Performance practice of the instrumental-vocal works of Johann Sebastian Bach / Karl Hochreither ; translated by Melvin Unger.

Format:

Book

Author/Creator:

Hochreither, Karl.

Contributor:

Unger, Melvin P., 1950- translator.

Standardized Title:

Zur Aufführungspraxis der Vokal-Instrumentalwerke Johann Sebastian Bachs. English

Language:

English

German

Subjects (All):

Bach, Johann Sebastian, 1685-1750. Vocal music.

Bach, Johann Sebastian.

Performance practice (Music)--Germany--History--18th century.

Performance practice (Music).

Germany.

History.

Physical Description:

xiii, 217 pages : illustrations, music ; 23 cm

Place of Publication:

Lanham, Md. : Scarecrow Press, 2002.

Language Note:

Translated from the German.

Summary:

A translation of Karl Hochreither's 183-page book Zur Auff hrungspraxis der Vokal-Instrumental Werke Johann Sebastian Bachs (Merseburger, 1983), revised by the author, this book summarizes the insights gained in a lifetime of researching and reforming Bach's cantatas and oratorios.

Contents:

The problem areas 1

Decline of Protestant church music after Bach's death 2

Revival of Bach's vocal works in the Romantic era 3

What is the reason for incorrect performance practices? 4

1. Continuo Practice 7

The Thoroughbass Instruments 7

The lute 7

Harpsichord and/or organ 8

Seiffert's influence 8

The organ was normally the thoroughbass instrument in his sacred works 9

Dual accompaniment 10

The Continuo Instruments 10

The violoncello 10

The viola da gamba 11

The violone 11

As a rule it doubles the continuo line 12

Bach examples for its differentiated use 12

Historical playing practice 12

It ceases playing when the clef changes 15

The bassoon 17

Incorrect rule of thumb 17

The bassoon in the woodwind trio 18

Different traditions of its usage 18

Principles of its employment demonstrated in the score of the Missa 18

It doubles the vocal bass 20

It serves as timbre or forte stop 21

Examples from the cantatas 22

Its employment as continuo instrument 22

Peculiarities of playing technique 25

Thoroughbass Practice 26

Thoroughbass Realization 26

Extant documents dealing with thoroughbass realization 26

Its significance 27

Caution regarding incorrect interpretation of the sources 28

Four-part texture is the norm 28

Gerber's example of thoroughbass realization 29

Full-and thin-textured accompaniment 31

The simplicity of Gerber's example 31

Improper and genuine accompaniments 33

Obbligato playing is appropriate only in continuo arias 34

The realization must not cross the solo part 37

Close voicing the norm 37

Playing on two manuals 37

Use of the pedals 37

Organ Registration for a Thoroughbass Part 38

The Gedackt is the preferred stop for accompanying 38

Schroter's suggestions 40

Petri's rules 47

Regarding the Question of an Adequate Style of Playing 48

On the organ the thoroughbass is generally played non-legato 48

Regarding repetition of notes or chords 49

Performing Recitatives 49

Realizing Recitatives on Thoroughbass Instruments 50

Telemann's example 51

Sources regarding "short accompaniment" 54

In accompagnato too, the thoroughbass chords are short 54

Realizing Recitatives on Continuo Instruments 57

Baumgartner's playing instructions 57

Why does Bach's notation in the score of the St. Matthew Passion differ from that of the parts? 58

Arioso sections in secco recitatives 58

Playing Instructions for Thoroughbass Players 62

Regarding the arpeggio 62

Helping the singer 63

"Freedom" in realizing recitatives arises from musical context 64

Playing Chords on the Violoncello 64

2. Regarding the Instruments 77

Limits of Present-Day Performance Practice 77

Historical Instruments and Possible Substitutions: Particulars 79

Woodwinds 79

The oboe d'amore 81

Instances where oboe parts exceed the lower range 81

Bach examples for "bending" parts 81

The recorder 82

Instances where the lower range of the recorder is exceeded 82

The flauto piccolo 83

String Instruments 83

The viola da gamba 83

BWV 106 84

The violoncello piccolo 85

The violino piccolo 86

The violetta 86

Brass Instruments, Timpani, and Zink 86

The horn 86

Revising Kunitz's exposition 86

Similarities between corno and tromba with regard to playing technique and usage 86

Substitutes for C alto, B [musical flat] alto, A alto, and G corni 91

Substitutes for corni in F and C 94

The trumpet 95

Bach's use of timpani 96

The tromba da tirarsi 96

The designation "clarino" 96

The designation "corno da tirarsi" 97

Corno as cantus firmus support 97

The cornetto (Zink) 98

Cornetto and trombones 98

Problems with present-day trombones 99

The designation "Lituus" 99

Regarding the Question of Instrument Substitutions or Supplementations 99

No rigidly selective solutions 100

Tone color function of the trombones 102

Bach Examples 102

Limits of Interchangeability 104

Textural aspects and aspects of timbre 104

Text-derived instrumentation 105

The Question of the Third Oboe (the Taille) 105

Emphasis on outer voices in chorale settings 105

Superposed two-part texture 105

Adding the third oboe (the taille) cannot be made a rule 106

3. Regarding the Question of Scoring 117

The Balance between Choir and Orchestra in the Leipzig Ensemble 117

Conclusions for Present-Day Practice 121

A "numerical" solution excludes itself 121

Proportions must be preserved 122

Emphasis of the outer voices 122

Proportion between woodwinds and strings 122

The Vocal Concerto Principle 124

The vocal concerto principle as principle of scoring 124

A Short Historical Digression 124

The principle vanished along with the Kantoreien 125

Bach's practice is a traditional one 125

Criteria for Applying the Principle: Examples 126

Applying the Principle in Present-Day Practice 128

Problems with soloistically scored sections 129

The small vocal ensemble [Favoritchor] 129

Tutti-Solo in the Orchestra 129

4. Marginal Remarks Regarding Performance 135

Regarding Dynamics 136

Intensification by compositional means 136

Quantz's Adagio as example of subtly differentiated performance 137

Dynamics and affect 139

Regarding Tempo 139

Affect and tempo 139

Integer valor notarum 140

Tempo ordinario 140

Tempo proportions 140

Human pulse as tempo meter 141

Moderate tempos in church style 141

Tempo and acoustic space 142

Tempo and dance 142

Dance types in the vocal works 142

Regarding Ornamentation, Articulation, and Manner of Playing 143

Praller and trills begin with the upper neighbor tone 143

Their speed depends on affect, pitch range, and space 144

Termination [Nachschlag] 144

Connection between affect, tempo, and manner of playing 144

Instrumental suitability of articulation 145

Placing of text and articulation 145

Articulation was not monotonous 146

Regarding the Concept of Affect 146

Execution must accord with the affect 146

The central affect 147

Change of affect 147

Petri's styles of playing and singing 148

Regarding the Interrelation between Vocal and Instrumental Elements 148

Detached and slurred passages 149

Technical instructions 149

The choral parts were also ornamented 149

Regarding Execution and Embellishment of Recitatives 150

Ornamenting recitatives was taken for granted 150

Agricola's instructions regarding performance and ornamentation of recitatives 150

Three types of recitative 150

The church recitative 150

Ornamenting the cadence 151

Independence from the beat in secco and accompagnato 152

Observing the beat in instrumental interludes and arioso sections 153

Cadential formulas 153

Filling in of thirds; appoggiaturas 153

Ornamenting repeated notes 154

Limitations of applying these to Bach's music 156

From Romanticized to Objectified Interpretation 156

Going from one extreme to another 157

On the performance of chorales 157

Regarding Baroque Playing Practices and Notational Peculiarities 159

Playing notes unequally [inegales] 159

Very fast florid passages for instruments and fast ones for voices should be performed as equal notes 159

Dotted rhythms 160

Assimilation onto triplets 161

5. The Chorale in Bach's Vocal-Instrumental Compositions and Its Interpretation 169

The Chorale Elaborations as Gravitational Center of the Vocal-Instrumental Works 170

Choral Chorale Elaborations 171

The type of the cantional setting 171

The motet type 172

Types of choral chorale settings 172

Troping as a formal principle 173

Soloistic Chorale Settings 173

Sirp's criteria 173

Proximity to the organ chorale trio 174

Soloisitc settings with recitative insertions 174

Settings with "Added" Cantus Firmus: Simultaneity of Multiple Layers of Texts in Soloistic and Choral Elaborations 175

Text combinations; forms thereof 175

Arias with added

cantus firmus 175

Choral movements with added cantus firmus 175

Significance of the added cantus firmus 176

The Development and Significance of the Chorale Elaborations 176

Bach's continued interest in the chorale is documented in all developmental stages of the sacred cantata 176

The chorale at the axial-symmetrical center 177

Regarding the Rendition of Chorales and Chorale Settings 178

It is crucial to keep alive the knowledge of the chorale's significance in Bach's music 178

Digression Regarding Chorale Singing in the Seventeenth and Eighteenth Centuries 178

The slowing of congregational singing in the seventeenth and eighteenth centuries 179

The interludes between chorale phrases 179

Organists must play in a manner appropriate to the content of the hymns 180

Rendition and Performance Practice in Bach's Chorale Settings 181

Leisurely basic tempo 181

A "neutral" rendering is mistaken 181

Practical hints for performance 182

Instrumental articulation follows placing of text 182

Digression Regarding the Fermata 183

The fermata's multiple meanings in the eighteenth century 183

The fermata in Bach's chorale movements 183

Criteria for Interpreting Chorale Elaborations 184

Analytical and interpretive criteria 184

Regarding tempo 185

The quotation-like function of an added cantus firmus 185

Practical hints for performance 185

The study of, and familiarity with, the organ chorale is indispensable 186.

Notes:

Includes bibliographical references (pages 193-200) and indexes.

ISBN:

0810842580

OCLC:

48931247