After finishing the book, I read the beginning. I sight-read both volumes of the Well-Tempered Clavier – and then read the preface. I should have started with it.
The Associated Board edition is edited and introduced by Donald Francis Tovey, who was a leading authority on all matters musicological. His notes on editions, interpretation, notation, and general instructions on ornaments are worth slogging through. He was writing at a time of romantic excess in the playing of Baroque music. We are long past that era, but can still benefit from Tovey’s insights.
The information is dense, detailed, and really useful. Not an easy read. An example, in the context of authoritative texts: “And the capacity thus to discriminate must not be regarded as a matter of taste; it is solid scientific knowledge; attainable, indeed, by nobody who lacks enthusiasm for Bach’s Church Cantatas, but of just the same order of scholarship as that which restores a lot consonant throughout the whole extent of the Homeric poems, and detects later interpolations by the fact that they show that they were written after that consonant was obsolete.”
After reading this several times, I get it, but surely it could have been a little more clearly stated. No more direct quotes. A few choice points:
- Editions: Take note of who edited the edition. Avoid Czerny’s editions. He based these on Beethoven’s playing, who would have been the first to protest the validity of this. Sometimes he joked around – sticking huge accents in for fun.
- Dynamic markings: None of these are Bach’s. He didn’t add any. The best way to go about this is to figure it out ourselves. Tovey says there are perhaps 79 ways of doing this and all of them will be right and wrong.
- Analysis: It’s all here. For every Prelude and every Fugue. Analysis geeks, such as myself, revel in this stuff. But don’t get hung up on it, he says. Don’t let it interfere with the natural phrasing, which must be explored and put to the test of the ear.
- Interpretation of a theme: 2 words. Sing it. This will never mislead.
- Articulation: the practice of playing all 16th notes (semi-quavers) legato over staccato 8ths (quavers) is “an abomination of Bach’s harmonic style.” It’s not natural and, unfortunately, not quite that easy to figure out a good articulation.
- Voicing: Forget the rule about bringing out the subject. Organists don’t. Harpsichordists couldn’t. The bigger issue is preventing failure of tone in any one part. Most of the counterpoint sounds best when all parts are evenly balanced. If only all examiners and adjudicators were on the same page here.
There’s more. Stay tuned.
And if anyone can translate “which left his withers unwrung” into 21st century English, please do 
Photo credit: Ryan Edmondson
Quick hello from another Bach lover. I do not have the Assoc. Board edition of the WTC. but would really like to have a copy of the introduction by Tovey. A fellow Calgary teacher also mentioned reading this when we spoke at the APTA festival last spring. Being new to computer etc. I find things, but sometimes purely by accident. Any ideas of how to find this info on either Wikipedia or Petrucci Music Library? Have also been following a Dutch pianist who is recording Handel, and learned a suite and several fugues without Preludes. We only had short movements included in our Rep. or study books before this. Thanks for any ideas you might have for further study.
Hi Nancie. Thanks for reading and commenting! A quick search has not revealed any of this online, unfortunately. Probably still copyrighted information. Keep your eyes open in used bookstores – I’ve been quite successful at finding good old stuff there – even Value Village! Alternately, I’m sure there’s a way I can get this to you…
According to my dictionary, “withers” is “the highest part of the back at the base of the neck of a horse, cow, sheep, etc.” So, which left the neck of an animal (or, metaphorically, something that resembles one given the context) untwisted?
Thanks for this post, both good insights and a bit of a laugh at the end! WTC has always been a favorite of mine (really, anything by J.S. Bach).
Laughing. Thank you!
I feel a touch shallow when I admit that I much prefer the preludes over the fugues…
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Ladona et al, I remember that occasion when I had a lesson with Rosalyn Tureck on the French Suite No.6 (E major). She said “make the long notes long and the short notes short.” She said this would be a good general guideline, but of course there would be some exceptions to the rule. This refers to your point # 5 (eighth notes should not end up being shorter than sixteenth notes). Theoretically, I agree. But there are some parts where I bend this rule a bit–just for my own personal pleasure for the sound I’m seeking.
… remembering that some performance practices have changed since Tureck. I like Angela Hewitt’s approach to Bach – musical, well-articulated (thought out, not automatic), treating a piano like a piano, not trying to make it sound like the harpsichord it’s not.
And I, too, bend the rules all the time for my own pleasure. Submitting students for festivals and exams I have to follow some “rules” a bit more.
Thanks for the comments, Tim!
Ladona, yes, Angela Hewitt is one of my new favourites for sure! Thanks for your blog–I finally got an account so I can participate occasionally!
YAY! I appreciate your comments.
Hi LaDona,
Is it alright if I post a link to your article on my blog post about Bach, for my private lesson students? It is at http://musicstudioblog.com/2012/09/04/johann-sebastian-bach/
I love how you’ve addressed, “Rules for Playing Bach”.
Thanks!
~Kristin
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Yes, of course it’s alright. Thank you for the honour. And thank you for getting my title humour!
Thank you!
And you’re welcome! 
It’s great networking with teachers, and sharing insight. I know my students will enjoy reading your post.
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