‘Each note in a composition should be polished until it is as perfect as a jewel…those wonderful scintillating, ever-changing orbs of light. In a really great masterpiece each note has its place just as the stars, the jewels of heaven, have their places in their constellations. When a star moves it moves in an orbit that was created by nature.
Great musical masterpieces owe their existence to mental forces quite as miraculous as those which put the heavens into being. The notes in compositions of this kind are not there by any rule of man. They come through the ever mystifying source which we call inspiration. Each note must bear a distinct relation to the whole…’
Chopin comes before us, then, as a man of extremely complex make-up, and there is no easy solution to the problems which his personality and the music through which it was expressed present to his modern interpreter. One can only approach him by sweeping aside the clutter of trivial romantic legend which has accumulated around his name and his works. When all the sentimentality, pathos, patriotic fairy-takes and garbled ‘memories’ have been cleared away he appears in simple dignity as Thomas Carlyle saw him in 1848-a great artist and ‘a noble and much suffering human being’. He was more than any other musician of his period the ‘artist’ in that word’s most absolute sense. His mind was never diverted from its single, absorbing preoccupation by any chasing after will-o’-the wisps in the field of literature, the visual arts, politics, social questions or abstract theorizing. To some it will seem a weakness that he should have lived in a world of upheaval and rapid change without ever allowing himself to be ‘committed ‘or ‘engaged’, as our modern jargon puts it. Yet it was therein that his strength lay. He was dedicated to the one task of exploring the world he new best -that of his own heart and imagination; and in giving shape to what he discovered within himself it turns out that he was embodying in his music those unchanging essentials of feeling which ordinary inarticulate humanity recognizes but cannot express for itself. In limiting himself to the piano he in no way crippled or tied down his genius, for by his natural affinity with his instrument he was provided with a sufficient outlet for the wealth of sensibility with which his double inheritance had endowed him…
In the sphere of piano performance or piano artistry there are few human activities where the necessity for extraordinary physical prowess is so closely aligned with the greatest intellectual and emotional capacities.
The virtuoso must possess a memory capable of maintaining thousands of pages of music in the mind and fingers, under the stress and distractions of public performance; the virtuoso must be cultured and self-aware, musically able to convey the great range of meaning embodied within a chosen repertoire; the virtuoso must project both physical excitement and emotional communication; and the virtuoso must experience life to the fullest while remaining cloistered with an instrument in a relentless quest to maintain his or her craft at its highest level.
A capricious, even morbid, temperament is demanded, and there must be the fire that kindles and the power that menaces; a fluctuating, wavering rhythm yet a rhythmic sense of excessive rectitude; a sensuous touch, yet a touch that contains an infinity of coloring; supreme musicianship-Chopin was a musician first, poet afterwards; a big nature overflowing with milk and honey; and, last of all, you must have suffered the tribulations of life and love, until the nerves are whittled away to a thin sensitive edge and the soul is aflame with the joy of death’ James Huneker
Blocking techniques can help to solidify tricky passages in Bach’s A minor Invention (13), especially if intelligent decisions are made about landscaping broken chords with thumb shifts weaving through them. Examining measures 9 through 13 for example, I devised a blocking routine that helped me gain note security while contouring phrases with a supple wrist. In the practicing phrase I unraveled chord blocks as I followed my thumb’s journey through threads of arpeggiated figures.
Exploring harmonic rhythm/ modulations, etc. integrated with a “feel” for keyboard topography advances learning on tactile, cognitive and affective levels. Blocking groups of notes, unraveling them, and using rhythms such as the dotted-8th/16th figure advance accuracy and phrase-shaping.
All the aforementioned block/learning strategies have significantly assisted students who are studying this Invention.
In order to analyze, appreciate and comprehend the musical form called fugue, one must first know the various elements that comprise a fugue.
Every fugue has its own individual characteristic, which display a full range of human emotions. From peacefulness and tranquility to anguish and despair. JS Bach used rhythms, motives as well as melodies and harmonic movement to capture all of these human emotions. Bach used the temperaments of the different keys to establish the mood of each prelude and fugue. These same tonalities are also clearly defined in his choral works as well. Bach was acutely aware of symbolism in art and religion and used it extensively in his works and was well aware of the subtle subliminal effect it has on the listener in addition to the harmonic progressions, melodic intervals, rhythmic motives and patterns.
Bach very adept in the understanding of numerical symbolism, used numerical codes…