To slur or not to slur...

Arianna · Post by **Arianna** » Tue Aug 18, 2009 5:36 pm

Hi,

I haven't been on in a while...actually forgot all my info and re-registered. However, I have been wondering something for a while.
In college, my teacher (very qualified major symphony player) taught me Bach sonatas by adding articulations. However, recently I had a student go to Solo/Ensemble and get marked down because we added articulations. I am wondering...what do you do? I am trying to decided if I was taught an odd way, or if the person who judged my student was stupid, or if there are just several different opinions about this.

In your reply, will you please give your reasoning why you prefer and/or were taught a specific way.

Thanks for your help. I just want to educate my students in the best possible way!
Sara

fluteguy18 · Post by **fluteguy18** » Tue Aug 18, 2009 5:48 pm

I actually asked this question to one of my teachers (Jim Walker). When I played the CPE Bach Aminor Sonata for him, I told him that I learned 3 different editions in preparation for that lesson. His opinion was: "Now that you've learned all these editions, it's time that you make your own."

My primary teacher studied with Doriot Dwyer (Boston Symphony, and Boston University), and she was taught the same way, and has taught me the same as well. Keep in mind however, that you must have a reason behind adding/changing articulations.

I usually alter articulations in Baroque music to bring out the counterpoint and/or harmonic structure of the piece. For example: if there is a run that is supposed to be played quickly and you realize that it is a G major 7th chord, I might slur the whole thing. That way in a really live concert hall you can hear the chord in a very distinct way.

Arianna · Post by **Arianna** » Tue Aug 18, 2009 6:02 pm

Oh, I participated in a master class with Jim Walker years ago! Glad to hear what his opinion was

And, I was taught the same way...use articulations with caution. Don't just color the page with them, figure out why they help...tonality, sequance, piano part has it, etc. And I only like to use Urtext editions, but even they vary...I have 3 and like to find the differences in them!
Keep the ideas coming...I just really want some ideas regarding this!
Thanks!

stewyflute13 · Post by **stewyflute13** » Tue Aug 18, 2009 11:04 pm

Just wanted to say that I was taught the same way by Bernie Goldberg. He said the key was to get a pretty bare edition (i.e. urtext) and then leave it up to the performer to decide the articulations for himself; because we really don't have record of what Bach really wanted. He recommended nothing except the Henle and Bahrenreiter editions for Bach. Like you said, the worst editions are the ones of Bach with added dynamics in every two beats, and all kinds of markings that are not in the early manuscripts. Goldberg studied Bach interpretation with Alexanian.

Obviously, you are also right when saying that you must have a good reason for why you add articulations to baroque and classical music. You must firmly believe in, and have a sound/ rational explanation for your additions of any kind.

JennyColville · Post by **JennyColville** » Wed Aug 19, 2009 2:12 am

I also have been taught to alter articulation and adapt the music slightly. This is something I usually GAIN marks for as it shows that I am at a level where I can interpret music myself and add a personalised touch. Also, people 'feel' music in a different way and have different techniques (e.g. breathing) meaning articulation sometimes needs to be altered to fit the individual.

Personally, I find some baroque music to have very strange articulation that just seems wrong against the flow of the music, so I edit it accordingly, trying to preserve the original feel and purpose of the piece.

Hope that's some help

MissyHPhoenix · Post by **MissyHPhoenix** » Thu Aug 20, 2009 9:09 am

Hmmm. I've always read that the Baroque composers meant for their players to add their own depth to each piece, which is why the dynamics & articulations were sometimes left off. For example, looking at a JS Bach pieces, Bourree Anglaise (did I get that right?), my whole page is bare of dynamics and articulations -- so I play with it every time I practice. There are several sections that sound so neat played in various ways. But perhaps a solo & ensemble competition might not be the best place to perform it because of the problem of "interpretation" by the judges -- unless you were confident that all of the judges were flutists and would appreciate your artistry. Seems to be one of those sticky wickets where you have to tread cautiously -- pick your venue for which to play your music. If you are being "judged", unless you are a rebel and want to show it, better to stick with the pieces where you play it exactly as written, and save your musicality for more appreciative audiences.

Arianna · Post by **Arianna** » Thu Aug 20, 2009 9:57 am

Well, thanks everyone! I feel much less crazy. I thought I was doing the right thing, but felt really bad when she got counted down for that. You are right, Solo and Ensemble my not be the right place...that is sad, but you just never know the level of education on flute with the judges!
Thanks!

fluteguy18 · Post by **fluteguy18** » Thu Aug 20, 2009 12:48 pm

With Bach (JS, CPE, etc), you also have the problem of differing views on the material. There are several different schools of thinking in regards to the approach that you should take to the music. And on top of the fact that people have different ideas about the way it should be played, you also are combatting the fact that many people have extremely strong opinions/attitudes about the material as well.

As a result, I prefer not to play Baroque pieces in a competitive/judgmental atmosphere unless required to do so.