J. S. Bach invention no. 1

beautiful!! it had been centuries since I last listened to it!!....I like it! now I don't know the technical difficulties involved in playing it on the harpsichord so I am venturing something, but it should be taken with caution....forgive me if I am interpreting it incorrectly...but between 0.38 and 0.43 I hear it a little bit rushed. now on the piano I would have intended a certain emphasis due to reaching the climax that needs better control...here I don't know!

devon still hear the variations that you updated...I plan to do so today!!!

Mmmh, I slipped up a little bit there... but a slight accelerando could actually work... it was a prerogative of Scarlatti... he would start slowly and conclude at crazy speeds haha

I am contemplating whether to calmly record all 30 of them and send you the Und Sinfonien

Regarding actual technical difficulties compared to the piano, you don't really have any... if you come from the piano, you have those things you might have on a piano: a smaller and lighter keyboard, the obligation to play on the edge of the diatonic key or it won't sound, absence of dynamics... so you are essentially forced to find other ways... one is to... mark the breaths more, another is to accelerate a bit at the salient points... it depends on the repertoire... for Scarlatti, starting slow and concluding fast fits perfectly; it is something Scarlatti himself did... it is mentioned by a musician and composer who witnessed a performance by a young Scarlatti.

As for the variations.... I don't really like how the aria turned out... there is always the old problem... I am undecided on how to do the first ritornello... the version by Andreas Bach that I use for the ritornelli is decidedly flowery; if I use the original, it is too bare... so I am still looking for a middle ground... however, the first variations I recorded don't turn out bad

I just finished a lesson, an hour and a half on the first prelude and fugue and the second prelude from The Well-Tempered Clavier... well, there is something totally wrong... actually more than one thing between harpsichord and piano... first, the fingering: thumb and pinky on chromatics, practically never unless in exceptional cases... fingers as close to the keys as possible and near the edge, no weight or percussion... just articulation of the fingers and that's it.

In practice, I have to change 3/4 of the fingering in the fugue, especially in the polyphonic passages like the cadence before the stretto.... hand close to the keyboard, no frills, no forearm weight.

Another headache in Bach is finding the right phrasing where it isn't written, which is almost everywhere... and here one must refer to the voice and orchestral instruments...

I am summarizing this post of mine and uploading my first inventio on the clavichord; playing it well there is quite an undertaking.

Dato that the other one was on the Grimaldi with Rameau temperament, this one is on an anonymous German from the late 1600s with quarter-comma meantone temperament.