ESSAY ON THE TRUE ART OF PLAYING KEYBOARD INSTRUMENTS By Carl Philipp Emanuel Bach (1714-1788)

This is the second post dedicated to the Art of Interpretation/Performance, but this time from the perspective of the  keyboard which has a lot of similarities with the classic guitar. I previously posted Casals and the Art of Interpretation http://christianlaremont.blogspot.com/2015/05/casals-and-art-of-interpretation.html on May, 15, 2015. This treatise was written by C.P.E. BACH and was translated and edited by W. J. Mitchell under the editorial Norton & Co., 1949.

The Essay's main goal, according to Mitchell, is to raise "the art of performance, through teaching and practice to its perfection." Even though this was J.S. Bach's second son only extended theoretical work,the translator and editor states, "The most notable feature of this book is the attention given to artistic accompaniment, and it differs from all previous manuals on thorough bass."

Mitchell points out, "C.P.E. Bach was a musician's musician... His work is a compendium of the entire practice of music in the times of Frederick the Great (1740-1786)." Also noteworthy is the fact that, "This treatise is indispensable for every well informed musician..., pianist, singer or conductor." It's very impressive the list of accomplished musicians who have benefitted greatly from this mid eighteenth manual: Hayden, Mozart, Beethoven, Clementi, Czerny, etc.

From a historical point of view, C.P.E. Bach as a composer was the maximum figure of the Empfindsamkeit, the German equivalent of the galant style. I would consider him a perfect nexus between the baroque and classical eras.

The True Art, published various times from approximately from 1750 onwards, is divided into two parts. Part One has three chapters and each one is dedicated to Fingering, Embellishments and Performance. According to the German composer, these are the three elements that constitute good performance. Part Two, discusses through its chapters (4) Intervals and Their Signatures, (5) Thorough Bass, (6) Accompaniment and (7) Improvisation.

Fingering, either for the left and/or right hands, is essential for all instrumentalists. This is an interesting observation on the subject by C.P.E. : "If the performer understands the correct principals of fingering... he will play the most difficult things in such a manner that the motion of his hands will be barely noticeable." As far as Embellishments are concerned, he states: "Appoggiaturas are among the most essential embellishments. They enhance harmony as well as melody."

Chapter three from Part One centers on Performance. This chapter was what caught my attention to The True Art. The German master raises a very important question: "What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of the composition." And as good advice to the performer he states, "Regardless of finger dexterity, never undertake more than can be kept under control in public performance." As a final note to Performance, C.P.E. adds: "Play from the soul, not like a trained bird."