‘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 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…
The dimensions and layout of your piano room will undoubtedly have an effect on the overall sound. Have you ever listened to a piano that is too powerful for the room it is in?
Not only can it be deafeningly loud but it will often result in a poor quality of sound. As a rule of thumb larger pianos are built for larger rooms, this is because they possess qualities and characteristics that best present themselves in larger spaces. The mighty sound of a double octave run in the lower end of a concert grand would be lost in a typical houseroom as there is insufficient space for the sound to develop and resonate.
Remember large pianos are designed to move large quantities of air & produce comparably large sound waves. To do this they need to be housed in an appropriate sized room.
Practice Tips for Developing a Solid Technique in Piano Performance
Practicing is both an art and a science. Every student of piano performance must remember that their achievement on the instrument will be the direct result of the amount of time and the quality of their practicing.
The art and science of practicing is not just time spent at the instrument but time spent listening to the music the student is working on, studying and understanding the harmonic analysis of the music as well as researching the time period and technical characteristics of the composer of the piece you are working on.
In addition to this, it is advisable for the student to prepare a weekly plan outlining the time spent on specific techniques, repertoire, sight-reading and review of old or previously learned repertoire.
The purpose of technique is to serve the pianist’s imagination and realize his/her interpretive ideas…
The toccata an extensive piece intended primarily as a display of manual dexterity written for keyboard instruments reached its apex with Johann Sebastian Bach in the eighteenth century. Johann Sebastian Bach’s seven Toccatas incorporate rapid runs and arpeggios alternating with chordal passages, slow adagios and at least one or sometimes two fugues. The Toccatas have an improvisational feel to them analogous to the fantasia. Unlike the Well Tempered Clavier, English suites, French suites and other sets, Bach himself did not arrange them into a collection. When JS Bach left Weimar the Toccata at that time was out of fashion. They became in vogue again after his death and were organized into a collection. The g minor Toccata is one of the more obscure of the toccatas and has rarely been performed partially due to the extensive second fugue with its many thorny passages of the contrasting gigue rhythm. However, this Toccata has many fascinating effects. It is one of the only pieces by JS Bach that has dynamic markings of piano and forte.
The g minor Toccata opens with a flourish, which leads into an expressive adagio with an improvisational feel. The adagio is interrupted by a lively allegro in the relative major key of Bb which includes concerto-ritornello passages of imitation and solo/tutti passages. A deceptive cadence leads back into the adagio where it was interrupted and then closes the adagio with a perfect authentic cadence in Bb major. This aspect provides a unity to the different movements of the Toccata. The other striking example of unity between movements is the beginning flourish repeated at the end of the second fugue, which leads into a formal closing of the work.
The extended fugue in a gigue has a subject of an ascending sequence combined with a countersubject of driving triplets. The subject of the fugue has twelve expository entries followed by eleven entries. There are inversions, permutations, combinations of minor with major, which is varied by modulating to the subdominant, then to Eb major and then back to the g minor tonic. The vivacious counter subject of driving triplets provides a symmetrical balance.
To learn more about Fugues please read my other Hub: The Art of Fugue