Natalia M. Smirnova
Saratov State Conservatoire, Saratov, Russia,
nat.m.smirnova@gmail.com, https://orcid.org/0000-0003-2964-6027
|
| Abstract: The article is devoted to the interpretation of «The Well-tempered Clavier» as one of the most popular works by I. S. Bach in the modern educational process. Subject of study: the influence of the harpsichord, clavichord, organ on the specifics of piano writing. As a methodology, an integrated approach is used, which allows making generalizations about Bach’s music, personifying individual means of instrumental expressiveness. Pedagogical and performing perspectives of problem statement are singled out. Two preludes and fugues from the first volume are used as material of study — Cis-dur and f-moll. Possible composer’s preferences in choosing the necessary instrument are proved. For this purpose, original methods are proposed for optimizing the interpretation process. The obvious consistency of the requirements of performing practice of the past and the present is proved.
Keywords: Playing tuning, articulation, harpsichord, clavichord, organ, piano, musical notation, editions
For citation: Smirnova N. M. «The Well-tempered clavier» by J. S. Bach: harpsichord, clavichord, organ, piano. Scholarly papers of Gnesin Russian Academy of Music. 2023;(3):124-135. (In Russ.). DOI: 10.56620/2227-9997-2023-3-124-135 |
References
Bodki E. Interpretatsiya klavirnykh proizvedenii I. S. Bakha [Interpretation of J.-S. Bach’s clavier compositions]. Moscow: Muzyka, 1997. 388 p.
Buzoni F. O pianisticheskom masterstve [On pianistic mastery] // Ispolnitel’skoe iskusstvo zarubezhnykh stran [Performing art of foreign countries]: Sb. mat. Vyp. 1 [Collection of materials. Iss. 1]. Moscow: Gosmuzizdat, 1962. P. 142–164.
Imkhanitskii M. I. Novoe ob artikulyatsii i shtrikhakh v muzykal’nom intonirovanii [New about articulation and accents in musical intoning]. Izd. 2-e, ispravl. i dopoln [2nd edition, corrected and expanded]. Moscow: Rossiyskaya akademiya muzyki imeni Gnesinykh, 2018. 232 p.
Kalent’eva N. V. Sovremennoe klavesinnoe ispolnitel’stvo: instrumentarii, tekhnika igry, tvorcheskie shkoly, istoricheskie orientatsii: spetsial’nost’ 17.00.02 «Muzykal’noe iskusstvо»: avtoreferat dissertatsii na soiskanie stepeni kandidata iskusstvovedeniya [Modern harpsichord performing: instruments, performing technique, creative schools, historical orientations: Thesis. PhD of Arts]. St. Petersburg, 2020. 35 p.
Lobanova M. N. Zapadnoevropeiskoe muzykal’noe barokko: problemy ehstetiki i poehtiki: Monografiya [West-European musical baroque: issues of esthetics and poetics]. Moscow: Muzyka, 1994. 322 p.
Mil’shtein Yа. I. Khorosho temperirovannyi klavir I. S. Bakha [J.-S. Bach’s Well-Tempered Clavier]. Moscow: Klassika-XXI, 2002. 352 p.
Mikhailov A. V. Iz prelyudii k Motsartu i Kirkegoru // Sovetskaya muzyka [From prelude to Mozart and Kierkegaard // Soviet music]. 1991. № 12. P. 91–95.
Ruch’evskaya E. A. Klassicheskaya muzykal’naya forma: Uchebnik po analizu [Classical musical form: Textbook on analysis]. SPb.: Kompozitor, 1998. 268 p.
Kholopova V. N. Passakaliya c-moll I. S. Bakha v nimbe evangel’skogo syuzheta [J.-S. Bach’s Passacaglia c-moll in the halo of Gospel plot] // Problemy stilya i interpretatsii muzyki barokko / Sost. A. M. Merkulov [Issues of style and interpretation in Baroque music / Ed. A. M. Merkulov]. Nauchnye trudy Moskovskoi gos. konservatorii im. P. I. Chaikovskogo [Scientific papers of Moscow State Conservatoire named after P. I. Tchaikovsky]. Sb. 32. Moscow, 2001. P. 64–77.
Shekalov V. A. Vozrozhdenie klavesina (Evropa i Amerika) [Revival of harpsichord (Europe and America)]. St. Petersburg: Nauka, SAGA, 2008. 255 p.
Shtein S. Yu. Metodologicheskaya deakkumulyatsiya znanii v iskusstvovedenii [Methodological de-accumulation of knowledge in art criticism] Vestnik RGGU. Seriya «Filosofiya. Sotsiologiya. Iskusstvovedenie» [Bulletin of RSHU. Series «Philosophy. Sociology. Art criticism»]. 2019. № 1. P. 98–107. DOI: 10.28995/2073-6401-2019-1-98-107
|
