Bach's manuscript starts the passage with sets of four 32nd notes (8 notes per beat). Many performance interpretations switch to sets of six-note triplets (12 notes per beat) mid-way in the passage. This does not seem consistent with the rest of the piece since triplets are rarely used elsewhere. What is the reasoning for not sticking to the sets of fours? Is this a "historically informed" convention to switch to the sixes, since I think Podger also does this?
On a more technical point, how should I bow the 4-note chords as arpeggios? For example, in bar 103 the d-minor chord in the first beat, is it lower D+F together and then A separate, high F separate (which allows me to play the arpeggio in the same pattern as the 3-note chords)? What is a "standard" interpretation?
I realize there are probably no correct answers to my questions, so I would appreciate your thoughts and opinions for playing it in a particular way. Thank you.Tweet
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