Las 7 tocatas para teclado de J.S.Bach BWV 910-916

Alguien escribió:

The keyboard toccatas of J. S. Bach, BWV 910-916, present a formidable challenge of interpretation to the modern-day performer. These works contain some of the most unusual compositional techniques to be found in Bach’s output due to their use of an improvisatory, virtuosic style inherited from the seventeenth century. While pianists of today are trained to perform with perfect fidelity to the score, the treatises from the time of Bach point to a rhythmically free approach to the improvisatory features of these toccatas. The goal of this treatise is to explore how the historical tradition from which Bach’s toccatas emerged influenced their stylistic characteristics with the purpose of applying this information to create an informed performance by today’s interpreters.

Table of Contents
List of Figures .......................................................................................................xii
Introduction ......................................................................................................................1
Chapter 1: Defining the Toccata as a Genre ..........................................................4
Defining the term “Toccata” ......................................................................4
Instrumental Implications ......................................................................9
Purpose ............................................................................................13
Compositional Style ................................................................................17
Similar Genres ................................................................................21
Chapter 2: The Toccata's Journey from Italy to J. S. Bach ................................27
Italy ........................................................................................................27
Southern Germany ................................................................................39
The Netherlands and the Early North German Organ School ........42
The Later North German Organ School ............................................47
Germany of J. S. Bach’s Early Career ............................................53
Chapter 3: The Stylus Phantasticus in the Toccatas, BWV 910-916 ....................58
Baroque Concepts of Style ....................................................................59
Defining the Term “Stylus Phantasticus” ............................................61
Stylus Phantasticus Influences in J. S. Bach’s Keyboard Toccatas ........69
Chapter 4: Towards a Historically Informed Performance of the Toccatas ........86
Frescobaldi’s Preface ................................................................................89
Stylus Phantasticus Definitions ........................................................93
C. P. E. Bach and J. J. Quantz ........................................................97
Current Scholarship ..............................................................................103
Chapter 5: A Twenty-First-Century Perspective on Performance of J. S. Bach’s
Toccatas ..................................................................................................................112
Validity of Bach’s Keyboard Toccatas on the Piano ..............................114
Transferring Bach to the Piano ......................................................117
Twenty-First Century Recordings of the Toccatas, BWV 910-916 ......125
Conclusion ..................................................................................................................137
Bibliography ..................................................................................................................140

lastsystem escribió:

Suenan mejor las piezas en órgano que en piano , si !

lastsystem escribió:

Un detalle muy simple , pero muy importante a la hora de componer

Wikipedia" escribió:

Título de la obra e instrumentos de ejecución

Ambos libros son actualmente conocidos en castellano como El clave bien temperado (libro I y libro II). Sin embargo, el término «clave» aquí no es más que una deformación del original clavier, vocablo del antiguo alemán que ―en tiempos de Bach― se aplicaba a todos y cada uno de los instrumentos de teclado, clavecines, clavicordios, espinetas, órganos, incluso el joven fortepiano.

AreaPiano escribió:

Los nuevos clavecinistas especializados en su interpretación y con instrumentos de nueva construcción al modo antiguo hacen maravillas con él.

Mikolópez escribió:

Pierre Hantaï, por ejemplo. Una delicia cada interpretación suya.

Mikolópez escribió:

Por eso mi impresión es que la palabra no es la referencia generalizada a todos los teclados, si no la referencia al teclado más común en cada época.

Alguien escribió:

These toccatas fall under the category of “manualiter” as opposed to “pedaliter” compositions because of their lack of a pedal part. This would seem to indicate that they were not intended for the organ, which in northern Germany had pedals. However, as explained earlier, the lack of a pedal part does not completely rule out the organ. Indeed
Robert Marshall argues that they were conceived for the organ by comparing the range used in these works with evidence of the types of organs Bach had access to during this period. 15 David Schulenberg, on the other hand, is not convinced that these works are for the organ, citing discrepancies in idiomatic features. He argues that, although they include some organ-like stylistic attributes, the bass pedal points in the toccatas are usually not sustained as long and the textural spacing is not wide enough to indicate the organ as the preferred instrument. Schulenberg concludes: "In short, the toccatas are probably best viewed as harpsichord pieces, but ones that imitate organ style."