Johann Sebastian Bach: His Life, Art, and Work — John Shaqi
Johann Sebastian Bach: His Life, Art, and WorkForkel, Johann Nikolaus
History
Johann Sebastian Bach: His Life, Art, and Work
Forkel, Johann Nikolaus
Bach, Johann Sebastian, 1685-1750; Composers -- Germany -- Biography
As a Clavier player Bach was admired by all who had the good fortune to
hear him and was the envy of the virtuosi of his day. His method greatly
differed from that of his contemporaries and predecessors, but so far no
one has attempted to explain in what the difference consisted. The same
piece of music played by ten different performers equally intelligent and
competent will produce a different effect in each case. Each player will
emphasise this or that detail. This or that note will stand out with
differing emphasis, and the general effect will vary consequently. And
yet, if all the players are equally competent, ought not their
performances to be uniform? The fact that they are not so is due to
difference of touch, a quality which to the Clavier stands as enunciation
to human speech. Distinctness is essential for the enunciation of vowels
and consonants, and not less so for the articulation of a musical phrase.
But there are gradations of distinctness. If a sound is emitted
indistinctly it is comprehensible only with effort, which occasions us to
lose much of the pleasure we should otherwise experience. On the other
hand, over-emphasis of words or notes is to be avoided. Otherwise the
hearer’s attention will be diverted from the tout ensemble. To permit the
general effect to be appreciated every note and every vowel must be
sounded with balanced distinctness.
I have often wondered why Carl Philipp Emmanuel Bach’s _Essay on the Right
Manner of playing the Clavier_(117) does not elucidate the qualities that
constitute a good touch. For he possessed in high degree the technique
that made his father pre-eminent as a player. True, in his chapter on
“Style in Performance,” he writes, “Some persons play as if their fingers
were glued together; their touch is so deliberate, and they keep the keys
down too long; while others, attempting to avoid this defect, play too
crisply, as if the keys burnt their fingers. The right method lies
between the two extremes.” But it would have been more useful had he told
us how to reach this middle path. As he has not done so, I must try to
make the matter as clear as is possible in words.
Public-domain text, read in full here on John Shaqi.
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