have been comparatively easy with the light and also a shallow touch of earlier instruments, today are exceptionally challenging, or impossible, with the deeper as well as larger key-action these days. For instance, the duplicated triplet octaves in the right-hand part of Schubert’s song ‘Der Erlkonig’ were initially not awfully hard to play, however, for the modern pianist they have ended up being a virtuoso athletic feat.
In playing fugal songs, after that, you may locate the adhering to factors useful:
Characterize all parts of fugue with carefully specified expression.
Make certain that the articulation for the main part is contrasted with that said required by the counterpoint, and also by parts 2 and 3 if the fugue takes place to be dual or three-way. This makes certain that each component continues to be distinctive when a number of occurring together.
Characterize the episodes of the fugue in the exact same kind of method.
Maintain the structure as light as feasible, especially the leading as well as profits.
Don’t feel that the component must always stand apart as though it were played on a solo blaring horn. The other components are equally important.
If you do want to highlight a specific component, anxiety it just extremely somewhat. Its characterization, combined with the generally light texture, will certainly do the remainder.
A moving component will certainly constantly stand out more plainly than a fixed one; if an even balance is required, the part that moves most requires the least tension.
Constantly go for clarity. Watch moonlight sonata.