Interpreting Bach at the Keyboard

Contents

• Abbreviations
• A note on terminology
• Part 1. General Problems of Interpretation
• 1 An authentic eighteenth- century performance source: C.F. Colt's organ-barrels
• 2 Studies in rhythm
• 3 In search of the correct Bach tempo
• 4 Bach's articulation
• 5 Dynamics
• 6 Problems of sonority
• 7 Problems of harpsichord and piano technique, and of expressive playing
• 8 The Urtext problem: An imaginary interview
• 9 Rendering the structure as a whole
• 10 Prelude in E flat minor and Fugue in D sharp minor, WTC I, BWV 853. An analysis for performance
• Part II. Studies in Ornamentation
• 11 Introduction
• 12 The development of ornamentation in the seventeenth and eighteenth centuries
• 13 J.S. Bach's ornaments: Some general remarks
• 14 Pralltriller
• 15 Appoggiaturas
• 16 The loner trill
• 17 Bach's mordent
• 18 Arpeggios
• 19 The application of ornaments that are not notated
• 20 Free embellishments in Bach's keyboard works
• 21 Epilogue
• Appendix 1. Some recommended editions of Bach's keyboard works
• Appendix 2. Some textual and interpretational problems in Bach's Chromatic Fantasia and Fugue, BWV 903
• Appendix 3. J.M. Gesner, 'Johann Sebastian Bach as conductor, keyboard player, and organist' (Gottingen, 1738)
• Appendix 4. Excerpt from the Article 'Takt' in J.G. Sulzer's Allgemeine Theorie der schonen Kunste, vol. ii (Leipzig, 1774)
• Appendix 5. The Dedication of Partita No. 1 (BWV 825) and the Dedicatory Poem
• Appendix 6. Friedrich Blume and Hans Joachim Moser
• Bibliography
• Index