by Rebecca Cochran
 
Of Bach’s four Orchestral Suites, the Suite No. 1 in C Major (BWV 1066) is the one that includes the Forlane. It appears right in the middle of the Suite as the fourth of seven movements.
 
A forlane, or furlana, is a quick, Italian folk dance that may have originated as a Slavonic dance. It was originally a courtship dance, performed by a couple.
 
Was Bach experimenting, yet again? Or was there a particular reason why he chose to insert the Forlane in his Suite No. 1? We may never know, but the result is lovely.

Enjoy this performance by Ton Koopman and the Amsterdam Baroque Orchestra.

by Rebecca Cochran
 
The keyboard virtuoso and composer, Johann Gottfried Müthel, is believed to have been J.S. Bach’s last student. He became Bach’s pupil only three months before his mentor’s death.
 
Müthel is believed to have notated several of Bach’s final works, including parts of the Orgelbüchlein. He may even have been present at Bach’s deathbed.
 
Later, Müthel studied and corresponded with other well-known composers, including C.P.E. Bach. His surviving compositions are numerous, most of which are for keyboard. Surely, Bach would have been proud! 

by Rebecca Cochran
 
I’ve always enjoyed NPR’s Tiny Desk Concert series. These intimate episodes allow us to get to know an artist in a very personal way.
 
An episode from 2014 features pianist, Simone Dinnerstein playing and discussing Bach’s Two-Part Inventions. In it, she speaks of how Bach’s inventions force the player to make the piano sing. Bach himself stated that one of his goals in writing these works was to help students of the keyboard “to achieve a cantabile style of playing.”

Enjoy the episode here.

by Rebecca Cochran
 
Since I’ve been posting about “all things Bach” this year, I have received many questions from readers asking how to go about developing their own Bach playlists. I’ve heard comments such as, “There’s so much out there on the web – where do I start?”
 
Today, on a lark, I did a search on these two words: “Just Bach.” What came up first was a “Bach-only” playlist on YouTube, curated by an unnamed Bach lover.
 
The selections on the playlist represent a good start for developing an ear for Bach. Pinnock, Gould, Milstein, Herreweghe, Argerich, Segovia, Perlman and others are featured performers. Not a bad start at all!

Here’s the link.

by Rebecca Cochran
 
I’ve never had the pleasure of hearing a harp soloist performing Bach. Of course, many of Bach’s keyboard works are well-suited for the instrument.
 
Here’s a wonderful Warner Lontano Productions clip of French harpist, Sylvain Blassel performing excerpts from the Goldberg Variations.

by Rebecca Cochran
 
There have many studies on how listening to or playing the music of Bach affects the brain. One of the most interesting stories on some of this research was recounted on PBS’ Nova series in 2009.
 
The story, entitled A Mind for Music, chronicles the late neuroscientist and writer, Oliver Sacks as he undergoes a series of MRI scans to learn more about how his brain responds to music and, particularly, the music of J.S. Bach. The results are fascinating. Read and listen to the story here.

by Rebecca Cochran
 
Last evening’s concert by Wynton Marsalis and his Jazz at Lincoln Center Orchestra was entitled Music of the Masters: Duke Ellington and George Gershwin. Marsalis and his band delivered a fulfilling, energy-packed performance. I felt lucky to be there.
 
Marsalis talked to the audience about the two masters, Ellington and Gershwin. He mentioned that, as a jazz composer, Duke Ellington did not always play by the “rules” of composing. Marsalis said, “It’s not that Ellington broke the rules, he simply ignored them.” Some of those rules that he would ignore were actually ones that he had established in some of his earlier works.
 
Duke Ellington has often been compared to J.S. Bach. Like Bach, Ellington was constantly experimenting, rethinking and recycling thematic material. Like Bach, he was constantly stealing from himself and from those around him.

Bach is everywhere.

by Rebecca Cochran
 
This evening, I’ll be attending a performance by trumpeter, Wynton Marsalis and his Jazz at Lincoln Center Orchestra. Marsalis and his team will be presenting Music of the Masters: Duke Ellington and George Gershwin. I can hardly wait!

Wynton Marsalis is an extremely versatile musician. Over the years, I’ve had the good fortune of hearing him perform the music of Bach and other Baroque masters. Check out his recording of Bach’s Brandenburg Concerto No. 2 in F Major (BWV 1047) with The English Chamber Orchestra here.

by Rebecca Cochran
 
When I have music playing in the background in my home or office, I am pretty adept at working (or living!) right over it.
 
There’s one exception, though: If any piece by Bach arrives on the playlist, seemingly without consciously thinking about it, I stop whatever I’m doing and listen intently.
 
No other composer, old or new, affects me this way. Is this is my own version of FOMO (fear of missing out)?

by Rebecca Cochran
 
I just ran into a “wikihow” on How to Listen to Bach. Amazingly, the advice isn’t half-bad. The site lists various “starter” pieces to listen to and get to know Bach. It was interesting to note that the first piece recommended was the Air which I wrote about in yesterday’s post.
 
The “Tips” at the bottom of the Bach wikihow are excellent. Be sure to scroll down even further and read the “Warning”: This could take a lifetime.
 
Seriously.

by Rebecca Cochran
 
The famous Air is the second movement from Bach’s Orchestral Suite No. 3 in D Major (BWV 1068). The movement really became famous more than 100 years after Bach’s death when the German violinist, August Wilhelmj, arranged it for solo violin and small orchestra. Wilhelmj took the liberty to transpose it down a full step, to C major, from Bach’s original key of D, thus allowing the violinist to play the entire melody on the instrument’s lowest string, the G string.
 
There are probably thousands of renditions of Air on the G String. One of my favorites is by the Jacques Loussier Trio. Enjoy it here.

by Rebecca Cochran
 
Bach’s Six Suites for Unaccompanied Cello are thought to be part of the compositional inspiration for 20th century composer, Benjamin Britten and his Three Suites for Unaccompanied Cello. But it is really more complicated than that.
 
Britten was also greatly inspired by the foremost cellist of his day, Mstislav Rostropovich. “Slava” was a noted Bach interpreter. Britten and Rostropovich became close musical friends and collaborated on at least five of Britten’s works. Interestingly, Britten also composed a work entitled, Prelude & Fugue for 18 strings, Op. 29.
 
The intertwining between Bach and composers that followed him seems to have no end!

​by Rebecca Cochran
 
I’d no idea that the renowned photographer and conservationist, Ansel Adams was also an accomplished pianist. He, apparently, had a tough time deciding whether to finally choose music or photography as his life’s work.
 
One of Adams’ favorite composers was J.S. Bach. There is no doubt that his keyboard studies helped him develop the concentration and depth of focus to become a successful photographer.

by Rebecca Cochran
 
I had the opportunity to play a small musical role in a church service this morning. The piece I was asked to take part in was a wonderful work for hand bell choir and flute. It was a thoroughly enjoyable musical experience.
 
I was also asked to perform a work of my choice for flute alone during the prelude. Of course, I chose Bach, specifically the Sarabande from the Suite in A minor. I love the entire Suite and, especially, the Sarabande.
 
The performances went well and, in fact, I felt remarkably peaceful and fulfilled all day. Maybe I should make it a good habit to start each day with Bach!

by Rebecca Cochran
 
It seems that Bach is even the subject of a play. Conceived by playwright, Itamar Moses, the play, entitled Bach at Leipzig, was first presented in Ithaca, New York in 2002.
 
Set in 1722, the action recounts the unexpected death of Leipzig’s revered organist of the Thomaskirche, Johann Kuhnau, and how the town council conducts the search for Kuhnau’s replacement. Of course, one of the musicians who auditions for the job is none other than J.S. Bach. The rest, shall we say, is history.
 
I would love the chance to see the play. ​Here is a Samuel French video with playwright, Itamar Moses explaining how he got the idea for Bach at Leipzig.

by Rebecca Cochran
 
I recently discovered WGBH Radio's Bach Minutes. They are 5- or 6-minute long audio clips on interesting aspects of J.S. Bach and his music. Delivered by Benjamin Rowe, the Minutes touch on such topics as Music and Math in Harmony: The Art of the Fugue, Pablo Casals and the Cello Suites and many more.
 
As with everything WGBH produces, these are well done and well worth your time. Have a listen here.

by Rebecca Cochran
 
Last evening, I attended a performance by the Bavarian Radio Symphony Orchestra, as part of their American tour. Mariss Jansons conducted a program consisting of the Korngold Violin Concerto in D Major, Op. 35 and Mahler Symphony No. 5. Leonidas Kavakos was the violin soloist.
 
I appreciated the in-depth program notes that explained the connection between Mahler and Korngold. Erich Korngold, a child prodigy, was composing by the age of 10. When Erich played his cantata, Gold, for Mahler in 1909, Mahler recognized his genius and recommended he study with composer Alexander von Zemlinsky. Korngold’s Violin Concerto evokes these two mentors.

The Concerto, of course, opened the program. Leonidas Kavakos performed convincingly. I love this piece and Kavakos’ rendering of it. The audience couldn’t get enough. Following several curtain calls, Kavakos returned to play an encore.
 
The encore was none other than the Gavotte en Rondeau from Bach’s Violin Partita No. 3 in E Major (BWV 1006). Kavakos’ interpretation was exquisitely beautiful. As gorgeous as the Korngold was, I can’t stop thinking about the Gavotte.
 
Following intermission, the BRSO delivered a gut-wrenching performance of Mahler 5. I heard so much of Bach in the Mahler, especially the fugue that opens the finale.
 
Bach fit with this program so well, once again proving his timelessness and universality.

by Rebecca Cochran
 
I admit it. Watching this Baby Einstein Bach Musical Adventure Kids video provided a relaxing diversion in the middle of my workday yesterday. I’m going to keep it handy for whenever I need a fun Bach break!

by Rebecca Cochran
 
Here’s a special video from 2000 introducing the Virgin Classics release of a CD of Bach Cantatas & Arias. It features tenor, Ian Bostridge and Europa Galante, directed by Fabio Biondi.
 
The recording session takes place in a lovely old church in Parma, Italy where, as Bostridge states, “We are bringing Italian sunshine into Bach’s music.” Sunshine, indeed!  

Enjoy the short promo film here.

by Rebecca Cochran
 
The Largo from Bach’s Keyboard Concerto in F minor (BWV 1056) has to be one of the most sublime movements ever written. Scholars think that Bach may have adapted it from his Oboe Concerto in F major. The movement is also used as the Sinfonia in his Cantata 156.
 
Interestingly, this movement closely resembles the opening movement of a flute concerto by Telemann. Although we cannot know definitively, experts feel that Telemann was the originator of this musical material. Bach then adapted it for his own purposes.
 
Now often referred to as the Bach Arioso, flutists, violinists, cellists, guitarists and other instrumentalists have claimed this work over the years, using it as a standalone piece or as encore material. It is yet another great example of the flexibility and adaptability of Bach and his contemporaries.

by Rebecca Cochran
 
According to this post on coffeemakersusa.com, although I counted at least one other composer on their “Top 11 Famous Coffee Drinkers from the History Books” list, Johann Sebastian Bach ranks as #1.

​This is a fun read – enjoy!

by Rebecca Cochran
 
Bach most likely composed his Concerto for Four Harpsichords in A minor (BWV 1065) around 1730-1733, when he was enjoying his tenure as director of the popular Collegium Musicum in Leipzig. This music society, founded by Telemann, was made up of both talented students and professionals. The performances were held at Zimmermann’s Coffee House.
 
Bach adapted this concerto from Vivaldi’s Concerto for Four Violins and String Orchestra in B minor. It represents yet another example of Bach’s repurposing works by other popular composers of the day.
 
If time travel becomes an option in my lifetime, I’ll elect to travel back to the premiere of this concerto at Zimmermann’s. The visual spectacle of four harpsichords (probably played by Bach and his sons!) and a small string orchestra in a causal setting, combined with the aural perfection of Bach’s music, would be well worth the trip!
 
Try to imagine that scene as you listen to the opening allegro of this concerto here. It features The English Concert and harpsichordists Trevor Pinnock, Kenneth Gilbert, Lars Ulrik Mortensen and Nicholas Kraemer.

by Rebecca Cochran
 
Last evening, I had the pleasure of hearing a recital by the Hungarian organist, harpsichordist and composer, Bálint Karosi. I went not knowing what was to be on the program, but it was one of those rare musical opportunities where “I just had an instinct that something special could happen.”
 
His program consisted of lots of Bach, including one of my favorite keyboard works, Fantasia and Fugue in A minor (BWV 944). I wrote about this work in an earlier post.
 
Also included were works by Buxtehude, the French contingent (Couperin, Duruflé and Vierne), plus a movement from one of Karosi’s own compositions, Symphony no. 1 on a chorale by Béla Bartók.
 
The pièce de résistance, however, was the encore. Mr. Karosi delivered, on the spot, a complex organ improvisation based on a theme given to him only seconds before. I don’t know who was more mesmerized – the audience or Mr. Karosi himself!
 
I’ve learned to trust my musical instincts. “Something very special” did, in fact, happen last evening.
 
Learn more about Bálint Karosi here.

by Rebecca Cochran
 
Yesterday, I wrote about the young Bach walking long distances throughout his German homeland to hear and learn from some of the most famous organists of his day. In the process of my research, I ran across a modern-day story of a walking musician.
 
In 2014, American cellist, Dane Johansen, walked almost 600 miles through Spain with his cello on his back. He performed and recorded the six Bach Cello Suites in historic churches along the famous Camino de Santiago. In addition to the recordings, a documentary film is in the works.

Learn more about Dane’s journey here.

by Rebecca Cochran
 
Bach loved to walk. He was known to have taken many long journeys throughout his native Germany on foot.
 
While still a teenager, Bach walked the 200 miles from Lüneburg to Ohrdruf to hear the accomplished organist, Georg Bohm. This practice of setting out on foot for the chance to hear and meet more experienced musicians became a theme with Bach. He regularly walked the thirty miles from Lüneburg to Hamburg to hear other great organists.
 
The walk that is most recounted was probably Bach’s longest walk. At the age of 20, he made the journey from Arnstadt to Lübeck, a trip of nearly 260 miles, to hear the famous organist, Dietrich Buxtehude. It was winter, no less.
 
It’s #NationalWalkingDay. Get out there and walk!