{"id":90,"date":"2020-07-17T08:27:09","date_gmt":"2020-07-17T06:27:09","guid":{"rendered":"http:\/\/www.thebachproject.de\/?page_id=90"},"modified":"2026-03-25T12:08:53","modified_gmt":"2026-03-25T11:08:53","slug":"bach-seminars-online","status":"publish","type":"page","link":"https:\/\/www.thebachproject.de\/en\/bach-seminars-online\/","title":{"rendered":"Online Bach Seminars A (A1\/A2) + Videos"},"content":{"rendered":"

NEW BACH SEMINARS (in English):<\/strong><\/h2>\n<\/div><\/section><\/div>\n

Interview with<\/strong>
\nProf. Inge Rosar, Saarbr\u00fccken, Germany
\nDr. Kirill Monorosi, Sydney, Australien
\nInterviewer: Jingjing Zhang, Bejing, China<\/strong><\/p>\n

Content:<\/strong>
\nQuestions about playing Bach on the modern piano
\nConversation with sound samples on tempo, structure, dynamics …<\/p>\n

Language:
\n<\/strong>The interviews are in German with Chinese subtitles.
\nThe introduction is in Chinese.<\/p>\n<\/div><\/section>
\n

Start of the interviews in German:<\/strong>
\n<\/strong>With Inge Rosar: Minute 1.26
\nWith Kirill Monorosi: Minute 1.30<\/p>\n

Interview with Prof. Inge Rosar<\/strong>
\n<\/strong>http:\/\/m.v.qq.com\/play\/play.html?vid=h3208b378rz&url_from=share&second_share=0&share_from=copyhttp:\/\/m.v.qq.com\/play\/play.html<\/a><\/u><\/p>\n

Interview with Dr Kirill Monorosi<\/strong>
\n<\/strong>http:\/\/m.v.qq.com\/play\/play.html?vid=z3251u5eso3&url_from=share&second_share=0&share_from=copyhttp:\/\/m.v.qq.com\/play\/play.html<\/a><\/p>\n<\/div><\/section><\/p><\/div>\n

<\/span><\/span><\/div>\n


Bach on the modern piano:\u00a0 Problems and Opportunities
with Prof. Inge Rosar and Dr Kirill Monorosi

<\/h3>\n

These topics are covered in the seminars (including discussion)
<\/strong><\/p>\n

Overview of the topics covered in SEMINAR A:
\n<\/strong><\/p>\n

1. Introduction \u2013 Interpreting Bach\u2019s works on a modern piano
<\/strong><\/h4>\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

\u00a0<\/strong><\/p>\n

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

<\/strong><\/h6>\n
<\/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

<\/h6>\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?
\nExamples 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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
\nOverview of the topics covered in SEMINAR\u00a0 B<\/p>\n

1.Works from Notebooks for Anna Magdalena Bach:
\n<\/strong><\/h6>\n

Different ideas on tempo, structure, functions of the notes, dynamic, fingering, developing ornaments and their placement.<\/strong><\/p>\n

2. Sarabandes: types and possible figurations<\/strong><\/h6>\n

Experimenting different possibilities on composing figurations for Sarabandes.<\/strong><\/p>\n

3. Energy & Relaxation<\/strong><\/h6>\n

Examples: Fugues from The Well-Tempered Clavier I and II.<\/strong><\/p>\n

4. Energy & Relaxation<\/strong><\/h6>\n

Example: Toccatas.<\/strong><\/p>\n

5. French Overture-style, double-dotted rhythms\/ recognising different types of Preludes, show examples and explain.


<\/strong>6. Works from Notebook for Anna Magdalena Bach:<\/strong><\/h6>\n

Figurations for Overture, Allemande, Menuet, Gigue…<\/strong><\/p>\n

7. Realising varoius practise ideas based on a set of\u00a0 works from Notebook for Anna Magdalena Bach.

<\/strong>8. Mini Bach course, question time.<\/strong><\/h6>\n
<\/h5>\n<\/div><\/section>\n
<\/span><\/span><\/div>\n
<\/h5>\n
We are offering\u00a0 seminars that build on one another. <\/strong><\/h5>\n

Language: English or German.

Participants <\/em><\/strong>from<\/em><\/strong> all seminars will receive a certificate confirming their professional development after completing every seminar.<\/em><\/strong><\/p>\n

<\/h6>\n
Seminare:


A\u00a0\u00a0 Introduction and Basic knowledge<\/strong>
\nB\u00a0\u00a0 <\/strong>Extension seminar
\nC\u00a0\u00a0 Custom seminar


<\/strong><\/h6>\n
D\u00a0 Only available “Live”:
\nCombinations-seminar: Bach Masterclasses + Bach Seminar
\n<\/strong>see LIVE-SEMINARS: <\/strong>Bach Seminars<\/span><\/a><\/h6>\n

\u00a0<\/strong><\/p>\n

Seminar A:\u00a0 Introduction and Basic Knowledge<\/strong><\/h6>\n

Content: see the topics above
<\/strong>8 sessions \u00e0 90 minutes each
\n<\/strong><\/p>\n

The contents of this Course are following the 8 topics. (see above).
\nA discussion on the topic covered will conclude each session.

<\/p>\n

Seminar B: \u00a0Extension seminar<\/strong><\/h6>\n

8 sessions \u00e0 90 minutes each<\/strong><\/p>\n

The contents of this Course are following the 8 topics (see above).<\/strong><\/p>\n

In order to ensure that the participants can make optimal use of the extension course,
we recommend attending Seminar A: Introduction and Basic Knowledge.
<\/em>The extension course builds on these topics.<\/p>\n


\n<\/strong> Seminar C:\u00a0 Custom seminar
\n<\/strong><\/h6>\n

8 sessions \u00e0 90 minutes each<\/strong><\/p>\n

Contents according to the participants (Works, Topics).<\/strong>
The contents of this course are based on the questions and requests of participants.
The works studied will be the works chosen by the participants OR
by focusing on following topics:
*Characteristics of dances in a Suite or a special Suite.
*Questions on the Well-Tempered Clavier I\/II: tempo, structure and articulations on Preludes or Fugues.
The course will provide historical\/theoretical\/stylistic information about the works, pianistic questions,
problems and opportunities, etc.<\/p>\n

In order to ensure that the participants can make optimal use of the extension course,
we recommend attending Seminar B: Extension Course.

<\/em><\/p>\n

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

For Institut<\/strong>ions<\/strong>:<\/strong> for<\/strong> application form please see <\/strong>below <\/strong>the <\/strong>photos<\/strong><\/p>\n

For <\/strong>individuals<\/strong> in Seminars A, B, C:
\n<\/strong>8 sessions \u00e0 90 minutes each:<\/strong><\/p>\n

The first session in seminar A is a free trial class, in which we provide general information on all topics covered in the seminar.<\/strong><\/p>\n

After the trial class, participants can decide whether he\/she will join the rest of the seminar (A) or not.
Please note: participants can only enrol in Seminar B and C after completing Seminar A.<\/p>\n

Costs per participant: \u20ac200 for the entire seminar.
\n<\/strong>Minimum number of participants: 14 <\/strong><\/p>\n

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

If you are interested in one of the seminars, please send the registration form to us\u00a0 (for information only), so that
we can inform you as soon as we receive enough applications for commencing the seminar.<\/p>\n<\/div><\/section>\n

<\/span><\/span><\/div>\n

Registration for online Bach lessons<\/h3>

<\/p>

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

<\/div>\n
<\/span><\/span><\/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<\/em><\/p>\n<\/div><\/section>\n

<\/span><\/span><\/div>\n

Application form for institutions:<\/strong>
\nif you are interested, please fill out and send back to us:<\/p>\n<\/div><\/section>\n

<\/p>

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

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