{"id":2991,"date":"2020-08-17T20:20:37","date_gmt":"2020-08-17T18:20:37","guid":{"rendered":"https:\/\/www.thebachproject.de\/?page_id=2991"},"modified":"2020-11-08T16:37:01","modified_gmt":"2020-11-08T15:37:01","slug":"bach-seminare","status":"publish","type":"page","link":"https:\/\/www.thebachproject.de\/en\/bach-seminare\/","title":{"rendered":"“Live” – Bach Seminar"},"content":{"rendered":"
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*As soon as the current health situation allows attendance courses again.

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“Live” – BACH SEMINAR

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with Prof. Inge Rosar and Dr Kirill Monorosi.


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<\/h5>\n
<\/h5>\n
These topics are covered in the seminars (including discussion)
<\/strong>\u00a0
<\/strong><\/h5>\n
1<\/strong>.<\/strong> Introduction \u2013 Interpreting Bach\u2019s works on a modern piano
<\/strong><\/h6>\n

Problems and Opportunities <\/strong>
\nShort Overview on musical parameters<\/strong>
\nWhat are the major\/obvious differences between works of JS Bach and other composers?
\nExamine scores and name the musical parameters.

<\/p>\n

2<\/strong>.<\/strong> Tempo, structure, phrasing
<\/strong><\/h6>\n

Which criteria can be used to find a suitable tempo that supports the atmosphere
conveyed in the work?
Additional soundtracks from several works will be used as examples.
\nStructure and Phrasing
\n<\/strong>Why is the concept of structure so important in Bach\u2019s work? What are the implications?
General and specific ideas, explanations, music examples.

<\/p>\n

3. Articulation, touch, <\/strong>note functions
<\/strong><\/h6>\n

What is the difference between touch and articulation?<\/strong>
\nAccording to which criteria can an articulation be formed in works be JS Bach?
\nShow different ways of articulating a phrase, with short demonstration on the piano.
\nNote Functions<\/strong>
\nWhat does it mean? Find them in the music texts. In which way it helps us to decide
certain articulations in a phrase?

<\/p>\n

4<\/strong>.<\/strong> The problem with beams, notation, two-part voicing
<\/strong><\/h6>\n

Notation and beams
\n<\/strong>Examples from the literature, explore from various editions.
\nTwo-part voicing<\/strong>
\nHidden? Or clear to be seen? Tied notes. Give examples from the literature.

<\/p>\n

5<\/strong>.<\/strong> Dynamic, ornamentation
<\/strong><\/h6>\n

What is the task of dynamic in baroque music?<\/strong>
\nSound examples. Structural dynamic and dynamic shaping, discover from
characteristics of dynamically static and dynamically movable instruments
in the baroque period.
\nWhich ornaments are commonly used?<\/strong>
\nWhere can we find them in the score? How will you execute them? Rules and exceptions.
\n

<\/p>\n

6<\/strong>.<\/strong> The use of pedals, the extended range of the modern piano, fingerings, arrangements\u00a0<\/strong><\/h6>\n

Allowed?<\/strong> What is the function of the sostenuto pedal?
\nThe extended range of the modern piano
\nHow can it be used in JS Bach\u2019s works? Examples from the literature.
\nFingerings and arrangements<\/strong>
\nTheoretical consideration and practical implications by using examples.

<\/p>\n

7<\/strong>.<\/strong> Rhetorical Figures and Symbolism, Figurations in repeats
\n<\/strong><\/h6>\n

Clarify their meaning.<\/strong>
\nName and demonstrate some rhetorical figures.
Figurations in repeats<\/strong>
\nHow can one create figurations? Where are the appropriate places to apply them?
Examples from the literature as well as examples from Walter Blankenheim,
Kirill Monorosi, Inge Rosar<\/p>\n

8<\/strong>.<\/strong> Questions on the topics addressed


<\/strong><\/h6>\n<\/div>\n<\/div><\/section>\n

Seminars A, B, C:
\nin the moment only as Online Bach Seminars: Online Bach Seminars<\/a><\/h4>\n

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<\/h5>\n<\/div><\/section>\n
<\/span><\/span><\/div>\n

*Only “Live” Seminar:<\/h4>\n

Seminar D: Combination-Course between Bach Masterclasses + Bach Seminar<\/p>\n

<\/h4>\n

<\/h5>\n<\/div><\/section>\n

*Two-day \u201clive\u201d course<\/strong>
\n(12 hours for all participants)<\/p>\n

*Four-day \u201clive\u201d course<\/strong>
\n<\/strong>(28 hours for all participants plus<\/strong> 1 hour individual lesson with every participant)<\/p>\n

Participants of the Masterclass Course + Bach Seminar receive a certificate confirming the undertaken professional development after completion of the course.<\/strong><\/p>\n

These courses are a combination of Bach Masterclasses (piano lessons on works by J. S. Bach) and further information from Bach Seminars. Information from previous courses is presented in a practical way. Complex interpretative questions and decisions will be explored with examples from Bach-repertoire. These courses offer participants a chance to try the information presented in practice and observe this process with other pianists, with the exchange with
\nother pianists during the course being important to the learning process.

<\/p>\n

Institutions: for<\/strong> application form please see below the photos

<\/strong><\/p>\n

For individuals:<\/strong><\/p>\n

If you are interested in one of the seminars, please send the registration form to us
\n(for information only), so that we can inform you as soon as we receive enough
\napplications for commencing the seminar.<\/p>\n<\/div><\/section>\n

<\/p><\/fieldset><\/form>

<\/div>\n
<\/div><\/div><\/div><\/div>\n
<\/div><\/div><\/div><\/div>\n
<\/span><\/span><\/div>\n
Teacher conference Russia, Moskau\u00a0 2014 Kombi-Seminar Lectures + Bach Seminar + Bach Lessons
\n<\/em><\/h6>\n<\/div><\/section>\n
<\/span><\/span><\/div>\n
\n


Institutions <\/strong><\/p>\n<\/div>\n<\/div><\/section>\n

<\/p>

<\/p><\/fieldset><\/form>

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