Table Of Contentg
WW. NORTON é& COMPANY
ESSAY
ON THE TRUE ART
OF PLAYING
KEYBOARD
INSTRUMENTS
by
Carl Philipp Emanuel Bach
CONTENTS
Preface
Introduction
PART ONE
Forenord 19 Patt One
Introtuction 19 Peri One
CuK URKE. Performance
PART TWO
Foreword to Part Two
Introduction to Part Two
carmen sour Intemals and Their Signatures
cure Five Thorough Bass
TH Tia (uy
Ib CHORD Ur TAF STH)
ME CHORD OF RE SIRI)
vii CONTENTS
ux x04 conn (i)
fs so foun naee Qe
2 Toei i)
‘bit sours uo (ty
THe chon or Steen ()
{hit chow OF a eye
FP ctons cu wm sree iy
Tie Chow wr th Majon seve (9
Ht choto oe ran won svat
The conn or ras nev
cuneina s0dccompaninent
cunrine sein. tmprecisaion
Bibliography
| ale
eens,
ILLUSTRATIONS
(Gurl Philip Emanuel Rach
“tn sngrating by #6. eign, Sess
‘Tide Page of the Firs Wdition of Essay om the rue
vt of Playing Keyboard Tnsiransent
Part 1
Tile Page of tive Fles Edition uf Eecy on the True
Are of Playing Keyboard Instruments, Pare tt
Frederick the Great with His Musicians
Frontispiece
6
168
wees essS Seo SET E ENS SSSSSe:
INTRODUCTION
Plans were formed co eect a commen orative monument in
the Mfichaetiskirche in Hambuxg. "To this project, which dic
not mature, che renowned poet and Bach admirer, Friedsich
Gottlieb Klopstoc, coitiouted am epi
Se AFTER Emasucl Packs death on December 14.188,
“Payot
Forges it Waar ena
{Py Ea Bn
Fels anos
fon
Dorey
dm ower mi
Serva a ventory oneomeno
rhe hl dot of prernane
Somesiing less than inspite value as carte of Bach's
fuacipal art vices, an as 4 sucmary of the his of his fame in
"aeminds of his contemporaries. Our chief crneern here is with the
feel who “raised the art of performanre, though teaching ane
Practice, to ie perfection,
“Tie most fous pupil ol Bach was his youngest brother, Johann
Christian, wh studied with him during the fein yeses he spent i
[Beiter iis father's death, Another waa the widely ancwn Gzeth
janis, Jan Ladislay use, who spent sbout a year at Hamburg
We V7) with Bach, alter Raving alresdy come into prominence
Prose was prised hy both Haydnand Melo td der:bed
2 INTRODUCTION
in J Tomek Autobiography 2 eng the st pane who
wee dhin mamentstege onthe later, awh ou pian
ae essun al foo hn gon they have 79 7 inere
seat ehibt "Tw oubitl Wht e leaned sos a7
chal ps of hs sy i ah,
‘ler pu mere fen weil Enown, sul a Nikoaus exe
sealant the Kongievg ogni Gal Coste Rieter, Pit
ce Mvie Rurs nal Gal Fach whe ase wit and ner
tetcdee Bh panto Freeh he Gent a> Dn
pe Teeter ot eH plying nent
cae en pod ea o Dact extnng ar Acta tt
reno hea a ering tere
an yn nq injuace to both hr ads pple x0
vine nese tochane ho ied dizesy wih Bie
Fee gender feo wae hve ncn ore i
Ba igh che agency esac 9 te Es, he ater
iL oy Eid the olf ll shoo Ad Mora,
Fees Ba lemma added tir endorsement, speaking un
rae st beckon howe mone mut be ude noe ply
rere decters\erearig ie yonne remy perfor in st
rye te her ante Goya en Tal eke BS
aoe een and car Mm Sse mt me nea medk Be
ae Enanecl Bucs imatotion book en the True Art
oRioke AT. of these en, expec
“Shiva fe and never forgot hn, can be called lus pupils in chis
broader see of rhe tex,
Tie Bvmay berame Euigus a1 an insructian book almost imme
diately and reached many stents Uhroughout the Itter Ralf of
the ddicentury. Natecord available of the numberof copies that
rere printed, but zn ea ofthe rate of its distribution can be gine
By omuuiting a letter that Bach wrote ro Engelhardt Benjarain
Sebwichest, April 0, 17. Iu ithe expressed his willingness to sur
aerrcomtrclul tye work ro this Leiprig publisher. He wrote in part
can now say with cetsincy du 1 all possess 260 copies of Part
‘One and gg of Part Two." For these 624 copie, with the examples
INTRODUCTION 3
t9PartOneand maniserisrevison toe ene bow, Bach asked
Sd evidently raened 18 luis os To aipel any ie nvion
tha theater as ingen Doh aed srewly am more
Clg co sll sam you ve a0 uy" The taeton ha
et
“The Bog copies, some going bck 3 yeas ote 8, aut rep.
rent oily their pt ofthe teal pine in 9g, gp ae
a, hat eve infnmton provided oy We fa tr Shere
sho mos cersnly was st ctined to deo) tach
Shieh Bah placed ven poe ol thes teresa the
Ey in 0 by singly ating Ue ide page af te sete
copies tomate som or the mane of ene pur. The fe
pase of th sealed "Inied Feltin” eaned he wevestng
Zevie lage” ut te een of 730
‘Tne cpa of Fars One mt he een Inet sl by 8
salen Schwert ined he reve elton tod the 46y cops
GUFa Two had beam exhoed hy 1999 when i reappene ie
fern This eps yearly Netage sl of Delete go
tevcpies each pars which, extended back te gia
Seva publi, salt ge ht op sae
Ihe ree Serva too and
co and pep copie ofeach es a
snaald_Anodem public would sil inital
uch parry, bute shoud be kp mind oa he ean
Puen the vB coma was at sale them i 03 A,
Siihisot png sn aio ne een aes, Te
publics laren ate (78) pte sow coma Grete
Went, bt cond Ha toe te Gorse he ee
‘Andro the inci ohare ere even se, The Teme
iterate Zeng very Popa u wie ed jl the
Sie achive stereo ues of to open ace
leet ten by Cvchen to Wieland. Pr werk Ite The Eg,
Sengac fora very tte pu, to teach cur magened, com
ssvsvey eae mimes a coi teed ape, en
‘Snipaed ith these cer ges Temostavo betememberee tat
the tapping and harseing tbs were widespend pacers
thi ine. ene ron nm copies ered many mone tate
‘valent number ofveder,
ier eda o the pend of Bach's Ey, bt with tty
' INTRODUCTION
se found in an open leeerof protest ss he
tansarisactory sens,
uthor published in te Hamburger snpartheischer Carcespaui
fen, 1778, Now. Deed Jsauacy v4, 1793. sb runs pas
‘hase uber with goeatew etic te eange that Ma some over de
Swedd of heyboued playing snc the pts of my Hy Ce ase wid
in hows tat inthe appease sag id playing Rave inprove
Shr rt Toros og s ay high tones ave aeemly gen es
fed cn novi battarss Vin pla adept oe ts longs aiid
wich povng tht oe fatons ced bly apd foceig he the
Tews Not They wast sch imanstlieyvough aetecrnip ae 3 res
Stony sito and tet bovis have spend sree ry Hay tat 3 en ew
ace. | have been inj st Y
Sean wan seks A
hg yi at tos are
trope nee and pin o py dn itescdy Prete ares he
teem ob a ee ging nC neti
fpplctin oentelshremia a tiooughly bad thor Han act hoot
perenne cat ever ook vt {he sen ance he pelt
‘aden oan Hon (and Lele ve rem eer al se wih rom Ws
Tyran be prone il recery,
rip page
vever, the Esny in 6 oncorenpied orm sath ll pas 0
Ane Cominent. Sle of ny rks ely te Novi sa
Livonia, Courlnd, Sweden, Dermark, Hosein, Have, Mest
energy Cauenburg, anc Litre" wre Baca ie dhe eb
tere stipithet But iealso rnd fs way southyard. Gene
tne, procare iy copy ia Vienna Tans the eed of ie Bat
thence was widely eeavered. Some concept of the Jnpact aM
cause ata Blog vn te 15th century san be gained em Sous
Fnmous sveeping satement, ae quotes by Roch: Het ath
father we are t Thewe of who do saytt in
wwe ute (1e wale ie
fom arn, Whoever do
The evidence that it presides by such tescisary from many
sources, and bythe seat spted of sue Esmy, reve trea rat
Emanuel liac’s comtributiens sere up all pa of eh foes that
Aitected the lesling, musics ati. tis of the Ge It shoul mot bs
rnecesrey to serk for superficial tena dc simi-aities Detvcer his
works and of vers in order to poove this Movact gave sued
[Fresion to the relationship of tse music lus generation to Bach's
‘We can no longer do as he ic: bur she way st sleigh he did it
places him: beyond all others" Tr akes a crue student te make so
foolound an observation, Roehl the suurce of cis as well asthe
“the pitch. Karle, le wating
INTRODUCTION 5
_Preveding statement, is not always dependaies font in this ese he
‘om be crusted, simply Letauae ise lacked the insight necesary for
the formulauich of sy paietriting an observation,
1 is wo. pointless tw inquire alter the teachers of this teacher.
De. Charles Burney in is Proven: State ot Afusic wscte «Bach
“How he formed his ste, whore be acquired all us tite and re
fhnement, wom’ be dificult to trace; re osrtauniy wes dies iavericet
nor adapred ther from his father «. .” Wut in is Htcory, he as
sent, “Tt appesss from Tlasse's ope
«quired his ne vocal as. in composing
féry and laboured sigle of is fatier,” Philipp Emanuel wis in
a great admsuet off! vary Sucre, asthe Traian called thae
fruored composer ol vpetas, but it He certain shar she Reezy anes,
such to Johana Sebastian, “Ta composition and keyboord per
formance, | have vever ludany teacher burmy father,” we are told
in the An:obiogtaply. Repeatedly in the Exery he mentions his in
deotediness to hs Ft
‘Bus 4 lage part ef the practical wisdera comtained im it must
bbave been gathered dnving the years that he spent at che court tn
Beilin. Engaged informally in 1758 by Frederic, the ceown prince
Ihe was appointed ta his position a» chamber cevabalist ou Ue ae
King’s scersson in 0740. We retd in Lmanwel » Autobicgcapligs "L
Iuud the honor to accompany alone atthe hassel tie bs
fave sole thar he played ns king a¢ Charlotiendung
Rech absorbed much trough his datie at lve cots His presence
wostequired almost daily, Zor he played the accompaninseuts atthe
king's private concer's. These chamber covets weve lied fern 7
fo g PM. except on Meislays anc Fridays, when Ftederick the
Grest attended che operg. Punctuality was the xing 8 rule in all
Mars, hence the musicians found it advisnb’ to be asembled be.
fore te required vine. Precisely a 7. he would appear ard sound
sicians could hear him vehearsing
the mare challenging gasses of the evening,
‘There wasnt mach variety over the yeere Usnal'y the main fare
consisted of sbouit six concertos played hy the monvech, Later chit,
number was eeuced to three oF fair, Mot af these were composed,
by Johann Joachim Quant, Mice virtaoso, whote playing had
aroused the young Predevie\'sinerest in tha ssinursent.
dha received flute lear from Qanteregulacly sive vay aud Uke
where Einatel Bach ae
ens, so diferent fem the
‘ INTRODUCTION
deacher wrote approximately gon concertee for the exclusive use
Of ihe king, Occasionally, Predevick played one of his own works,
Quant and other instramencalst played soo, die perlormances
being varied with wiias sung by the court singers.
‘Emanuel Haeh’s inusie was fot popilar ar che cour, Burne.
after bit $e macs ng mention of the perfurmances of
Bach's masie, bur wove: "The womponitions of the two Grawns
ané of Quante, have heen in favour with his Peusian majesty for
fmoxe than forty yenrs «= And later: "Tt must be owned tha
tmuany of the passiges, in these pieces oi M. Quancr are now become
‘ld ad coramon; bat thisces nat prove thet: deficiency in novelty,
fwleu dey were bret composed, as same of thea have been made
snore haa Tory years”
‘Blunney give usan intimce pleture of ene of che private concerts:
geo ni Tania tie hoe pg fw ne
then exept newt hes (09 ot Era trend
obo paru ad chnes nchsernu te bea prvlge alla movies musician of
Te bend Th endene hich hs ose) ade were Gro. at Yer 04 nd
Ise. iscanyiodacovee dat ys overtone cpa a! ime When
idk ot so reursy eirean oppor of rehng rent ait
fom ofthe dvi, which wre vey Lag and ical eel ai he cles.
fe wos cblged to take bit reas canary 10 rae Beloe Ue poses we
“There is no strong reson taheieve that this concert which Rutney
attended siter Bach's deparnire for Heabuig was very differen:
avept in unimportant devil, fem earlier ones
rom other contemporaries, chiefly Tobaum Fiiedrich Reicharée
sand Carl Easch, Bach saltemate at the aurpeichordané later Kael
tneisier. we win more information. Fasch aserted that she Bing,
‘long with Bach and Franz Bends sas greararast in adagio playe
ing, but that bie tapi sense ws not always dependable, espe
Cally in tapi passages. Ax seomareh he retained and exerived the
‘ight o bring che emeanble into agreement with is wayward expat
by hescing me forcetully. A story goes (hata reval aduaes on one
sich necaaion ext, "What rhyzhm!" To which Basis ceplied
fryly, “What rhydumst"Te ruts ofthese daily experiences appear
themaghous che Busy, They can be found im the many devaile of
[practical advice chat Bach gives to hie reader.
"Phese two avutves of Bach's attic eduestion is fathers insiruc-
INTRODUCTION ?
tion and the execution of his dusies inthe aerviee of rhe king, were
supplemenced dy a third, bis assecicien with many of the leading
musical figures of his day. At che court were two of the brothers
Gram: Carl Heinrich, musie director and celebrated composer of
The Death of Jesus, ané Johann Gottlieb, conciactor of te ruyal
orchestra, composer, nd eminent violinist. Quinte, already men
toned, was present 26 chamber nuician, His Persuch einer am
veeinung die Fiotecravevseve a spielen (lerlin, v73e) wt 2 api
to Bach, Five members of Use Bess family played atthe court jn
lading Fran aud for a shorter time, Georg. Johann Friedrich
Agucola, cov, wos there as cour eompaser, “mote corpallent tha
Jowelli ur than his relation Handel," according to Burney, whe
‘Visited him Inter
In Rerlin was aso the qurrelsome Johann Philipp Kirnberger,
like Agvicoin a smidens of Jehtnn Sebastian Bach, Engaged as vio-
"nia im the conse from 1753, he left to become mutical director o
the Princess Amalie in 138. Ie wrote several impostant theo
ical works and contribnted many of the sousical artis w J. G.
Suleer's Allgemeine Theorie der schonien Kinate Berlin, hee ec
fon 174152), the remaincer being writen by hie pupil Jobann
‘Abraham Peter Schulz, On adding the nae of Friedrich Wilhelon
Marpurg to this roser we have teasvem bled the prip OF writers
who made Berlin the hub of musical theoty, Buaney its The Present
State of Musi writes of Berka:
1 pain to bg ym! age tn pce. where hs the
thar 22 pra fla en se poten ene an eer
ip prcemos al hedge lon hw ang nv
‘Sepa eno tale exeen an aperi s te ent
‘alae rane rougou: Gorey area
He proceeds 19 eaumerate, not without errs, writings by Quant,
Bach, Agricola, Marpurg, Kienborger, anc Soler,
With the exception of Quanu’s Ferach ard te publications
bby Marpnrg, sll ofthe writings of these men appeared after Bach's
Exam. Ts influence is apparent in many of thers, jut as iti in stl
later works such as Turk’s Clavierscule (1784) us Mileameyer's
Diz ware Ave das Picnojorte su spielen (0797) But trathe im seas
tan in two dicections; Bach mes his awuxiates Ieequencly and ex
Changed opinions with dhens In hie Autobiography he wrote: “My
Prusian duties never Fell me enougls time 49 travel in forcign
s INTRODUCTION
Ihara to any:
youth on to hoar av clese range the Finesse all kinds rouse wn
tarmeo: mastersa rhe five rank, meny nf whom became my friends,
Boch absorbed much from these sriendships, the resale af whi
carefully evalusted and recast, 29pear chroughout che Essa. Mex!
easy tociscoves ate use pountson which ke and his con:emore
Avagress Abdul ne rsels men dows anyone by name, Cs ele
thar he and Quanz were divided on several mates.
Tn order to comalere oie ekereh af the Baa’s background we
amuse direct our sttentian 40 Bach's ahicing interest in the proper
inatveticn of the musical novice. A grea” desl of his wusic has
swritcen for texting prspases The rite of his bestkrawn koyhoard
‘works, the ellections for Connoinenrs snd Amatrars, indicates the
spteae of bis inerests In action, the Sones sith woried reprises
find the pieces pblbahee in Marpa’s and nthers el ecriens were
Gesigned for the now-proiesions: musician Tt is trae that the Beery
Seas written forthe siden: whose aim vas complete matery of che
Keyboted, But the Tatvorwetions to both pats sow clearly
Dac vas well aware of the genztal save of musical instruction, im
‘deed thas he weote with iin mind, Especially is this trte of the Ine
lueduction te Pact Oae, where fe writes cxieticlly of the preten
Liousness of dhe average teacher, his abysmal sgnerance ard wn
asics.
‘Lew contemporary Jocunnent give ws inSermation on keyboard
ina uciom atthe Ge. ‘The Litt, a continuation of vie open le
that has already beer quoted, sates Bach's stews ex teats che
serious anc the eannalerutent:
se wn act tat my say too lng say nosing and at ee same ice
veal strom aeraner. {ie al keyioar pelormer one gon
the as ve dane fore se gua ad i Sees anaes
soho eek thorough inrtruesin By vay ie tended forthe Sat sFoup 3
‘hs ane eveyg that ep far imp say sn be cee nh eet
ie murach and ier af ftrasion bet advo tothe muds that hy
‘MoikingLaconceal css be aswel widest sve and pote. Sy of
ear petormance ic no a rompeadious air, aad date ox I
teamed throu, What ero ay abut thew te struction books
INTRODUCTION 6
For the second group. iis amateur, thee aed acston book, i
this teu aver he meoned upoe te team lve, ane she proced
21 eouingy bat owt of neces Before ars hos, mote the
Teson nat atnsed ges ant comers mp only vid mune ene
rnciles. Neri a amt poy womens em hme vee of
Bcussamineny, the divided acomparnent, ete Fd to Keone they wee
‘eed Toghout the tent an we soe 43g eo
Tike howe tht ae arse mon an any oka he sede pe
pate, i cael ya ca de eke eared lesion itt oo
{he atienes,wakh were preppsess eh sam height ancl eva
lege ercelmatr ax bythe pret cin ia abt ial hee pape
Tene, tor purpina of herough ietaion “at sting of Kebawnd
ces wen si Sone wot stom lest des more hon fa
Iie, am others, mem, Ut ial espe, mages of errora What
ble acave cam be ound! sme nd ti thes pe fem
fhe cols, e author ave mer sd! compoict, whl they mus by
mei nw in onder to concn camapasivent Thi dy Benet
tory te role of comport bee dieiy on an understand a
Composit Ia word, so ome am pt it rat in» toyota cams boo
Tae author has nat prvinly made Meet sacra pone het wow
tae comer 2 sampled ongne heh Good compton
Tn er crviche Musicus on der Spree, the weekly thar Marpurg
published in 1749, there are two rior lett satire in nature end
probably written by the publisher, tat vefer w keyboard playing
and instruction, These give us mate informatien than is revealed
in many cextbouks vf the time. The hrs, areibuted to an anony-
‘mous young lady. appeutec ithe ive of March 11,1749, Ieuna,
in pa
May dear Popa ei an xin nt a sn tthe for omen
08 < Peg mtn deo cua onan 2
“eau trip us Rives me »hal-hour lesion. leis mo’ cxpens ee shim rovaghly
vor ucat 8 month. and each yor ny teas os pee ont «ste of
Gate Fuemif thet re term mun dhs sam eo oe
Tes quite unmnanis, Uhr © of common ted he kaye we
we nang th pope, Meson
‘orga to bow niche few ies tear each lee
rind of unnecrvary bales ne marke all noees we tee, libra | om
ready bpinnsea to resgese se cee ot he tt and ar lines. eco
tot bas dhe get ewes itrocured sor ely hewyeby une thnk,
Sand his rarer gander ws har wos sey. Hewes ingen
{mal mater whith Pelesves wy een, a 0ugh Be aso behing
“Us ut, and often expres annoyerce a tne nke sons neo
” INTRODUCTION
cae i as inte in tse mt wa yy pres
for pero thts yc he digas al of sham, sorting Cat they etn
tapi ply ng. Alesse aur eT hl oon gi 99a the et as
tine Ualreniy tame under my bers bout x ha dee chores ation
to he Sars Courans ome popubs serge ado Fi canoes. So Lam
repel for move rete pieces twtr et ose ou ce PRO
Fi mcser cart ide Lats a Jews Iup oc pipe wh ote he often 36
neparie mem nt, athe expr he cam gt me ew es 0m
‘The second leter appesred in the iaue of May 15, -pqp. ais
signed Musenbold. The bosly of it describes a prejected method ot
Timateing an occhestaa in + smal! town by means of conwibue
cious anid die novel imposition of fines for auch transgressions as a
Tady’s premaaize weurng of x mew coifface or a hushand’s with-
hulding of «auld service from his spouse. The correspondent pre
cetdstu describe thesorry perenne] of te incumbent orehestes and
nudes a Follows:
Stoment Ineing io slats with he young Ly rade The orecanie
ering we rnspesy anos tar Fand il, we oly We
eco shied ger sus am eh ae ear= play ea am 30
oun, In paying hres prt ord othe ight ann which he Jw ons
Aree apatt and the pers hid pare. cond id
sad tk tague even duh he ie one met be played the oth A
fa. fromthe beginning. no rine Bie wader ads Ala he i sha
Chores that he Boom nether the ones no heal ef the coord 9
te supe seven, scpaning be er the mies: earae AEE
he lespu al ser te keyboatd from ane vee w anode wi git had,
Bf he Meniy of chars were Haan tobi ony bere sud dheesAad a
ies prot tat he kno hing shea Reem” moto dogh ey all
{sabes fm pour capi of arnt, esnrtbesthem rte Woe ne
‘udani copy books
1C Bach vas unacquainted with shese two letters, published in
Beilin bya musician wlio was well known co hia, it made little dif-
ference, lor this famous son an pupil of "ld Bach of Leipzig,” as
Marpig called him, thie celebrated keyboard playes who knew and
[practice ar itz best the music of Berlus, wh kiaew stany ofthe co
Tegnant mariciane of hie ime, was also conversant with Ube cour
man day-totay practices. ‘The content. of the Essny provides us with
direce evidenes, for the discasions that it contains run [roa the
INTRODUCTION
finest and subrles topics to the broadest and sacs basi, A ls
greea with Queav, oF echoes Couperin, it aso laste tte Local
ansicmusic masters,
‘The Bias isfiret and foremost a practical Luvk that was designed
less for discussien than for insisaction. Kes ancestry runs back
tough works like Matcheson’s General Bess Scale, Hesnichow’s
General Bars, to Niesc's Musiralieris Handleitung, the tex. of
which his farhers teaching was based, Alea in the anckground is
Frangeis Couperin's "Art de taucher le clovecin, There in trace
ofthe speenlative temper of the Age of Reason thst broughs fouth
Lewing’s Laokcon, Sulver's Allgemeine Theorie... er ealies,
harles Ranieuy's Fes eguscrt reduits a use ménte prince, For
wars thae pronouneed first principles anc tle gover sng laws of
esthetice, Bach had aly the pracitione'’s stn "They disperse
their alms ss" le writes i
sn and improvement of the
beybuardist's foc taoug® a painaaking ordering and experitian of
the several farcors chat rela she practice of hie nt. The author's
qualifications were eminently suited t9 the requirements Of his
practical experience and wilom sr aleeady Enove. Ili contempo-
‘vies et che highest store on hinexpreseue playing. Ata compover
hae was the leading exponent of the Frspiindecsntett, the German
counterpirt of the syle galant. Beyond this he had an enduring
Snteres all msi, as well as highly developed ciscal faculties
In his Autobiography he wro:e:
Tate Tae el wy diene Bh of god thing bess Ke ay
Bren mh opinion tha the gov Sud cepted weds ot uheve sy
Defound. een when it appevein small dens pce. ti bem ok these
‘vsdeations a he ta pronsed by 4 God sien mas iy et
Aevatiey which ds sibeed vo ony composes as
Anothies important qualification: he was « callertor by macae. tn
his estate weve ver yoo porate of famous mer, mostly musicians
which he had gathered together over the years. Many ni thew hung
iu hi home in Hamhurp, where Burney ssw end remarked en
teu. And withour his eatefel presewvation of many of bia father’
sures, aur knowledge of the Leiprig Bach's music would be far
ourer. Wide musieal experience, catvolie tates ann. interes die
7 INTRODUCTION
‘rinination. the cllecor' its of aaiivenen al of there
farm eoilate wo de value ofthe Bay aod le (oi unigue
tus). Bat nally, dere ca be found on move than one page a
Ty wemetimese cast, wi Joann Hiedrich Dols, a choo com
Dunion ad one of Jobann Sebnsian's suceors at the Thomas
Tahuleonce std "lke many boo ive mind amd body, he wa
int on hoot on ihe ayo tesa ee
Syimplonnatie ae hie remasbs on local teacher, alan. com
pn Une pefouinance of incompletely marked nes
Nowaere b Plligp Lnanuelsiadebede tos er more
ciel expres than inthe chapter on fingeing Te som works
tot tre delat ater fine he be pve. However,
{Cte hte grate a
raed ewer tat the Bas ay dit ti
Eines ermnted nto, Other fs #98 Be
hiker organised snd elaborated it
IMtéuced te sippore this view .
(Of the alder Ringeriage it can be ste that it tacked eystemacinw
tion TH was conditioned by earlier imusical styles and was charac:
Arlaed in general Py asparing use of ee (auiab ard fifth Anger with
consequent favoring of the mie Rayer. For example, in
ing passages the righs hond often aaceraed andl the lefe hand de-
fcwaded by repeatey erasing the Ud lager over the Fourth. As
the right hand descended the third finger repeatedly eromed the
Second. The tiumb came into repeated wse ooly in wide stretches
da the left hard ascended, a common hngering Veing
itt. The difereneces from ene school 19 anotier lay &
Senvialy iw dhe amount of ws alloted 20 the extreme lingers In
Girolany Dasuta'sdt 1 vasstfomne (age, Ugeq) these hapless wen
hersare almost completely banished. More sindly disposed tvwuid
them sere the Haglei, wiggiaalists ard Germans such as Elias
Nicels Ammeriaes, in whose Ein New Kunsttich Tabsdatr
duck (xz) the fourth Bager ofthe left hand erosse the thu in
stepwise nent. In Frangois Couperin's L'art de teucher te
elavecin (1796, 1749} the thurs is employed frequently in wide
Stretches, and in sunning passes forte left hand, but in the right
rho more frequently then others hac used it, Characteristic forthe
Trench schol at this time is the replaceett of oe finger by
ted held tone, alu nth divectrepesitions
Cla ungle finger in vanning passages, A payable aisprict ae
INTRODUCTION 6
lars shat Let de toucher «. , oveshadows dhe
covints for the
geting.
Avery impoviantinwweation of the ew method was the turning
unde: of the tu iu canis and arpeggiated passage, The al
Fingering wade use o: th chum large sreches ane rns, But
lve laterite sole faneion was en atrige the key ond rermain inactive
‘while dhe serond oe varely rhe tied andl fourth steed it, Yeu the
fared thumb in The Bach fingering mse have been known and
employed by Nomenico Scarati fo the vituoso passages
in his aoracas cold hardly have been delivered satsLacanily wi
lout ic. Fer oreoberative evidence ave can call en Fane Atos
Maichelbeck, in witose Die auf dem Clavier ielvenile Cilia
(\ugbung, 1558) the carned thamb is called for eepeatally, This
fact is of special nterest tere, ior Nluichelbeck’s own Keyoouxd
works inconpurate way afte bravura elemencs af the Scotia
Farther, Maapuig’s Diz Kunct das Clie su spin (1790.60)
‘employs the turned thurab: asa basiewochniqne in tie performance
‘ol scalesILisquite posible, however, that Franiel Bach had a par
in the working oat of cis fearure 6° Maypuirg’s short treatise. Cex
tainly Mazpurg did not hesizate to nek plums From the Kesay once
it had appente:
1, then, the new Bngering wn8 kowa to some, it remained a
tlosed hea to the rink and file of teschers ane students unt
s sytematic exposition appeared ia 1758, Marputy s satuit
learers quote earlier, are clear enough proot ofthis. an au ob the
fact that the old fingering had oucasted is funtion, “Wao doce
‘not know when » new epoch began lor music iat general, ad for ier
most accurate and finest perfocmanee it patticular =." wr0ue
Bach in his Ausobiography. Ihe uew siyle demided a new de
livery.
Dach’s geting s the toundacion of modern technique. Of the
folder metlads bu: few dette remain in his exhsnstive exposition,
scl aye erssiug Uf y over <i the agcanding ight sand, be this
omy 24 an altesnative :o tie nev method af running he thom. Ae
keyboard style Ceveloped, as rhe pienoforte with ite diferent setion
‘aime inty its awa, cezuin extensions af technique were reguired
‘These were provided hy Clersem, Cacrny. J.B. Cramer, and many
others, It Munio Clement is sometimes evidited with istrodacing
