Harpsichord or Piano? Development of Bach’s “Italian Concerto” BWV 971 Performance in Modern Musical Practice

Abstract

This article compares piano and harpsichord interpretations of J. S. Bach’s Italian Concerto in F Major, BWV 971. I’ve often wondered “How to play Bach’s music correctly?” This question stemmed from historical authenticity in interpretation. Authentic performances of Bach’s compositions raise a variety of problems regarding sound, technique, and style. This is due to the fact that Bach composed during a period in history when the organ, harpsichord and the clavichord were the primary keyboard instruments. It is possible to perceive and experience Bach’s music in a fundamentally different way depending on whether it is played on the piano or the harpsichord. Because dynamics cannot be altered and there is no pedal, the harpsichord demands a crisper and more distinct polyphony between voices. Articulation and ornamentation are crucial for clarity on the harpsichord, and phrases need to be formed by agogic and rhythmic shaping. When playing the piano, the performer has the ability to express themselves freely through the use of dynamics. A more expressive sound that is more closely related to vocal emotion is possible. When there is an excessive amount of pedalization or an extremely passionate attack, there is a possibility that the polyphony will become distorted.