Piano World Home Page Forums Our Most Popular Forums Piano Teachers Forum Do we always have to play classical piano as the composer intended ...through linage?

No one suggested that chaos is the ultimate goal. Everything must be done in taste. If it helps clarify the context of the music, then it is beneficial. If it confuses the context, then it is too far. My point is that many do not go far enough, and the result is making Bach sound simple, and he is anything but. As a result, much of the detail and context is lost.

Are we not saying the same thing here?

I don't think so, simply because my manifestation of what I call expressive is very different from yours, if you think that MA's recording was "enough."

Chris,
I don't count you as one of those who are totally inflexible regarding this subject, but I do happen to agree with Morodiene's perspective on it. I guess that's evident by the way that I played it. I readily admit that my recording pushed the boundaries way past the point that it could still be called "Baroque", or anything else, for that matter. But, sometimes, it's just enjoyable to stir the pot and see what comes out. The way I figure, as long as no one was paying to hear it played the "right" way, I wasn't doing anything that warranted the response it elicited from some people. I completely understand that it was not your cup of tea. Vive la difference!

In the case of the C Major prelude I think 'simple' is exactly what Bach was after. Of course he was able to produce the most complex and intricate music but this is not it. It is a simple but beatiful harmonic progression. It doesn't need to be pulled about to make it work. Now, I know that doesn't mean you should play as if the metronome was ticking away. There is room for a little push when the harmonic tension builds, or a slight delay at the start of a new phrase, or a tasteful dwelling on a cadence etc. I think MA did this. For me, it was enough. For some it may not be enough. No interpretation can please everyone.

CC2, I am glad you did post your recording.

What is your opinion on this recording?

http://www.box.net/shared/75kp2s6p8l

It sounds weird to me.

It starts out with a playful affect, but then due to the repetition of the slur & staccato motif, it loses its effectiveness (or should I say Affectiveness? ). An interesting interpretation, but similar to a child who says something funny and repeats it over and over again in hopes of getting the same response from the adults, only to find it is an exercise in diminishing returns. Towards the end you vary from this motif, which then brings interest back, and then return to the staccato right before the final cadenza. I would recommend more variations, but not too many as to be chaotic, but perhaps 3 or 4 more so it doesn't become pedestrian.

Of course, articulations are only one means by which someone can vary an otherwise repetitive pattern. You also worked with dynamics (a necessity), but also the timing of the 16th notes was quite predictable even after the first 2 measures. By varying that one can emphasize important scale degrees and harmonies better, create tension and release, etc.

What do *you* think about it, Chris H.?

OK, I have to come clean...........it's not my recording! I wonder if anybody can tell who the mystery performer is?????????

Personally, I am not keen on this interpretation for exactly the reasons you pointed out morodiene. Although I do think that this pianist is amazing in many respects. It does just go to show that there is more than one way to skin a cat.

By the way, even if I had the equipment or knowhow to record myslef I am not sure I would be brave enough to put it under public scrutiny. So I have to say very well done to ALL those who did.

Hmm, Glenn Gould? Although it seems pretty slow for him . There *are* many ways to do things (I prefer not to skin cats...they're so darn cute!), and this is what makes performing written music so much fun, finding your own interpretation of the notes on the page.

Got it in one.

Sorry, I should've known by your avatar not to mention skinning cats. I too have a cat who would prefer not to be skinned.

It was interesting that you mentioned 'childlike' when describing Gould's playing. I always got the impression that he thought the preludes were a bit twee, especially this one. Maybe he is playing in a childish way deliberately? I agree that that articulation gets rather predictable after a few bars. I would not have dared tell him that though.

Chris, you truely understands what Bach (and this prelude of his) is all about. Your students are in good hands.

Bach was a very religious and conservative man. This prelude should be played more or less like the recording I have posted. It should sound peaceful. Rubato has no place in this piece, IMO.

One can jazz it up anyway he or she wants, but don't say that's what Bach intended. If one thinks it's boring, then play another piece or compose one of his or her own.

Here is another recording:

Schumann Traumerei

What do you all think of it?

Bingo. Tempo rubato is defined as "a practice common in Romantic compositions of taking part of the duration from one note and giving it to another. It involves the performer tastefully stretching, slowing, or hurrying the tempo as she/he sees fit, thus imparting flexibility and emotion to the performance."

Liszt said of Chopin's rubato, "See that tree? See how the leaves move yet the shape stays the same?" It's said that Chopin played the accompaniment (usually left hand) with a strict, metronome tempo while playing the main melody with rubato. He only used rubato for romantic music but didn't use it when playing Bach and classical music.

Such as? Rubato? Why don't you post a recording to demonstrate them? You can post another recording of your own playing. It's a short, intermediate-leve piece, and a good piano teacher can sight read it.

With the turn this topic has taken I think the discussion would fare better in the Pianist forum. A closed copy will remain here.