Assessment Type 1: Creative Works

Stage 2 Music Studies

Toccata in C minor, BWV 911 by

Johann Sebastian Bach

SACE Registration Number – 203988H

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Stage 2 Music Studies

Creator’s Statement
Introduction
I played Toccata in C minor, BWV 911 for my solo performance. This is one of the most virtuosic pieces in
the baroque period composed for solo harpsichord by German composer and musician J.S. Bach (see cover
page image). The toccata’s sheer scale and intricacy has not only allowed me to develop my understanding
of the baroque style, but also synthesise and showcase musical ideas to my full potential through both
technical, and interpretative refinements.

Interpretative Refinements
The expanse of the toccata also implies an extent of subjectivity and freedom in aspects such as phrasing
and articulation choices, allowing me to formulate a unique, but also stylistically appropriate
interpretation.

The quasi-improvisatory passages intertwined throughout the piece is highly subjective to the pianists’
interpretation, where many, including Kenny Broberg, employ a greater extent of rubato in these passages
than others like Martha Argerich. Though this is quite effective in expression, it does not strongly adhere to
baroque conventions and what Bach would have done. In consideration of these factors, I have decided to
strive for something in between, pulling back slightly only at cadence points, as notated in Figure 1.

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rit.

(c):
V –––––––

rit.
a tempo a tempo

–I vii° c –––––––––––
(C pedal point) I

a tempo
rit.

vii° c –

rit.

V–vi
Figure 1: Toccata in C minor, BWV 911 by J.S. Bach (mm. 3-10)

In terms of dynamics and pedalling, due to limitations of instruments in the 1600s, there has always been
an ongoing debate between whether to follow what Bach “would have done” if he had the modern
pianoforte, or what he “actually did” with the limited tonal capabilities of the harpsichord.

Since the harpsichord involves the action of plucking rather than hammering and dampening of strings
(Figure 2), its timbre is neither as overpowering as the modern piano with pedal, nor is it as dry without.

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Figure 2: Internal structures of the modern pianoforte (left) and the baroque harpsichord (right) (Schauer, 2016)

Hence, to synthesise a strategy of playing that takes both cases into consideration, I again chose to aim for
the midpoint, that is – the minimal use of pedal only when smoothness cannot be achieved with mere
fingers (though this should be executed unnoticeably by the listener). Legato and evenness was especially
crucial in the double thirds run towards the climax in mm. 103-104 (Figure 3 with my pedalling pattern
notated in red).

poco
cresc.

Figure 3: Toccata in C minor, BWV 911 by J.S. Bach (mm. 103-104)

Similarly, dynamics were also terraced at the time, in which any intended gradual changes in volume would
have already been embedded into the piece by Bach via harmonic features, such as rising/falling lines and
textural differences. This implies that any crescendos I employed to support climax build-ups and phrasing
must be controlled, so that it does not overpower and disrupt baroque conventions, illustrated in Figure 3.

Articulation choices of the main subject (Figure 4) also play a pivotal part in synthesising a unique but
appropriate interpretation. Upon listening to different renditions of this piece, I was able to gain insights
on how the main subject should sound: firm, assertive, and majestic. With this, I was able to formulate my
own unique articulation of the main subject (illustrated in red in Figure 4), in which I kept consistent
throughout.
Fugue 1 – fugal form, three voices Pianists in Comparison:
mm. 33-38 [Exposition] Subject in alto, C minor. Martha Argerich and Kenny Broberg

.
– . . . .

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Main subject
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c:
. . . . . . . . .

Figure 4: Toccata in C minor, BWV 911 by J.S. Bach (mm. 32-39)

Technical Refinements
Being one of Bach’s more technically demanding compositions, many passages posed significant
challenges, which required rigorous practice to refine and polish. The section I found most technically
challenging was the modulatory episode in mm. 109-115 (Figure 5). The main challenge in this passage was
achieving clarity with the constant decorative demisemiquavers in both hands, especially with the less
mm. 109-115
dexterous [Modulatory Section] Episode, modulates from F major → E♭ major → C minor.
fingers.

E♭:
Episode begins F: V ––––––– I

(E♭): V –––
Figure 5.1: Toccata in C minor, BWV 911 by J.S. Bach (mm. 108-111)

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(E♭): – I c:

Episode ends
(c): Ic –– V ––– I
Figure 5.2: Toccata in C minor, BWV 911 by J.S. Bach (mm. 112-115)

The first refinement I made was to plan out my fingering such that it maximises the use of my more
dexterous finger and finger combinations, as illustrated in Figure 5. When practicing this section, it was
crucial to strictly adhere to the same fingerings so that I get used to it and nothing else. I also found that a
relaxed, throwing hand was also quite helpful in achieving clarity with minimised tension in leaps and
frequent burst of notes.

Though the other contrapuntal sections were also not easy, there were no shortcuts or viable practice
techniques. It simply required rigorous practice and pedantic attention to detail, in which the latter would
dictate the amount of polishing required after learning the piece (that is – mastering details as you learn
would mean less changes and refinements needed after learning the piece, which is often time
consuming). In favour of a smooth learning process, I decided to polish as I go, which although was quite
slow, it would not have been as tedious as roughly learning the notes and refining it all at the end.

Conclusion
Though the “correct” way to play Bach remains ambiguous, this in turn opens up a great level of potential
for pianists to synthesis their unique interpretations with their own musical ideas. The sheer scale of this
toccata has holistically challenged me both musically, and technically.

Bibliography
BACH Toccata in C Minor, BWV 911 - Kenny Broberg - Cliburn 2017 (2021). Available at:
https://www.youtube.com/watch?v=HveGwfyH9GA (Accessed: 30 September 2023).

Johann Sebastian Bach, Toccata BWV 911, Martha Argerich, 1979 (2016). Available at:
https://www.youtube.com/watch?v=lpYLtgxB3_s (Accessed: 30 September 2023).

Schauer, J. (2016) A Keyboard by any Name Sounds as Sweet, Ravinia Backstage. Available at:
https://backstage.ravinia.org/posts/2016/8/31/a-keyboard-by-any-name-sounds-as-sweet.html (Accessed:
30 September 2023).

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