Andras Schiff, known for playing Bach “purely” without pedal, encourages piano students to indulge J.S. as actors cultivate Shakespeare. It’s our daily “bread,” he insists. Regardless of his mixed metaphor, I concur that studying the works of Johann Sebastian Bach builds a solid foundation for exploring music of all historical eras. And to pore over the master’s ingenious counterpoint through Inventions, Fugues, Partitas, French and English Suites, etc. is a compulsory universe of education and enlightenment.
Having begun to explore the opening Allemande of J.S. Bach’s French Suite No. 5 in G, BWV 816, I found myself immersed in a step-by-step, voice parceled analysis, before permuting treble and bass; treble and alto or tenor as applied, and finally combining three voices. I tracked harmonic movement, sequences, cadences, scoped out balance of voices, dynamics and shadings. It was a riveting, introspective journey that kept me firmly grounded and on task—requiring the same type of discipline that Schiff applied to absorbing Shakespeare’s great body of works.
In the realm of a French Suite:
In my two videos below, I reveal a beginning learning process that encompasses many elements and grows by increment.
Play through Allemande followed by my study suggestions.
Instruction:
As William Shakespeare well said, “If Music be the Food of Love, Play On!”
