Full thesis.20 May 2015

A comparative study of the use of ornamentation in two works
by J.S. Bach in a South African context
by
Sonja van Zyl
A dissertation submitted for the degree of Master of Music
in the Wits School of Arts, Faculty of Humanities,
University of the Witwatersrand

i
ABSTRACT
Substantial scholarly research has been devoted to the stylistic performance of the keyboard
works of J.S. Bach. Scholars have given considerable attention to certain problems dealing with
ornamentation and they have improved the textual accuracy of Baroque music editions. Despite
these achievements, one could ask as to what degree Baroque ornamentation and
improvisation is still a current practice in South Africa.
This research project concentrates on the ornamentation by Johann Sebastian Bach within a
general context of contemporary South African performance and Baroque improvisation. This
dissertation, additionally, focuses specifically on interviews with contemporary South African
Baroque music performers in order to explore their own interpretation and execution of the
ornamentation signs as opposed to written out ornamentation. For this purpose, two pieces by
J.S. Bach were selected for analysis. This work also applies examples and guidelines of how to
approach the ornamentation in the two chosen Baroque pieces in particular. Recordings of
these two pieces were also part of this study to determine the techniques and interpretation
used by the performers.
From this study and interviews, it is clear that there are a diversity of opinions and personal
approaches; however, there is also mutual understanding around Baroque ornamentation and
improvisation. There are, possibly, several major areas of Baroque ornamentation in which the
South African student can receive more assistance and teaching in schools. According to the
views of the interviewees, I have determined that they are mostly concerned about Baroque
ornamentation that does not form part of the foundation teaching for students in secondary level
school education. It is the writer’s belief that more exposure to Baroque ornamentation and
improvisation techniques can assist students to discover the ways in which they can perform
keyboard pieces by J.S. Bach more effectively.

ii
ACKNOWLEDGEMENTS
I wish to express my earnest gratitude to my supervisor, Marie Jorritsma, who always
encouraged, motivated and taught me everything about research and writing.
Malcolm Nay and Pauline Nossel were my tutors and mentors for my two practical recitals. Their
consistent support and trust in me expanded my practical horizons and I am sincerely grateful to
them both.
Isobel Rycroft provided me with additional support regarding books and information for my
research, whereas Elise van Heerden assisted me with Sibelius – to them both, I extend my
appreciation.
Special thanks go to the following musicians for being a part of my recitals. I have learned so
much from them as musicians and could always count on their professional musicianship:
For my first recital, the musicians, Helen Vosloo (Flute); Samson Diamond (Violin) and Maciej
Lacny (Cello) accompanied me, while for my second recital the participating musicians were
Carel Henn (Cello); Morné van Heerden (Clarinet); Lesley Stansell (Oboe); Jean-Pierre Calitz
(duet); Peter Cartwright (two pianos) and Hanli Stapela (Voice).
The following six contemporary South African Baroque musicians and interviewees were of
inestimable value to my research and I would like to thank them for their time, knowledge and
contribution towards my study: Henk Temmingh; Mario Nell; Zorada Temmingh; Cameron
Upchurch; John Coulter and Stefans Grové. Very sadly, seven months after our interview,
Stefans Grové passed away. I am greatly privileged to have benefitted from our conversation
during the interview. May he rest in peace.
To my children and friends who always supported me, my sincere appreciation for their
consistent love, without which I would not have been able to persist.

CONTENTS
Abstract i
Acknowledgments ii
List of examples vi
1 Introduction 1
1.1 Aim 2
1.2 Rationale 3
1.3 Research methods 4
1.4 Chapter outlines 9
2 Literature review 10
2.1 Ornamentation, embellishment and Historically-Informed Performance (HIP) 10
2.2 Defining the term “improvisation” 22
2.3 The composer, performer and improvisation in the sixteenth century, known as
“Baroque” 27
2.4 Conclusion 32
3 Background information on ornament types in selected pieces 34
3.1 Background to J.S. Bach’s ornaments 34
3.2 The trill and the appoggiatura 41
3.2.1 The short trill 45
3.2.2 The long trill 46
3.3 The mordent 46
3.4 The “doppelt cadence” 47

3.5 Conclusion 47
4 Introduction to Toccata in G major (BWV 916) – The three different editions 50
4.1 Background to Manualiter Toccatas 53
4.1.1 Short analysis of the Allegro - Toccata in G major 55
4.1.2 The ornaments in the Allegro 56
4.2 Interviews on Toccata in G major 60
4.3 Introduction to Sonata in d minor (BWV 964) 70
4.3.1 Interviews on the Sonata in d minor 72
4.4 Conclusion 79
5 Recordings performed by four musicians of the Toccata in G Major (BWV
916 – Allegro) and the Sonata in d minor (BWV 964 – Adagio) by J.S. Bach 81
5.1 The Toccata in G major (1st recording) 81
5.1.1 Tempo 81
5.1.2 Ornamentation 82
5.1.3 Dynamic contrasts 83
5.1.4 Articulation 84
5.2 Toccata in G major (2nd recording) 85
5.2.1 Tempo 86
5.2.2 Ornamentation 86
5.2.3 Dynamic contrasts 89
5.2.4 Articulation 89
5.3 Conclusion 90
5.4 Sonata in d minor (1st recording) 91