Much of his compositional activeness is identified by a blending of differing components and styles, such as French and Italian. This idea wasn’t just limited to a few styles; he used them all simultaneously without favoritism. Because his music was so flexible and composed of multiple styles, the ornamentation within his music became flexible and broad as well. Bach’s notated music is covered with ornamentation. It seems as if he viewed the ornaments belonging to the performer’s style, which in his notated suggestions do not appear to be the product of serious thought. “In short, the very subtlety of Bach’s music may lie in the notion that everything can be ornamental and structural simultaneously” (Boyd 350). Specifically, in terms of sonatas, Bach’s technical commands are daunting as well as precise, and in his cantatas he added ornaments to instrumental as well as vocal parts. Also, his concertos and sonatas contained florid embellishments. “Whatever the national origin or the ornaments adopted by Bach, we can assume that he made them his own, giving in performance free rein to the impulse of the moment” (Neumann 8). This meant that some performers added even more ornamentation to his
Much of his compositional activeness is identified by a blending of differing components and styles, such as French and Italian. This idea wasn’t just limited to a few styles; he used them all simultaneously without favoritism. Because his music was so flexible and composed of multiple styles, the ornamentation within his music became flexible and broad as well. Bach’s notated music is covered with ornamentation. It seems as if he viewed the ornaments belonging to the performer’s style, which in his notated suggestions do not appear to be the product of serious thought. “In short, the very subtlety of Bach’s music may lie in the notion that everything can be ornamental and structural simultaneously” (Boyd 350). Specifically, in terms of sonatas, Bach’s technical commands are daunting as well as precise, and in his cantatas he added ornaments to instrumental as well as vocal parts. Also, his concertos and sonatas contained florid embellishments. “Whatever the national origin or the ornaments adopted by Bach, we can assume that he made them his own, giving in performance free rein to the impulse of the moment” (Neumann 8). This meant that some performers added even more ornamentation to his