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articulation by terms of composers

Author: sömeone
Date: 2003-08-14 12:15

Mozart usually wants his flams to be played long.
What does Bach look for in his accents? Does he even use any of those?
I've encountered this in one my oboe excerpts from St. Matthew Passion.
Any other special requirements that we should be applying to when playing this particular composers' pieces? (other composers like Beethoven, Debussy, etc?)

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Re: articulation by terms of composers

Author: Mark Pinner
Date: 2003-08-14 13:13

I am sure there are reams of material on performance practice, especially the interpretation of Bach. The general rules of Baroque performance practice also apply to Bach. Examples being notes of anticipation, starting trills on the upper note, accented appogiatura etc.. Embellishments added on repeated strains. Dynamics are generally terraced ie. no exaggerated crescendos or diminuendos but rather definite changes in volume. Vibrato was almost certainly used. Bach was also a little nasty with his harmony. Some of his 4 part chorales contain doubled 5th's and don't follow the convention of the Tierce de Picardy in vogue at the time. The tempos used were probably a little less rushed. "A" was somewhere around 415CPS and the harpsichord was more hip than the electric guitar.

This is probably too hard a question to discuss via this medium.

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