Bach’s sparse articulation markings in his keyboard concertos grant performers both wide interpretative freedom and delicate challenges. This lecture-recital explores how performers might approach articulation in these works with sensitivity to Bach’s musical language and aesthetic intent. It draws on manuscripts, important editions (Bach-Gesellschaft Ausgabe and Neue Bach-Ausgabe), as well as eighteenth-century treatises and modern scholarship, complemented by performance experiments on harpsichord and modern piano. The project considers how historical, social, and instrumental contexts together shape expressive articulation and the performer’s interpretive choices. Focusing on the slow movements of the Keyboard Concertos in F minor and G minor (BWV 1056 and BWV 1058) and their related sources — the Sinfonia from Cantata BWV 156 and the slow movement of the Violin Concerto in A minor, BWV 1041 — the study reflects on how the absence or variation of slurs opens space for rhetorical nuance and expressive flexibility. Rather than seeking prescriptive solutions, it approaches historical articulation as a living, rhetorical language shaped through phrasing, style, and imagination — an approach where understanding and imagination meet in sound

PERFORMERS

Kanna Ohno hegedű/violin

Ami Sakurai hegedű/violin

Kalocsai András brácsa/viola

Shang Yawen cselló/cello

Chen Jiahao nagybőgő/double bass

Mingshanwang zongora/piano

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• koncert
• 2025