BACH, Johann Sebastian
Partita for keyboard no. 6 in E minor BWV 830
I. Toccata
Galina Eguiazarova, professor
Héctor Sánchez Fernández, student
At a certain point at the beginning, Professor Eguiazarova tells the student not to make a fermata or too much ritardando afterwards, because otherwise the music stops. The rhythm and resolution of the harmonies are important, and the music must be followed through the harmonic process, without playing passively. Later, Galina Eguiazarova continues to point out that losing or lengthening the rhythm should be avoided, and one must be very precise. The voices must also be taken care of, and played louder and with more intensity (even internal). Since in Bach everything is action and character with a special force, will and intensity, the musician’s attitude must also be in consonance, making this prelude exciting and dramatic, becoming more involved.
At a certain point, the right hand must continue the construction of the chord that the left hand has begun, distributing it melodically, and here there is a little less intensity but without completely relaxing the tension. The professor continues to insist on playing with a more lively and intense character, not as an observer but with more emotion and expressing with each chord. Afterwards, she makes indications about the right hand and the dynamics, rhythms and pulse in 4, character, sound… One must be like a sculptor of rhythm and mentally be more in the music, more active.
Each dance movement has its individual character and in this case the Prelude is the introduction, the curtain opens and the work begins, so there is a need to create more atmosphere.
Language: Russian-Spanish (simultaneous translation)
