Interpreting Bach at the keyboard

목차 (Table of Contents)

• CONTENTS
• Abbreviations = xvii
• A Note on Terminology = xviii
• PART Ⅰ. GENERAL PROBLEMS OF INTERPRETATION = 1
• 1. An Authentic Eighteenth­Century Performance Source : C. F. Colt's Organ­Barrels = 3
• 2. Studies in Rhythm = 15
• Introduction = 15
• Strict Time : Rigidity or Flexibility? = 16
• Emphasis, Declamation, and Period Structure = 19
• The Interaction of Rhythm and Dynamics in Polyphonic Works = 29
• Deviations from Regular Metre in Homophonic Movements = 34
• Rhythmic Notation that differs from Modern Practice = 40
• Rubato, Syncopation, notes in$$\acute e$$gales = 63
• Concluding Remarks = 69
• 3. In Search of the Correct Bach Tempo = 71
• Introduction = 71
• Tempo : Information supplied by Bach's Contemporaries = 75
• Bach's Tempo Marks = 76
• Dances in Bach's Suites and Partitas = 85
• Tempo in Bach's Overtures = 87
• 4. Bach's Articulation = 92
• Introduction = 92
• Walking Basses : Non­Legato = 97
• Articulation Problems Associated with 'Bach Rhythm' （figura corta） = 99
• Mixed Articulation = 104
• Staccato = 112
• Legato = 117
• Legato and Non­Legato in Arpeggios and Broken Chords = 122
• 5. Dynamics = 130
• Introduction = 130
• Terrace Dynamics = 133
• Echo Dynamics = 135
• When should one Play Piano, and When should one Play Forte? = 136
• Dynamic Gradations, Concluding Crescendos = 140
• 6. Problems of Sonority = 144
• Instruments in the Age of Bach = 144
• Church and Chamber Organs = 145
• Stringed and Plucked Instruments = 146
• Stringed Keyboard Instruments = 148
• Bach's Attitude to Stringed Keyboard Instruments = 161
• Once More to the Question : Harpsichord or Piano? = 170
• 7. Problems of Harpsichord and Piano Technique, and of Expressive Playing = 177
• Introduction = 177
• The Position of Body, Hands, and Fingers = 179
• Problems of Touch in Bach = 183
• Playing Legato and Cantabile = 186
• 8. The Urtext Problem : An Imaginary Interview = 188
• 9. Rendering the Structure as a Whole = 201
• 10. Prelude in E flat minor and Fugue in D sharp minor, WTC I, BWV 853. An Analysis for Performance = 213
• Prelude in E flat minor = 214
• Fugue in D sharp minor = 220
• Editions of the Prelude in E flat minor and Fugue in D sharp minor, WTC I = 228
• PART Ⅱ. STUDIES IN ORNAMENTATION = 243
• 11. Introduction = 245
• 12. The Development of Ornamentation in the Seventeenth and Eighteenth Centuries = 254
• Introduction = 254
• Italian Ornamentation­Trills and Pralltriller = 258
• The Trill and the Mordent in France in the Seventeenth and Eighteenth Centuries = 264
• Trills, Pralltriller, and Mordents in Germany = 277
• C. P. E. Bach's Treatise = 283
• The treatises of J. J. Quantz and Other German Theorists = 291
• Once More to C. P. E. Bach's Treatise = 298
• 13. J. S. Bach's Ornaments : Some General Remarks = 306
• J. S. Bach's Ornamentation Signs = 306
• The Interchangeability of Different Trill Signs = 310
• The Connection between Ornamentation and Composition : Part­Writing and Melodic Patterns = 316
• The Clavier­B$$\ddot u$$chlein for W. F. Bach and its Significance for the Ornamentation and Performance of Bach's Keyboard Works = 323
• 14. Pralltriller = 335
• Summary : the Two Forms of the Pralltriller in Theory and Practice from the Seventeenth Century to the Twentieth Century = 335
• Pralltriller after Preceding Upper Second = 336
• Pralltriller on the Second of Two repeated Notes （accentus formula） = 347
• The Trilled （or Snapped） Turn = 361
• Pralltriller after Leaps = 369
• Pralltriller on Detached Notes and in Rapid Passages = 373
• The Interchangeability of the Pralltriller and the short Appoggiatura = 379
• Concluding Remarks = 383
• 15. Appoggiaturas = 388
• Long Appoggiaturas = 388
• Passing Appoggiaturas （coul$$\acute e$$s） and Short Appoggiaturas （ports de voix） = 396
• Coul$$\acute e$$ Followed by a Pralltriller = 410
• 16. The Longer Trill = 414
• The Start of the Trill = 414
• Ascending and Descending Trills = 425
• Trill Suffixes = 428
• The Speed of the Trill = 435
• Accidentals and Trills = 438
• Technical Problems Associated with Playing Trills = 440
• 17. Bach's Mordent = 442
• Introductory Remarks = 442
• Mordents on Initial Notes = 445
• Mordents after Leaps = 447
• Further Uses of the Mordent = 448
• 18. Arpeggios = 452
• Figured Arpeggios = 454
• Playing the Arpeggios in the Chromatic Fantasia and Fugue = 455
• 19. The Application of Ornaments that are not Notated = 465
• Erroneous Ornament Signs in Bach's Texts = 465
• Adding Ornaments that are not Notated = 473
• 20. Free Embellishments in Bach's Keyboard Works = 489
• Introductory Remarks = 489
• Fermata Embellishments = 495
• Embellishment of Slow Pieces = 505
• Epilogue = 521
• Appendix 1. Some Recommended Editions of Bach's Keyboard Works = 527
• Appendix 2. Some Textual and Interpretational Problems in Bach's Chromatic Fantasia and Fugue, BWV 903 = 533
• Appendix 3. J. M. Gesner, 'Johann Sebastian Bach as Conductor, Keyboard Player, and Organist' （G$$\ddot o$$ttingen, 1738） = 540
• Appendix 4. Excerpt from the Article 'Takt' in J. G. Sulzer's Allgemeine Theorie der sch$$\ddot o$$nen K$$\ddot u$$nste, vol. ii （Leipzig, 1774） = 541
• Appendix 5. The Dedication of Partita No. 1 （BWV 825） and the Dedicatory Poem = 543
• Appendix 6. Friedrich Blume and Hans Joachim Moser = 545
• Bibliography = 549
• Index of J. S. Bach's Works = 559
• General Index = 565