A few months back I had the pleasure of interviewing Ton Koopman. If you’re at home in the Baroque, you’re no stranger to his work. Please enjoy this interview, marking the 100th episode of The WTF Bach Podcast! Thanks for your support, thanks to all those who make this work possible. Here’s looking forward to 100 more!
Topics Covered (Chronologically)
Works of doubtful authenticity (Violin Sonata, BWV 1025)Continuo playing (Figured bass, Improvisation, Ornamentation)Legato in the BaroqueWanda Landowska (“I play Bach his way”)Tuning (Meantone and Werckmeister)Student copies with different ornamentsTempo and the connection with ornamentationHeinrich SchützBach’s repertoire in concertsPedal harpsichord and pedal clavichordBach’s toccatas on organ without pedalsBach ‘counting’ bars (Kabbalah and numerology in Bach)The ending of ‘The Art of Fugue’ BWV 1080The Fuga a 3 Soggetti’s inclusion in ‘The Art of Fugue’Koopman as pianistThe touch on piano vs. harpsichordBeginning organist repertoire (pianists learning organ)Pedal techniqueGustav Leonhardt (also as organist)’Touch’ on harpsichord and organ (quick and slow attack)Performing and musicologyEarly fingeringMy Lady Neville’s BookBook collecting (and indexing)L'art de toucher le clavecin (Couperin)Roger North’s comments on musical performance practicePrefaces by FrescobaldiN.B. BWV 1025 was played by Robert Hill and Reinhard Goebel. The charming piece around min 39 is Giles Farnaby’s (1560-1640) ‘Up Tails All.’
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