​by Rebecca Cochran
 
Since I’m visiting Milan, I was curious as to whether any of the musical Bachs had spent time here. I did discover that J.S. Bach’s youngest surviving son, Johann Christian (1735-1782), lived in Italy for many years. He studied in Bologna, and then became organist at the Milan cathedral in 1760. While in Italy, Johann Christian composed several major works, including two Masses, a Requiem and a Te Deum.
 
J.C. Bach later established himself in England, premiering three operas at the King’s Theatre in London. He was married in London and lived there until his death.

by Rebecca Cochran
 
Bach’s music is often paired with nature-themed imagery and sounds.
 
Dan Gibson's Solitudes, in which he explores nature with music, includes the Air from Bach’s Orchestral Suite No. 3 in D major (BWV 1068). He titles it Bach – Forever by the Sea.

Enjoy the video here.

by Rebecca Cochran
 
The composer and violinist, Johann Ludwig Bach (1677–1731), was a second cousin to J.S. Bach. As a young man, he moved to Meiningen, Germany and became cantor, then Kapellmeister, there.
 
Johann Ludwig was a prolific composer and performer. A cantata, originally attributed to Johann Sebastian (BWV 15) is now thought to be by Johann Ludwig.

​by Rebecca Cochran
 
The organs of Bach’s day, unfortunately, no longer exist. Even at St. Thomas Church in Leipzig, where Bach spent his last 25 years, the organs currently in use date back only to the Romantic era.
 
In the year 2000, the Neue Bach-Orgel  (New Bach-Organ) was installed at St. Thomas Church. It was built by the German organ manufacturer, Gerald Woehl. The sound quality of this instrument, with its 61 organ stops on 4 manuals and a pedal board, is similar to the organs built in Middle-Germany during the 18th century. The organ in the University Church St. Pauli, which Bach played during his time in Leipzig, served as the inspiration for the form of the New Bach-Organ.

by Rebecca Cochran
 
The word quodlibet is Latin for “what pleases” or “what you will.” A musical quodlibet is a free form, usually humorous piece combining several disparate melodies and/or texts.
 
The Bach family was a family of musicians and, during family gatherings, they often sang together. Their gatherings usually began on a serious note, and then quickly gravitated to the singing of popular songs, followed by nonsensical quodlibets, which they made up on the spot.
 
Bach’s Wedding Quodlibet (BWV 524) was probably composed as a gift for a wedding, most likely one within the Bach family. The text is amusing (including a reference to a young pig, among other puns) and deliberate mixing up of parts.

Enjoy a recording of it here, featuring Musica Antiqua Köln, directed by Reinhard Goebel.

​by Rebecca Cochran
 
The German composer, cantor and organist, Gottfried August Homilius (1714–1785) is thought to have been one of the most notable church composers to immediately follow Bach. Homilius, in fact, studied organ with Bach in Leipzig.
 
Works by Homilius include more than 10 passions, including his own St. Matthew Passion, plus numerous oratorios, cantatas, motets, chorales, preludes and choral works.

by Rebecca Cochran
 
A few years ago, NPR hosted “Goldberg Week” during which Tom Huizenga explored Bach’s Goldberg Variations from many clever angles.
 
The week included The Official Goldberg Variations Puzzler, challenging the astute listener to identify six interpreters of the Variations.

Try your hand at the Goldberg Puzzler here.

by Rebecca Cochran
 
Young Meister Bach, a comic opera composed by Chuck Holdeman with libretto by Bill Bly, had its premier in March of 2014 by The Bach Choir of Bethlehem and Bach Festival Orchestra.
 
Both children and adults will enjoy this witty and fun approach to the world of J.S. Bach. View the opera’s introductory video here.

by Rebecca Cochran
 
Bach is considered by many to be “the father of the development of clavichord playing.” He composed numerous works for the instrument and, therefore, had a significant influence both on clavichord playing and clavichord building in Germany.
 
I’ve read that Bach had a certain “touch” on the keyboard, be it on the clavichord, the harpsichord or the organ. That “touch” is of huge importance in clavichord technique. In fact, many Bach scholars believe that the clavichord was Bach’s favorite keyboard instrument!
 
Watch and listen to a performance of the Preludio from the Violin Partita No. 3, arranged for clavichord by Ryan Layne here.

by Rebecca Cochran
 
The “Chimes of Bach” is the name of a set of wind chimes tuned, evidently, to the first chord of Bach's Prelude in C from the Well-Tempered Clavier, Book I. The chime maker, Woodstock Chimes, offers a lifetime tuning guarantee and claims “the Chimes of Bach can turn your garden into a concert hall.”
 
The chimes do sound lovely. Have a listen here.

by Rebecca Cochran
 
The St. Thomas Boys Choir in Leipzig, Germany dates back to the year 1212. Bach served as cantor of St. Thomas Church from 1723 until his death in 1750.

St. Thomas Church and the Boys Choir continue Bach’s musical legacy to this day. Performances of Bach’s Passions and the Christmas Oratorio draw thousands of visitors to St. Thomas Church every year.

by Rebecca Cochran
 
The Bachhaus (Bach House) in Eisenach, Germany is a museum and library dedicated to the collection and preservation of everything relating to Johann Sebastian Bach and his life’s work. The museum hosts short concerts every hour as well as special exhibitions for visitors of all ages.

Learn more about the Bachhaus here.

by Rebecca Cochran
 
John Eliot Gardiner’s documentary, Bach: A Passionate Life, gives us a glimpse into the daily life of Bach. In this 90-minute film, Gardiner reveals both the man and the musician.

Watch the film here.

by Rebecca Cochran
 
The Toccata and Fugue in F Major for organ (BWV 540) are believed to be two separate entities that Bach joined together to create a single work. The Toccata was probably composed during his Weimar years; the Fugue was composed later during Bach’s tenure in Leipzig.
 
If these assumptions are correct, it means that Bach wrote the Toccata for one instrument and the Fugue for another. In Bach’s day, as today, organs varied greatly from one to another. This is yet another instance of Bach at his creative best.

by Rebecca Cochran
 
The Carmel Bach Festival, based in Carmel, California is another longstanding Bach-focused presenting organization. Since 1935, the Festival’s mission has been to celebrate the works, inspiration and ongoing influence of Johann Sebastian Bach.
 
This year’s Carmel Bach Festival includes 44 concerts and events from July 13–30. ​Learn more here.

by Rebecca Cochran
 
The Bethlehem Bach Festival is presenting its 109th season now through May 22nd. Based in Bethlehem, Pennsylvania, this year’s Festival includes music and dance performances, lectures, informal talks, as well as a competition for singers.
 
Watch this short film to get a taste of the festival here.

​by Rebecca Cochran
 
The marking per ogni tempo (for all times) appears on Bach’s Cantata 21. Probably composed in Weimar around 1713-14, this work represents Bach’s transition from a writing style based on biblical and hymn texts to a style utilizing baroque poetry.
 
Bach performed this cantata for a variety of events in Weimar, Hamburg, Halle and Leipzig, which further suggests that the general readings and texts are suitable for any occasion. 

by Rebecca Cochran
 
Bach included the flauto piccolo, a small, high-pitched recorder, for the first time in the opening chorus of his Cantata 96, Herr Christ, der einge Gottessohn. Scholars think that his use of the flauto piccolo may have been to add a bit of “sparkle” to the text, which references the brilliance of the morning star.

Enjoy a recording of this sparkling chorus, featuring La Petite Bande under the direction of Sigiswald Kuijken, here.

​by Rebecca Cochran
 
Last year, the best-known portrait of J.S. Bach was returned to Leipzig, the city where Bach spent many of his most productive later years.
 
According to The Guardian, “The portrait of the composer, aged around 60, by Elias Gottlob Haussmann, had been in the private collection of American philanthropist William H. Scheide for over 60 years – it hung in his living room – but, on his death, he bequeathed it to the Bach Archive.”
 
And, there’s more to the story. Just what is that in Bach’s right hand?

Read the complete story in The Guardian here.

by Rebecca Cochran
 
The saxophone was not around in Bach’s day, but that hasn’t kept sax players from making their own arrangements of Bach’s music (thankfully).
 
I came across ​this video recording of the Quintessence Saxophone Quintet performing the Bach “Little” Organ Fugue in G minor (BWV 578). What’s special about the video is that, with five players, rather than a single organist, the viewer is able to easily hear and see the fugue statement as each voice enters. Enjoy!

by Rebecca Cochran
 
I chanced upon mention of the fall of the Berlin Wall in 1989 again yesterday. It was the footage of cellist, Mstislav Rostropovich giving an impromptu performance of the Sarabande from Bach’s Cello Suite No. 2 outdoors at Checkpoint Charlie as the Berlin Wall was beginning to come down. His choice of Bach seems so fitting.
 
Here’s the video that was captured at this momentous event.

by Rebecca Cochran
 
J.S. Bach and “dance” are almost inseparable. Much has been written and discussed on Bach’s use of dance forms in his music.
 
Although I haven’t read it yet, Dance and the Music of J.S. Bach, co-authored by Meredith Little and Natalie Jenne, is high up on my reading list. The current expanded edition was published in 2009 by Indiana University Press.
 
In 2013, WQXR featured Bach 360º, a ten-day festival exploring how J.S. Bach resonates with today’s audiences. The March 26th episode, entitled Dance in the Music of Bach, highlighted the top five dance works based on Bach's music. Listen to the episode here.

by Rebecca Cochran
 
Vocalist and conductor, Bobby McFerrin, is probably best known for his unique vocal techniques ranging from scat singing to the singing of polyphonic overtones and improvisations. I heard him in performance once and was particularly enthralled with his Bach interpretations.
 
Enjoy this video of his improvisation of the Bach/Gounod, Ave Maria, “Live from the Marketplace in Leipzig” in 2000. The smiles on the faces of the audience participants (in the rain, no less) are priceless!

by Rebecca Cochran
 
I took in a jazz performance last evening. The band played several Ellington and Strayhorn favorites, including Take the A Train. I was curious to learn more about Strayhorn. Here’s what I discovered.
 
Billy Strayhorn was Duke Ellington’s alter ego. The two musicians collaborated for many years, but it was Strayhorn who composed Take the A Train.
 
Strayhorn grew up on Bach and many of the other classics, having studied at the Pittsburgh Musical Institute. He wanted to be a concert pianist. Ellington openly acknowledged that Strayhorn’s skill as a composer was, in part, owed to the fact that he understood Bach.

by Rebecca Cochran
 
I’m working on a piece by composer, Peter Schickele. Of course, I’m reminded of Schickele’s P.D.Q. Bach fame. I remember seeing a live performance of P.D.Q. Bach years ago and I recall it being chock-full of hilarious musical puns.
 
Last year marked the 50th anniversary of P.D.Q. Bach. According to the Schickele/P.D.Q. Bach website, the performances are still going strong!