by Rebecca Cochran

To celebrate Leap Day, I can’t help but turn to Bach’s Cantata 149, Man singet mit Freuden vom Sieg (There are joyful songs of victory). In movement 6, an aria (duet) for alto and tenor, Bach gives the bassoon a solo line – and what an athletic solo line it is! Bach has the bassoon hopping and leaping like never before.

Leap over to this recording by the Bach-Collegium Stuttgart directed by Helmuth Rilling. If this doesn’t make your day, nothing will!

by Rebecca Cochran
 
When Paul Hindemith was rehearsing Bach with a prominent German orchestra, he supposedly, at one point, asked the strings to add vibrato and dynamic variety in a particular section. The concertmaster replied that the orchestra was playing in the style of their ancestor, J.S. Bach, i.e., without vibrato or emotion. Apparently, Hindemith replied, “I don’t know how, with no vibrato, Bach could have so many sons.”
 
Hindemith was greatly influenced by Bach. Hindemith’s Ludus Tonalis was intended to be the twentieth-century equivalent to Bach's The Well-Tempered Clavier. Enjoy this excerpt from Ludus Tonalis with the Queensland Symphony Orchestra Brisbane under Werner Andreas Albert. 

by Rebecca Cochran
 
When the NASA Space probe, Voyager 1, launched in 1977, it took Bach along with it via the “Golden Record.” A compilation of recorded sounds and images, the Golden Record includes seven classical tracks, three of which are works by Bach. Included are excerpts from the 2nd Brandenburg Concerto, Violin Partita No. 3 and Prelude and Fugue in C, No. 1 from Book 2 of the Well-Tempered Clavier.

By now, Voyager has left the solar system. And, just in case there’s any intelligent life out there in deep space, the timelessness of Bach’s music will certainly resonate.

by Rebecca Cochran
 
I’m still on a “high” from hearing a live performance by The Knights with violinist, Gil Shaham last evening. The program consisted of Rebel, Prokofiev and Beethoven. As an avid listener of Bach, I decided to challenge myself to listen for Bach’s influence in the composers represented in last night’s program.
 
The similarities between Bach’s music and Rebel’s Les Charatères de la Danse were fairly obvious. Bach and Rebel were contemporaries. Whether they knew each other or not, they were both composing music in the popular dance forms of their day.
 
Prokofiev may have criticized his rival, Igor Stravinsky, for succumbing to “Bach-isms” in his compositions for the dance, but I thought I detected a few such “isms” in his own Violin Concerto No. 2 in G minor. For instance, the role reversals between the violin soloist and orchestra in the achingly beautiful 2nd movement, Andante assai, sounded quite Bach-like.
 
Bach showed up everywhere in Beethoven’s Symphony No. 3 (the Eroica). From the fugatos in the 2nd movement (Marcia funebre) to the artful recycling, in the Finale, of a theme Beethoven had used in several earlier compositions, Bach’s genius was being imitated by yet another genius.

Listening to Bach is one of my passions. Listening for Bach can be just as enlightening!

by Rebecca Cochran
 
Bach’s collection of solo keyboard pieces, The Well-Tempered Clavier (WTC), comprises many of his most popular works. There are probably thousands of articles, recordings, videos and treatises on these beautiful compositions.
 
The first Prelude and Fugue is one of the best-known in the collection. Sinfini Music created a unique and beautiful animation to illustrate the beauty of this work.

Enjoy the experience here.

by Rebecca Cochran
 
As a professional designer and creative consultant, I work with companies on developing their visual identities. Adding symbolism within a logo design can be a powerful icebreaker and a strong marketing tool.

I have been curious about the J.S. Bach logo for many years. I’ve often wondered when it was created and by whom. I recently discovered an explanation of Bach’s logo design on the Bach in Baltimore website.
 
Apparently, Bach designed the logo himself. I don’t normally recommend that my clients design their own logos. I’d like to think, however, that if Bach had been my client, I would have made an exception!

Have a look at Bach in Baltimore’s elegant description here.

by Rebecca Cochran
 
In listening to Fred Child on yesterday’s broadcast of Performance Today, I learned that birds prefer Bach. He was referring to a study by Japanese researcher, Kazutaka Shinozuka, in which Java sparrows were found to prefer Bach’s music to Schoenberg’s and, even, to the sound of silence. Another study showed that fish may prefer Bach over Stravinsky.
 
As much as I enjoy both Schoenberg and Stravinsky, I side with the birds ⏤ and the fish!

by Rebecca Cochran
 
I couldn’t resist sharing this post I noticed this morning. With a headline of This woman dragged her cello to the top of a mountain, just to play Bach, it appeared on the Classic FM website. The author, Daniel Ross, writes of cellist, Ruth Boden’s hike to the top of a mountain peak in Oregon to play Bach.
 
The embedded video is beautifully done. I love the symbolism throughout, particularly when Ruth likens music to a journey. I think most of us musicians can identify. I also love her choice of Bach!
 
Enjoy the post and video here.

by Rebecca Cochran
 
I’ve just discovered two short video biographies of Bach on Biography.com. Although both are very abbreviated pieces about Bach’s life, I’m pleased to see such coverage on a site that deals with people and celebrities in the news. Bach will always be a celebrity in my book!
 
Have a look here.

by Rebecca Cochran
 
I had the pleasure of hearing a recital by the American soprano, Julianne Baird, last evening. Her program was replete with gorgeous Baroque and classical offerings from Handel to Bach to Beethoven. She was assisted by fortepianist, Andrew Willis.
 
The standouts for me were, of course, by Bach, and in particular, the aria from the Wedding Cantata (BWV 202). Ms. Baird chose to present Phöbus elit, the 2nd aria from this secular cantata.
 
Historians are not sure exactly when Bach composed this cantata, or under what circumstances. It was probably an early work.

Enjoy this 1987 recording of the Wedding Cantata with Ms. Baird and The Bach Ensemble led by Joshua Rifkin.

by Rebecca Cochran
 
Bach’s 331st birthday is a month away! Bach in the Subways 2016 spans a 3-day weekend, March 19-20-21. This is an international movement to bring live Bach to as many people around the world as possible – especially to those who would not normally hear it. I am excited to be taking part again this year.

Check out the Bach in the Subways website (published in 9 languages!) to find an event near you.

Practically everyone has heard Bach’s Minuet in G major from the Anna Magdalena Bach Book. That little minuet has been transcribed for nearly every imaginable instrument or combination of instruments in nearly every genre.
 
I unearthed an interesting post on the WFMT blog, entitled How A Bach Minuet Got a Motown Makeover. The writer, Stephen Raskaukas, brings up some interesting points in how the transformation occurred and suggests that the work may not be Bach’s after all!
 
Enjoy the article and draw your own conclusions. 

by Rebecca Cochran
 
After traveling to France in yesterday’s post, I take us to Italy today. The Italian Concerto (BWV 971) is another example of a handful of works that Bach composed for two-manual harpsichord. He utilized the ritornello (little return) style popularized by Italian composers of the day.
 
My musical mentor, Louis Moyse, arranged this work for flute and piano, as part of the Louis Moyse Flute Collection published by Schirmer. I have fond memories of working on this concerto with Louis years ago. In fact, he accompanied me at the piano – always a treat!
 
The Italian Concerto is widely recorded on piano and harpsichord. Treat yourself to this performance by pianist, András Schiff.

by Rebecca Cochran
 
Bach’s Overture in the French Style (BWV 831) is one I never tire of listening to. Comprised of eleven (!) movements, I can’t help but feel that Bach was having fun mimicking, and even, improving upon, the French compositional trends of the day.

To be stylistically correct, Bach should have ended this suite with the Gigue. The rebel Bach, however, adds the irresistible Echo, perhaps as a way to show off the double-manual harpsichord at Zimmermann’s Coffee House!
 
Have fun viewing this recording featuring pianist, András Schiff.

by Rebecca Cochran
 
With the 58th annual Grammy awards taking place this evening, I’ve heard that a documentary film about Nina Simone is on the list of nominees. Simone was the extremely talented singer, songwriter and pianist active in the second half of the 20th century. She was also ahead of her time.
 
Her start as a classical musician is evident in this video of her live performance of Love Me Or Leave Me. Listen for her Bach-like counterpoint following her opening vocal statement.
 
Learn more about the film here, via yesterday’s NPR interview with Simone’s daughter.

by Rebecca Cochran
 
The lovely soprano aria from Bach’s Cantata 68 is a gem. Bach must have thought so, as well, since the aria represents one he recycled from his earlier, secular, Hunting Cantata.
 
Somehow, the text of this aria, Mein gläubiges Herze (My faithful heart) feels appropriate for Valentine’s Day. Enjoy this recording featuring boy soprano, Peter Jelosits under Nikolaus Harnoncourt.

by Rebecca Cochran
 
The opening movement of the Magnificat in D Major, BWV 243, represents one of Bach’s most joyful moments. His use of three trumpets, plus oboes and flutes, even before the voices enter many bars later, adds to the festivities.
 
As a flutist, I adore No. 9, an intricate four-part movement for solo alto voice, two flutes and continuo. The obbligato flutes, playing in parallel thirds, add to the textural beauty and symbolism of the movement, entitled Esurientes implevit bonis (He hath filled the hungry with good things). Have a listen here.

by Rebecca Cochran

Although there are many books about Johann Sebastian Bach, one of my favorites is Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment, by James R. Gaines. I read it recently for the second time and already want to read it again. Here’s The New York Times’ Sunday Book Review from 2005.
 
I’ve also recently discovered a book on Bach written by the English conductor and early music scholar, John Eliot Gardiner. Entitled Bach: Music in the Castle of Heaven, it was published in late 2013. According to this NYT review of the book, Gardiner paints the picture of Bach as both man and musician, "warts and all." I plan to dive in straightaway.
 
Both books are sure to warm up many a long winter’s night! 

by Rebecca Cochran
 
I had dinner with a small group of friends last evening. At one point, the topic of music came up and I happened to mention that J.S. Bach is my favorite composer, hands down.
 
One of those present agreed with me. He then went on to describe a memorable performance of his favorite work by Bach, the St. Matthew Passion. After his lengthy description, he asked me which work by Bach is my favorite.
 
My answer: “Every work by Bach is my favorite.”

by Rebecca Cochran
 
Bach’s Toccata and Fugue in D minor is familiar to most of us, thanks to cartoons, movies, plays and every other imaginable medium. This version, played on glass harp (musical glasses) by Robert Tiso, is stunning not only for the sound of his “instrument,” but for the visual aspect, as well.

Enjoy!

by Rebecca Cochran
 
For as long as I can remember, whenever I listen to Bach via CD or radio in my car or at home, I’ve found that I cannot turn off my player mid-stream. Yes, I know that I can pick back up where I left off at any time. Or, I can begin the movement “fresh” next time I return to my vehicle. I cannot seem to do this to Bach.
 
This morning, as I was listening to the opening concerto movement to Cantata 35, even though I arrived at my destination somewhere in the middle of the movement, I remained in my vehicle until it concluded. I don’t feel quite this way about other composers.

OK, I should just admit it. This has turned into a serious relationship.

by Rebecca Cochran
 
The link between Bach’s music and jazz is an ongoing topic of discussion, online and off. Recently, when listening to the opening chorale fantasia from BWV 140, Wachet auf, ruft uns die Stimme (nicknamed Sleepers Awake), I was reminded of Bach’s clever, even “jazzy” use of syncopation among the voices.
 
According to John Eliot Gardiner, conductor, harpsichordist and Bach scholar, “If anyone in the posh world of classical music ever doubted that J.S. Bach could also be considered the father of jazz, here is the proof.”

Have a listen here.

by Rebecca Cochran
 
It’s Super Bowl Sunday here in the U.S. If football’s not your thing, there are other options.
 
Check out the clever J.S. Bach Fugue Game here. The game promotes active listening, requiring the player to search for pattern and structure while listening to Bach’s Fugue No. 2 in C minor from The Well-Tempered Clavier. I love the fact that Bach tallies your score as you play!

​by Rebecca Cochran
 
The musicians of the Afro-Cuban group, Tiempo Libre, are masters in mixing the rhythms and sensibilities of their own culture with the music of J.S. Bach. Director/arranger, Jorge Gómez and his fellow band members, grew up studying Bach by day and playing Afro-Cuban music by night.
 
In this short video, Gómez explains why Bach is the perfect complement to the music of his native Cuba. To me, the mix is magical. 

​by Rebecca Cochran
 
I’ve heard several recordings of the Air from Bach’s Orchestral Suite No. 3, performed on panflute. I personally love the Air in all its guises.
 
For me, though, this recording of panflutist, Matthias Schlubeck, performing the Menuet and Badinerie from Bach’s Suite No. 2 in B minor is as uplifting as it gets. Enjoy!