By George A Kochevitsky
Such a lot of of the good pianists and lecturers have pop out of Poland and Russia (Rubinstein, Anton in addition to Arthur, Leschetizky, Paderewski, the Lhevinnes, Gilels, Richter, and others), but we all know little approximately their equipment of studying and instructing. George Kochevitsky within the paintings of Piano enjoying offers a few very important assets of knowledge formerly unavailable during this nation. Russian resources by myself occupy 4 columns of his bibliography on 'History and conception of Pianism.' also there are six columns of German resources and 7 columns of resources in English. From those assets, tempered through this personal pondering, Kochevitsky has formulated a systematic technique which may remedy so much difficulties of piano enjoying and instructing. George Kochevitsky graduated in 1930 from Leningrad Conservatory and did post-graduate paintings at Moscow Conservatory. Coming to the united states, he has taught privately in big apple urban, given a few lectures, and written for numerous song periodicals.
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Additional info for Art of Piano Playing: A scientific approach
But was this done? As it happens, there is no evidence that it was, but here is where the engineering approach can help. We can ask in what way the St. John Passion parts were most likely to have been used, given their design, and here some thought experiments can help. Imagine, for example, that more than one person shared the concertists’ parts for the St. John Passion, as a traditional hypothesis holds. The additional singers would have to know that they should sing only the “choral” music— except that this information is not provided systematically in the parts.
The director of a performance could choose to add more singers, but in a particular way. The optional additional singers, known as “ripienists” (from the Italian word meaning “full”), represent the second kind of singer recognized in the eighteenth century. Once again the instrumental concerto provides an analogy: “ripienist” is the same word used to describe additional parts or players in an instrumental concerto—additional, that is, to the player of the solo or concertante part. ” In a church cantata by Bach, for example, they might typically sing the choruses and chorales—and only those movements—leaving arias and recitatives to the concertists.
But this still leaves us some puzzles because he Singers and Roles in Bach’s Passions 39 made varying choices about who would sing which roles, and it is often difficult to say whether the reasons were practical, theological—or even dramatic. In the St. John Passion, Bach made several different kinds of assignments (table 2–1 lists the vocal parts as they were used in 1725, the year of the work’s second performance). The very small role of the Maid appears in the principal soprano part, from which it was certainly sung by the soprano concertist.