FEBRUARY 2021: BACH AND BAROQUE
Thank you to all students, teachers and parents for your participation. Videos are linked for Gold, Silver and Bronze Prize Recipients
(click on each name)!
5-7 years old
Honorable Mention Viara Stolarov
Honorable Mention Angelina Wang
Honorable Mention Ingrid Zhang
8-11 years old
Honorable Mention Arden Quan
Honorable Mention Kailin Zhang
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12-14 years old
Honorable Mention Vartan Arakelian
Honorable Mention Benjamin Choi
Honorable Mention Laetitia Ji
Honorable Mention Norman Lu
Honorable Mention Emily Zhou
15-17 years old
Bronze David Heschel Liebowitz
Honorable Mention Timothy Kulchitsky
Honorable Mention Sammi Li
Honorable Mention William J. Yoon
College (18-26 years old)
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Musicale Bach and Baroque Music Festival Prize Winner Concert
Bach and Baroque Festival Silver Prize Winner Alyssa talks about her interest in science, piano and music production. She also shares her word of encouragement for the younger students.
Musicale Bach and Baroque Music Festival Concert 1
Musicale Bach and Baroque Music Festival Concert 3
Bach and Baroque Festival Gold Prize Winner Antoni shares about his piano study, and the special connection with Chopin's music.
Musicale Bach Festive Prize winner Tim Kulchitsky shares about his passion for music, challenges in practices and how he approaches music learning in general.
Musicale Bach and Baroque Music Festival Concert 2
Musicale Bach and Baroque Music Festival Concert 4
MINI COURSES
Deciphering Bach - It's Really Very Simple!
[Victor Rosenbaum]
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The very first Invention of Bach sounds simple and straightforward, but that one page of music reveals many of the issues that one finds in larger, more complex pieces of Bach. A look under the surface of the piece provides a glimpse of Bach’s compositional process and how understanding what’s happening inside the piece provides the key for playing it musically.
Comparing Editions: J.S. Bach Well Tempered Clavier
[Dmitry Rachmanov]
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What’s in the Edition? In the case of the Bach’s Well Tempered Clavier, the evolution of our
perception of this groundbreaking encyclopedia of the baroque polyphonic writing has undergone drastic transformations over the centuries. No other work lends itself to more numerous outlooks across editions or such a wide range of interpretive possibilities. We will look at a variety of editions, from Bach primary sources to more contemporary scores, in order to view the score through the eyes of influential musicians and example aspects such as tempo, expression markings, dynamics, articulation, fingerings, pedal marks and more. As described by the German pianist, conductor and composer Hans von Bülow, “The Well-Tempered Clavier is the Old Testament, Beethoven’s Sonatas are the New. We must believe in both.”
A Good Way to Dance: French Suite in C Minor
[Jose Ramos Santana]
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A look at the dances found in the Suites using the French Suite in C minor as an introductory example to demonstrate the voicing and how it affects the phrasing in the different dances and their characteristics, so it can be applied to the larger English Suite and Partitas.
Is There Expression in Bach
[Peter Takács]
FEB 28
4-430pm EST
Q&A immediately following
"The question is often asked: "Is there emotion in Bach?" Through cantabile works such as the Andante from the Italian Concerto and the C# minor Prelude from the Well Tempered Clavier Book I, I will show that the answer is an emphatic "yes", but that we must understand Baroque style, avoid "personal" emotion, and realize that Bach's religious faith is deeply reflected in his music."