abstract: This paper closely examines the performance practice regarding articulation of the preludes from Bach’s Well-Tempered Clavier Book I. Recordings by five pianists are studied: Vladimir Feltsman, Glenn Gould, Angela Hewitt, Andras Schiff, and Rosalyn Tureck. The recordings reveal certain recurring articulation patterns which are categorized into six articulation techniques: short slurs, long slurs, detached upbeat, accented downbeats, changing articulation, and rolled chords. The author has divided the preludes into four groups: preludes with continuous running figuration, lyrical preludes, lyrical preludes with distinct melody and accompaniment, and preludes with non-lyrical themes. Analysis reveals that for each group of preludes, there are a set of principles that these pianists follow. Overall, for non-lyrical preludes, the running sixteenth notes are played legato, staccato, or a short slur followed by staccato. The slower moving quarter and eighth notes stay mostly detached or staccato. For lyrical preludes, the melody remains largely legato. Articulation techniques are used more extensively in non-lyrical preludes than lyrical ones, and more often in the slower moving eighth notes than running figuration. Articulation techniques are often used as means of embellishment. They enhance the individual character of each piece and generate Baroque attributes. Despite the principles observed in the recordings, many isolated performances are found which do not conform to any of them, suggesting that there is no authoritative rule when articulating Bach’s works on piano. / Dissertation/Thesis / Doctoral Dissertation Music 2020

In this study I examine the genesis and compositional purpose of Mendelssohn's seven chorale cantatas which include "Christe, du Lamm Gottes" (1827); "Jesu, meine Freude" (1828); "Wer nur den lieben Gott läßt walten" (1829); "O Haupt voll Blut und Wunden" (1830); "Vom Himmel hoch" (1831); "Wir Glauben all an einem Gott" (1831); and "Ach Gott, vom Himmel sieh’ darein" (1832). I also re-examine the widely held belief that Mendelssohn's chorale cantatas were juvenilia, functioning only as compositional exercises to better learn the style of J.S. Bach. My examination includes a stylistic analysis of each cantata that shows a direct deviation from an imitation of Bach's musical syntax and form to a re-creation of the chorale cantata genre using nineteenth-century idioms. My approach to analysis is modeled after that of James Garratt, who has done a great deal of research on Mendelssohn's psalm settings. These works, like the chorale cantatas, have also been criticized for being compositional exercises that imitate Palestrina's musical syntax and form. Garratt believes that by using a literary method called translation theory, one can gain an unbiased assessment and evaluation of compositions that are based on pre-existent models. I have applied the tenets of translation theory as the foundation for my analysis to determine if the chorale cantatas were imitations of Bach's model or re-creations of the genre. This approach provides, as Garratt states, "a means of differentiating between the degree of affinity that links the works of Mendelssohn...and [his] models." The stylistic analysis also illustrates how the chorale cantatas are exemplars of Mendelssohn's compositional style. Unique characteristics such as Mendelssohn's frank religious convictions; his perceptive and creative treatment of chorales; his understanding of Baroque forms and styles; and his remarkable contrapuntal prowess are all beautifully exemplified in the chorale cantatas. I conclude that instead of being regarded as archaic, compositional exercises, Mendelssohn's chorale cantatas can and should be viewed as seminal works in his sacred choral-orchestral output.

Historical keyboard instruments have for many years been a valuable source of information regarding historical building techniques and performance practices. However, almost no attention has been paid to the evidence of wear present on these instruments. This physical trace documents the form in which an instrument has been used throughout time. Of particular interest is the evidence of wear found on the surface of the keys. An analysis of this physical trace might provide insight into a number of aspects which have defined the manner in which performers have approached their instruments. A survey of historical keyboard playing practices will help to visualise in a broader form the mechanical reasons behind the impact of the fingers on the surface of the key. However, it is important to consider that while the process behind the appearance of a trace of wear is primarily of a mechanical nature, the fact that both instrument and the performer‘s body are cultural objects calls for an examination of a number of issues which seem to influence the form in which the mechanical action is applied. Two important routes are thus taken in this study before the trace of wear is examined. First, a number of uses of the hand and the fingers seem to have originated in the interaction between the performer and the earliest keyboard designs that the medieval organ displayed. An analysis of these uses served as a starting point for the study here of a number of playing practices which remained in currency for long periods. Second, the forms in which the instrument is built and the body operates at it are the result of the socio-cultural and historico-geographical conditions in which both are submerged. Particular attention is thus given here to the potential effect the performer‘s socio-cultural background had on the mechanical action he or she was to use when performing. An experimental clavichord, whose tops were designed to reveal patterns of abrasion more rapidly than those commonly used to cover the keys, was used to aid in an examination of the particular effect of the fingers on the surface of the key. In this form, specific information concerning the various stages of the abrasion caused by the finger‘s contact with the surface of the keys could be gathered. The worn keys of this instrument also provided a much needed reference point to which historical traces of wear could be compared. This helped to establish a number of potential finger actions that might have been responsible for the traces of wear on some historical instruments. A reconstruction of J.S. Bach‘s playing approach was adopted for playing on the experimental clavichord. At the same time, a number of socio-cultural aspects which might have defined Bach‘s approach to the instrument were explored. In this form, a broader picture could be offered which is not limited to an understanding of the most likely mechanical causes behind the origin of the trace of wear.

abstract: The study and performance of J.S. Bach’s music has long been essential for every string musician. A transcription of the Flute Partita in A minor, BWV 1013, is an excellent addition to the double bass repertoire. This paper includes a performance guide that discusses the technical and musical considerations of each movement, and a new transcription for double bass. Chapter 1 introduces the goals of the paper. Chapter 2 is an overview of the transcription that covers the reasoning behind the bowings, fingerings, note alterations, ornamentation, articulation, and interpretation included in the transcription. Chapters 3 through 6 discuss these technical and musical elements in the context of each movement of the Partita. There are two other transcriptions of this piece for double bass, both of which take a different approach to transcribing the music of Bach. The transcription includes two different versions of the Partita: a version with bowings and note alterations, and a second version that also includes fingering suggestions. The bowings are based on Bach’s manuscript of the Violin Partitas in order to accurately recreate bowings that Bach would have written. The suggested fingerings serve as guidance for bassists who study this piece and are included separately to acknowledge that there are other fingering possibilities. / Dissertation/Thesis / Doctoral Dissertation Music 2018

J.S. Bach (1685 – 1750) is celebrated for his exemplary musical compositions, but less known is Bach the inveterate transcriber. He not only transcribed at least nine concertos by Antonio Vivaldi (1678 – 1741), but he also arranged and adapted his own works, recasting them for other instruments. Among Bach's arrangements, are those for the lute, which were originally written for solo violin and cello. These two arrangements form a significant portion of J.S. Bach’s oeuvre for the lute, an instrument Bach would have been familiar with through his encounters with the finest lutenists of the age. Bach's lute arrangements provide valuable insight into the editorial decisions that were made when transcribing from solo strings to the lute, an instrument most similar to the guitar in sonority, structure and technique. This study examines J.S. Bach's process of arranging for the lute by comparing three extant versions of the same work: Bach’s Suite in C Minor BWV 1011 for cello, his Suite in G Minor BWV 995 for lute and an unsigned version in lute tablature dating back to Bach's time in Leipzig (Sammlung Becker. MS. III. 11. 3, housed at the Stadtbibliothek of Leipzig). The three extant versions of the Suite in G Minor form a unique trifecta among Bach's body of works that can be compared to reveal unique features in Bach's lute arrangements. By comparing the three sources, this study will demonstrate that J.S. Bach displayed a propensity towards musical elaboration when arranging from violoncello to the lute. In particular, Bach had a tendency to elaborate the following musical elements: melody, harmony, polyphony and rhythm. This study will show that these elaborations may be applied in a new guitar arrangement of Bach’s Suite in D Major BWV 1012. Finally, this author hopes that this study may be used as a guide or starting point for other arrangers in their attempt to create a stylistically cogent guitar arrangement of Bach’s unaccompanied works for violin or cello.

J.S. Bachs Chaconne är den sista satsen från Partita nr. 2 i d-moll för Soloviolin och är med sina 257 takter längre än svitens alla andra satser tillsammans. Den är idag betraktad som ett av de mest tekniskt och musikaliskt utmanande stycken som någonsin har skrivits för violin, och innehåller samtliga för tiden kända aspekter av violinteknik. Föreliggande studie behandlar först en musikteoretisk analys av Chaconne, följt av en kartläggning av styckets underliggande koraler och avslutningsvis en undersökning av anknytningen till Bachs hustru Maria Barbara Bachs plötsliga frånfälle. Studiens resultat påvisar att det inte bara förekommer totalt elva av Bachs egna koraler inkorporerade i stycket, utan även en numerologisk och musikvetenskaplig anknytning till M.B. Bach. Dessa upptäckter åskådliggör att närmare analys berikar framförarens interpretation av Chaconne i synnerhet, och övrig musik i allmänhet.

Bland det första jag fick lära mig när jag började spela fiol var betydelsen av att vara fri. Men vad innebär det egentligen? I mitt arbete har jag studerat Johann Sebastian Bachs första violinsonat i g-moll. Det är en sonat som jag har spelat enskilda satser ur vid ett flertal tillfällen, och jag har länge känt att det snart är dags för mig att sammanföra de fyra satserna för att spela dem under samma konsert. För att genomföra mitt projekt och för att få en djupare förståelse för musiken, har jag läst om Bach och jag har studerat filosofin kring musik. Hur musiken som en av de sköna konstformerna har betytt för oss människor genom historien. Mitt mål med projektet var att nå fram till en frihet i musiken där jag kan uttrycka en kreativ och personlig tolkning. Jag kom underfund med vikten av att hitta en individuell studiemetod som passar mig och mitt ändamål. Jag testade mig fram i olika övningsmetoder samt reflekterade kring övningsmetodik genom att jag förde övningsdagbok och dagligen utförde inspelningar av min övning. Jag kommer fram till betydelsen av att vara nyfiken på olika övningsmetoder, att våga lita på sina kunskaper och inte nöja sig med mindre på grund av ett bristande självförtroende. / <p>Kaija Saariaho - Nocturne</p><p>J.S. Bach - Violinsonat No.1 i g-moll</p><p>Friedrich Hermann - ur Suite Op.17</p><p>Medverkande musiker:</p><p>Catrin Borggrim - violin</p><p>Hilde Aronsson - violin</p><p>Simon Hojman - violin</p>

I detta examensarbete presenteras de vanligaste musikaliskt-retoriska figurerna samt retorikens historia i musikaliska sammanhang. Skribenten undersöker också vilka retoriska figurer som går att hitta i J.S. Bachs Toccata i C-dur BWV 564 och om vetskapen om retorik kunde hjälpa henne med interpretationen av detta stycke.

Hierdie studie ondersoek die vingersettings wat Johann Sebastian Bach (1685-1750) moontlik gebruik het. Die meeste klawerbordspelers speel een of ander tyd in hul lewe ‘n komposisie van J. S. Bach. Aangesien Bach min inligting oor vingersettings in sy komposisies nagelaat het, bemoeilik dit die taak van die klawerbordspeler om ’n histories-korrekte uitvoering van ’n bepaalde komposisie te lewer. As gevolg hiervan word navorsers genoop om ander bronne te raadpleeg wat kan lei tot ’n beter insig oor sy vingersettingpraktyke. Die bronne naaste aan Bach, dit wil sê sy leerlinge, tydgenote en Bach self verskaf die mees objektiewe inligting oor die aanvaarbare gebruik van vingersettings tydens Bach se leeftyd. Tydens hierdie ondersoek na historiese vingersettingpraktyke is bevind dat dit verskil van die huidige. Vingersettings vir ‘n komposisie is gekies sodat die nodige artikulasie, ritme en frasering daardeur aangehelp en vergemaklik word. Verskillende lande het verskillende reëls oor die gebruik van vingersettings. Dit sou wenslik wees om, sover prakties moontlik, vingersettings vir ’n komposisie van Bach te probeer gebruik soos hy dit in daardie periode sou gedoen het. Die Applicatio (BWV 994) en Praeambulum (BWV 930) is die enigste twee komposisies met vingersettings van Bach self. Dit is egter vir die beginner klawerbord-student geskryf en as gevolg hiervan is dit moeilik om vingersettings volgens Bach se praktyke te bepaal vir sy latere en meer gevorderde werke. Vingersettings in hierdie twee komposisies bewys egter dat Bach vroeë vingersettingpraktyke as kind geleer het en dit steeds as geldige vingersettings beskou het. In die agtiende eeu in Duitsland het ‘n beduidende groep amateur-musikante ontstaan wat onderrig oor die bespeling van die klawerbord benodig het. As gevolg hiervan is verskeie handboeke deur verskillende klawerbordspelers gepubliseer. ʼn Studie hiervan gee insig oor aanvaarbare vingersettingpraktyke en metodes van die tyd. Aangesien dit tydens Bach se leeftyd in Duitsland in gebruik was, is dit heel waarskynlik dat Bach in aanraking gekom het met klawerbordmetodes soos in die handboeke beskryf en moontlik self daarvan vir sy eie spel gebruik het. Twee verskillende strominge by die gebruik van vingersettings word aangetref tydens Bach se leeftyd, een meer konserwatief, die ander meer progressief. Albei strominge se gebruik van vingersettings is steeds konserwatief in vergelyking met moderne klawerbordspel. Teen die laat agtiende eeu word daar egter wel ‘n meer progressiewe gebruik van vingersettings aangetref. Bach het soms van sy leerlinge verwag om sy musiek te kopieer en in sommige van die gekopieerde komposisies was vingersettings ingeskryf deur sy leerlinge. Vingersettings in hierdie komposisies kan as ʼn riglyn dien van die vingersettings wat Bach self gebruik het. Uit hierdie studie is dit duidelik dat daar nie met sekerheid vingersettings volgens Bach se praktyke bepaal kan word nie aangesien min inligting van Bach self kom. Dit is egter moontlik om sekere algemene riglyne daar te stel. Die gevolgtrekking van hierdie studie is dat die vingersettings van Bach reeds heelwat ooreenstem met moderne vingersettingpraktyke, maar dat sekere historiese praktyke steeds ʼn plek gehad het. ENGLISH : This study investigates the fingering which Johann Sebastian Bach could possibly have used. Some time or another in the life of most keyboard players, they play a composition of J.S. Bach. Since Bach left little information about fingering in his compositions, it makes it difficult for the keyboard player to give an historically correct performance of a particular composition. This results in researchers being forced to consult other sources which may give them more insight into Bach’s fingering practices. The sources closest to Bach, i.e. his pupils, contemporaries and Bach himself, supply the most objective information regarding the acceptable use of fingering during Bach’s lifetime. During this investigation into historic fingering practices it became evident that they differ from current practices. Fingering for a composition was chosen in order to assist and simplify the required articulation, rhythm and phrasing. Different countries have different rules for the use of fingering practices. It would be desirable to use the actual fingering in a Bach composition that he would have used in his time, if at all practical. The Applicatio (BWV 994) and Praeambulum (BWV 930) are the only two compositions that include Bach’s own fingering. However, they were written for beginner keyboard players and therefore it is difficult to determine what fingering Bach would have required in his later and more advanced works. Fingering in these two compositions, however, show that Bach’s earlier fingering practices would have been learnt in his childhood and that he must still have regarded them as relevant. In the eighteenth century, a significant group of amateur musicians in Germany needed instruction on playing the keyboard. As a result a variety of manuals were published by different keyboard players. A study of these gives insight into acceptable fingering practices and methods of this period. As these were used in Germany during Bach’s lifetime, it is probable that he came in contact with keyboard methods described in the manuals and probably used them himself. Two different approaches to fingering practices, one more conservative, and another more progressive, were used during Bach’s lifetime. Both approaches to fingering are still conservative in comparison with modern keyboard playing. Towards the end of the eighteenth century, however, a more progressive use of fingering came into being. Bach sometimes required his students to copy his compositions, and fingering was included in some of the students’ copies. These fingering systems can be used as a guideline to those that Bach would have used himself. It can be deduced from this study that it is not possible to state with any certainty what fingerings were actually used by Bach, as little information came from Bach himself. It is, however, possible to present certain general guidelines. This study concludes that the fingering of Bach’s was in keeping with modern practices, but that certain historical practices were also in use. Copyright / Dissertation (MMus)--University of Pretoria, 2011. / Music / unrestricted

Inom barocken står det ofta inte så mycket noterat om hur man som musiker ska ornamentera, men det var ändå underförstått att lägga till egna ornament. Syftet med studien var att som violast undersöka vilka ornament som finns inom den tyska senbarocken och svenska folkmusiken, dess likheter och skillnader, samt interpretera J. S. Bachs Bourrée ur Cellosvitno. 3 enligt båda genrernas uppförandepraxis och komma fram till en slutversion som blir min tolkning. Många av ornamenten i respektive genre är lika men skiljer sig i vilken utsträckningde används. Studiens resultat har lett till insikten att om jag får ornamentera fritt som om detvore folkmusik lägger jag till fler ornament än i barocken. Slutversionen är en grund som jag kan utgå från men under ett framförande kan jag improvisera fritt utifrån grunden och välja ornament i stunden. Studien har gett mig verktyg att inkorporera barockornament ifolkmusiken och folkmusikornament i barocken samt att känna friheten från folkmusiken när jag spelar barock. / <p>J.S Bach - Cellosvit No. 3 - Bourrée  (BWV 1009) - Therése Magnusson, viola</p>