Originally Posted by josephus07

1. My part has no dynamics indicated. Who would you personally balance to or how would you decide if your part should be prominent or not? Obviously, some of this can be deciphered from the texture of the whole orchestral score at any point, but composers certainly can make unexpected requests. Are there any general "rules" you follow pertaining to Bach's writing?

If it's a Cantata or other form of vocal work, your dynamic should illustrate the text (ie: Gloria = FF). You have to balance everyone in instrumental works like the Suites.

2. In general, when there is no indication, do you play notes very full/long or separated/short (duration) and how much decay/sustain do you prefer (or how do you prefer the notes to be shaped)? Any thoughts on bounce, lift, etc?

I prefer to play everything a bit longer than printed on the piccolo trumpet to compensate for lack of harmonics. What I might call "bounce" you might call "lift" so let's leave that one alone for now. Just make it sound good and for more detail come play for me sometime!

3. How much front would you place on notes / what articulation syllable do you generally prefer for Bach?

This depends entirely on acoustic. Quite a bit of front of it's in a cavernous space like a European Cathedral, much less if it's a concert stage.

4. Are there any special considerations to take into account in regards to direction of line and phrasing?

Listen to Bach's counterpoint. He tells you precisely what to do (generally a good rule in all music. Listen to the composition, not the words of some teacher)

5. When performing Bach on a modern piccolo trumpet, do you try to emulate any natural trumpet qualities?

No...that's impossible to do. The nat sounds so much better due to the property mentioned above. Just make it sound good within the context of what you have. Note that you can still play in period style, and should.

6. We always talk about playing needing to have a vocal quality. Are there any significant stylistic differences between Baroque singing style and that of other eras?

Yes, definately. Buy some recordings of Italian vocal music (start with the Monteverdi Vespers?) and listen carefully.

Originally Posted by Vulgano Brother

which really can cut back on the number of violist jumps during a concert.

Originally Posted by Vulgano Brother

..

Based on Bach's and Luther's theology, the trumpet represented angels, and these weren't those cute fat little cupid imitations--we're talking about the real deal--scary angels!...