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#468061 - 12/10/08 12:10 AM Translation of Notes  
Joined: Dec 2008
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Vind Offline
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Vind  Offline
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I have an old edition of Bach's Well-Tempered Clavier and I am playing the Prelude and Fugue, G Minor Book 2 and there are a few footnotes in German at the bottom of the page. Is anyone able to help me translate them into English as I am curious to find out what they mean?

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#468062 - 12/10/08 12:12 AM Re: Translation of Notes  
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BruceD Offline
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Well, if you don't supply the German text, or cite the edition you have, how is anyone going to be able to translate the text for you?

Regards,


BruceD
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#468063 - 12/10/08 12:13 AM Re: Translation of Notes  
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Vind Offline
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I will put the German text in this thread in 10 minutes.


Under Prelude
NB: So auffalend- Manchem selbst anstössig- die Vorschrift "ohne besonderen Ausdruck" zuerst erscheinen mag, so haben wir sie doch mit vollem Bewusstsein hingesetzt. Es wird an übermässigem Gefuhl oft genug gesündigt, namentlich da, wo es an dem wahren Ausdruck gebricht. Deshalb erscheint es zu Zeiten geboten, auf die Unterdrückung der Gefühlschwärmerei hinzuarbeiten. Wenn auch der Vortrag dieses Stückes- weiches in gewissem Sinne ein Seiten-Höhepunkt vermissen lassen darf, so weist doch der Charackter der Composition im ganzen auf eine gleichmässige helldunkle Registrirung hin, welche alle. Schattirungsdetails beherrschen soll. Man studier die sanften Register der Orgel und ihre Behandlung, namentlich in Bach’schen Werken. Die Bezeichnung “Larghetto” entnahmen wir Riemann’s Analyse.

1) „Ein Triller ohne folgende Noten. z.E.am Ende, über einer Fermate u.s.w hat allezeit einen Nachschlag“ (Ph. E. Bach). Ausführung dieses Schlusstrillers, eingerechnet die Dauer der Fermate.


Under Fugue:
1) Nach Tausig.
2) Stimmführung (Piano Diagram inserted here)
3) Die Vertheilung der Stimmen auf die beiden Systeme in diesem Takte lautet nach Tausig: (Piano diagram inserted here) Die Spieler möge diese Lesart mit der unseren vergleichen und_ sobald er beide technisch beherrschen gelernt_ seine Wahl treffen.
4) Diese Engführung (Bass und Alt) findet sich in der Riemann’schen Analyse nicht erwähnt.
5) Des etwaigen Zweifels, ob wir es in den nächsten 8 Takten mit dem Tenor oder dem Basse zu thun haben?, -enthebt uns die Notation des Autographs, welche die ersten 4 Achtelnoten unter einem „Balken“ vereint (Piano Diagram) und somit, nach dem Vorangegangenen zu folgern, für den Bass entscheidet. Der Tenor pausirt_ genau gerechnet_volle 10 Takte.
6) Aus harmonischen Rücksichten erscheint hier im Thema eine übergebundene Note an Stelle der ursprünglichen in den beiden letzten Takten, entschieden auf das Fortissimo hin.


Thanks in advance, Vind.

#468064 - 12/10/08 01:06 AM Re: Translation of Notes  
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Gary D. Offline
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Quote

1) „Ein Triller ohne folgende Noten. z.E.am Ende, über einer Fermate u.s.w hat allezeit einen Nachschlag“ (Ph. E. Bach). Ausführung dieses Schlusstrillers, eingerechnet die Dauer der Fermate.
I think that is zum Beispiel above.

A trill without following notes, for example at the end, over a fermata (usw=und so weiter, and so forth) has at all times a sufix (Ph E Bach). The execution of this closing trill "is figured into" that fermata, or the fermata is figured into the trill. A native German could give clues about the grammar, which seems strange to me (with my limited knowledge)…

(Lots of guessing…)


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#468065 - 12/10/08 01:14 AM Re: Translation of Notes  
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Gary D. Offline
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1) Nach Tausig.
====
According to Tausig.

2) Stimmführung (Piano Diagram inserted here)
====
Voice leading?????

3) Die Vertheilung der Stimmen auf die beiden Systeme in diesem Takte lautet nach Tausig:
====
The distribution of voices in both systems (guessing clefs) in these measures ??? according to Tausig, perhaps written, realized, notated according to T…


(Piano diagram inserted here) Die Spieler möge diese Lesart mit der unseren vergleichen und_ sobald er beide technisch beherrschen gelernt_ seine Wahl treffen.
====
The player may compare this version with ours and make his own choice, as soon as he has technically mastered both.

4) Diese Engführung (Bass und Alt) findet sich in der Riemann’schen Analyse nicht erwähnt.
====
This ??? (stretto???) bass and alto one does not find mentioned in the Rieman analysis.

------------

5) Des etwaigen Zweifels, ob wir es in den nächsten 8 Takten mit dem Tenor oder dem Basse zu thun haben?, -enthebt uns die Notation des Autographs, welche die ersten 4 Achtelnoten unter einem „Balken“ vereint (Piano Diagram) und somit, nach dem Vorangegangenen zu folgern, für den Bass entscheidet. Der Tenor pausirt_ genau gerechnet_volle 10 Takte.
====
The notation of the autograph "disposes of" possible doubt as to if we are dealing with the tenor or bass in the next 8 bars ????????????

(It appears there is a diagram, something about 4 eighth notes being joined or combined, and somehow from all that is shown [and from what has proceeded] it "decides" [makes clear from the evidence] that it is the bass.)

6) Aus harmonischen Rücksichten erscheint hier im Thema eine übergebundene Note an Stelle der ursprünglichen in den beiden letzten Takten, entschieden auf das Fortissimo hin.
====
For harmonic considerations ??????

good grief, "übergebundene Note"???, I'm sure I would understand if I saw the score.
something is appearing in the theme in place of what was in the original, in the final measures and, I think, leads decisively to the fortissimo.

Finally:

NB: So auffalend- Manchem selbst anstössig- die Vorschrift "ohne besonderen Ausdruck" zuerst erscheinen mag, so haben wir sie doch mit vollem Bewusstsein hingesetzt.
====
As conspicous as the instruction "without particular expression" might first appear — to many even displeasing/objectionable — we have "put it there" with "full awareness" (were fully aware of what "they" were doing…

Then it goes on to say, in very stuffy German, that the true intent of the composition is ruined by "over-emoting", blah, blah, blah, and if someone else wants to translate, please! Basically go for a even "bright-dark" registration, let details of shading get the job done, study the gentle registers of the organ and their usage, particularly in the works of Bach. Something like that.

My feeling is that you are being told to avoid distortion, go for subtlety, let the notes speak for themselves, think of the organ.


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#468066 - 12/15/08 04:05 AM Re: Translation of Notes  
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Vind Offline
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Yeah, thanks for the help, I appreciate it. I am able to understand all the notes, as they correspond to the piano diagrams and footnotes perfectly.

#468067 - 12/15/08 05:57 AM Re: Translation of Notes  
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Gary's translation says it all essentially. Here's what I came up with:

However obvious – even offensive to some – the instruction “without special expression” may first appear, we have written it in deliberately nonetheless. The crime of playing with excessive feeling is committed often enough and namely just where it will impede true expression. Therefore it seems prudent at times to work toward suppressing this romantic emotionalizing (Gefuehlschwaermerei). Even if the performance of this piece can (may / is allowed to) miss a soft, in a sense secondary, high point, nonetheless the character of the composition as a whole leads to an even light-dark (contrasting?) registration [registration of even contrast?], which should master all details of shading. The gentle register of the organ and how it is treated should be studied, namely in works of Bach. We took the definition of “Larghetto” from Riemann’s analysis.

1) A trill without notes following, e.g. at the end, over a fermata etc. always has an afterbeat (Nachschlag)” (Ph. E. Bach). Execution of this final trill, calculated within the duration of the fermatas.

Under fugue:
1) According to Tausig
2) Part-writing (voice leading)
3) The voice distribution to the two systems in this measure according to Tausig: (Piano diagram). The player should compare this (version? way of reading?) to ours and – as soon as he has mastered both technically – make his choice.
4) This stretto (bass and alto) is not mentioned in the Riemann analysis.
5) We are spared the possible doubt that might occur, whether the next 8 bars involve the tenor or bass, by the autographic notes, which join the first 4 eighth notes with a “bar” (diagram) and through this, in following the preceding (music), decides in favour of the bass. The tenor is paused – an exact calculation – for a full 10 measures.
6) For reasons of harmony here in the theme/subject there is a [tied over legato??] note instead of the original one in both of the final measures, deciding in favour of fortissimo

#468068 - 12/15/08 11:23 AM Re: Translation of Notes  
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pianovirus Offline
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May I add that a footnote "according to Tausig" in a WTC edition would raise a red alarm flag for me... While a heavily edited version may be useful for inspiration, I would strongly suggest getting a good Urtext edition as a more definitive reference (e.g. Henle).

#468069 - 12/15/08 11:31 AM Re: Translation of Notes  
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Quote
Originally posted by pianovirus:
May I add that a footnote "according to Tausig" in a WTC edition would raise a red alarm flag for me... While a heavily edited version may be useful for inspiration, I would strongly suggest getting a good Urtext edition as a more definitive reference (e.g. Henle).
+1 thumb

While any Romantic-era editions of Baroque music should be approached with general caution, Tausig is about the last person whom I would expect to cleave to the intentions of the composer rather than his own opinions about how something could be "improved."

Steven


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