How Bach taught his pupils

On Wikipedia, one can read very interesting stuff on how Bach taught his pupils to play the piano.

Bach  introduced the collection with the following words: "Honest method, by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition."

It is a very short and very dense text so we need to analyze it a bit – as it is very-very revealing!

First of all: Bach says it is an HONEST method. To be a good musician  - one has to be first and foremost an honest person.  Interesting! Arturo Toscanini, one of the most famous conductors of the 20^th century (a musician I hold in very high esteem) praised honesty as the single most desirable quality in a musician. What does honesty mean in a musician? For me: (a) sticking to what is written in the  composition, (b) playing counterpoint clearly (c) reflecting deeply on what emotions does the music transmits.

Second: Bach emphasizes of learning to play cleanly in two parts. This is not an easy thing! In fact, the great wonder of this is, if you can play two tunes simultaneously you can then play even more voices at the same time...

Third: Bach taught his pupils gradually... only after one has learned to play well two-parts one can go further playing three obligate parts as well.

And Fourth , “above all” – to achieve a cantabile style in playing – while acquiring a strong foretaste of composition. Cantabile style: this notion – I think – misled many. For Bach, this notion meant that one plays the part as melodies, lines, melodically and interpreting these sounds as things that ‘mean’ something – and not just for the sake of counterpoint.

As for the “strong foretaste of composition” – these are truly amazing pieces that are perfectly capable of showing good compositional method to pupils of all age and maturity. There is not a single bar in these pieces that wouldn’t have a relation with the main theme of the piece. There is not a single bar that couldn’t be understandable in the light of the preceding material or the main themes. They are perfectly logical and organic. They are separate universes on their own! They all have their own rules. They establish rules, follow them and bring them to full fruition. They are true to their keys and moods. They are modern. They are efficient. They are melodic, rhythmic and yet mystical compositions all the way through. They are true Bach-music!

And they are - as I learned about them very soon – not easy pieces.

They are only recommended only to ‘those desirous of learning’ – other pupils will simply be discouraged from further learning.

According to the pianists themselves, such as Andras Schiff, (who is maybe today the foremost interpreter of Bach’s music in the world) playing Bach’s music is the most difficult challenge for a musician – and for a pianist. Not only technically – but musically speaking. Anyone, who can master Bach’s music, can master any other kind of music. The problem is – mastering Bach’s music is the greatest musical challenge of all.