Interpretative aspects of J.S. Bach’s preludes and fugues in the context of Azerbaijani performing arts

This study systematically investigates the interpretative dimensions of J.S. Bach's Preludes and Fugues from The Well-Tempered Clavier within the framework of Azerbaijani performance practice. Research materials encompass editorial sources grounded in the German Baroque tradition, including editions by K. Czerny, H. Kroll, B. Mugellini, and others, alongside pedagogical and interpretive methodologies indigenous to Azerbaijan. Methodologically, the investigation employs polyphonic analysis techniques formulated by musicologist and pedagogue T. Seyidov, scholarly analytical frameworks (S. Marlowe, A. Salakhova), and comparative performance scrutiny (S. Richter versus G. Gould, F. Badalbeyli, G. Mirzayeva). Additionally, it addresses interpretive challenges arising from the technical attributes of organ and harpsichord instruments, including articulation and ornamentation. J.S. Bach's The Well-Tempered Clavier represents a cornerstone of Baroque musical literature, embodying profound pedagogical and performative significance. Comprising 48 preludes and fugues, this collection constitutes a universal didactic repertoire indispensable for acquiring compositional proficiency and cultivating performers' technical and cognitive faculties. The intricate polyphonic architecture of these works fosters analytical acumen in interpreters, while the nuanced interplay of phrasing, articulation, ornamentation, and timbral variation refines emotional and aesthetic discernment. Empirical findings reveal that Azerbaijani performers engage Bach's preludes and fugues through a harmonious synthesis of technical virtuosity, polyphonic cognition, affective expression, and erudite analysis. The study elucidates the perpetuation of two paradigmatic interpretive paradigms within the national tradition: S. Richter's opulent tonal palette and G. Gould's crystalline polyphonic delineation. A pivotal advancement of the Azerbaijani pedagogical lineage is T. Seyidov's polyphonic methodology, complemented by the 2021 instructional edition derived from B. Mugellini's authoritative source, which serves as a foundational reference. Collectively, these insights affirm that the interpretation of Bach's preludes and fugues functions as an indispensable "encyclopedia" in Azerbaijani performance art, underpinning both conservatory education and professional concert rendition.