Elements of baroque performance style applied to a popular piece of J. S. Bach

Elements of baroque performance style applied to a popular piece of J. S. Bach

Despite continuing scholarship into performance practice of the Baroque and Classical eras, confusion persists. An abundance of source material leads to two possible dangers: for some the volumes are too numerous, large, detailed, and therefore too daunting; and it is easy to believe that if the 'rules' are (mechanically) applied, an 'authentic' performance is the inevitable outcome.
This paper seeks to provide some general guidelines toward an historically informed Baroque performance practice, encouraging that diversity of opinion and a personal approach exist within the general guidelines. According to C.P.E. Bach, 'the true art of playing keyboard instruments depends on . . . correct fingering, good embellishments, and good performance', and the 'lack of these elements or
inept use of them makes a poor performance'. Fingering, good performance (articulation, tempo and dynamics) and ornamentation are examined in turn, and then applied to J.S. Bach's Menuet in G.