Some modest remarks, as I am not a specialist, just trying to contribute to this interesting question.
My
first idea would be the following: as soon as we are sure of the nature
of the style attached to one composer, we should respect it and not
change it too much: for instance, we have at our disposal
interpretations of Cesar Franck's works, by artists who had been the
witnesses of Franck playing himself his own pieces: so that, when those
interpreters develop certain figures of style, they beyond doubt respect
Franck's spirit.
For all the romantic period, we may have a
relative clear picture of the style required by the masters: no question
of trying to play Schumann on a baroque way, it would make his works
incomprehensible.
For
the baroque period, it is fairly difficult to get a good picture of the
appropriate style. What was exactly the spirit of Bach playing at his
keyboards ? We do not know: we have on his manuscripts so little
indications on the tempo, on the registration (at the pipe organ), on
the nuances, on the legato and the non legato mode. He may have been a
romantic interpreter... At least, it give us the choice.
That's
why we could admit there are a lot of possibilities in approaching
Bach's style. Being too strict in applying baroque rules may be a
mistake: for instance, deciding we should forbid the pedal because Bach
didn't use it would reduce sharply the dimension of our interpretation.(See discussion on
Bach and the pedal)
I'm
sometimes surprised to hear on should play Bach at the piano as if we
stand at an harpsichord, which means we should prevent any approach
being impossible at the harpsichord: on the contrary, I feel that
transferring Bach from traditional keyboards to the piano may
give new spaces for creativity and beautifulness.
Another
important point: it is often said that, in playing Bach's pieces, the
rubato and the lengthening of notes should be avoided, or applied with
restraint. Especially when playing at the piano.
But
let’s forget the piano for a while, and turn to the pipe organ,
considering again Bach’s works, and all the brilliant baroque tradition
(Couperin, Corrette,…). In this case, especially in pieces with long
melodies at a low tempo (arias, preludes of chorals, recites, “récit de
tierce en taille”, duo, etc…), a huge freedom is proposed to the
interpreter. Especially with the tempo: the need of a beautiful rubato
is always there.
That
is the same for the Renaissance period, with Sweelinck for instance,
some pieces sounding nicely with a masterly art of lengthening the
notes.
I’m also impressed to see how Bach’s works may appear more moving on pure romantic organ built for playing Liszt and Franck.
Why should be forbid at the piano certain practices well accepted at the organ ?
At
the end of the day, it may be a question of personal choice: I like the
romantic (or at least partly romantic) way certain interpreters are
rediscovering Bach, I’m sure it doesn’t go against the Master’s mood,
simply because it is inspiring and sublime !
