by Rebecca Cochran
 
It’s Halloween and, of course, everyone thinks of Bach’s Toccata and Fugue in D minor for organ (BWV 565).
 
Here’s a recording of this work transcribed and performed by guitarist, Edson Lopes.
 
(Fooled You!)

by Rebecca Cochran
 
"Bach opens a vista to the universe. After experiencing him, people feel there is meaning to life after all.” — Helmut Walcha

by Rebecca Cochran
 
"Just practice diligently and you will do very well. You have five fingers on each hand just as healthy as mine." — J.S. Bach (to one of his pupils)

by Rebecca Cochran
 
A few years ago, Fugue State Films produced the documentary film, Desert Fugue. In it, George Ritchie talks about Bach, the Art of Fugue and the organ. The film is part of a larger project comprising more than three hours of film about the Art of Fugue.

Enjoy one of the film trailers here.

by Rebecca Cochran
 
The third movement of Sonata No. 2 in A major for violin and harpsichord (BWV 1015) is one of my favorite works by Bach. Marked Andante un poco, Bach employs a strict, two-voice canon with bass accompaniment, throughout.
 
Despite the restrictions he sets for himself, Bach, once again, proves his brilliance, leaving us fortunate listeners with a shining gem!

Enjoy this performance by Emlyn Ngai, violin and Peter Watchorn, harpsichord.

The 2007 feature film, The Silence Before Bach, was directed by the legendary Pere Portabella.  

“Bach’s music is the only thing that reminds us the world is not a failure,” says a character in the film.
 
Get a taste of the film’s dramatic, thought-provoking images via the trailer here.

by Rebecca Cochran
 
It is a beautiful morning! I cannot help but recall Bach’s Cantata BWV 1, Wie schön leuchtet der Morgenstern (How beautifully shines the morning star).
 
Enjoy the opening choral movement here, performed by the Choir and Orchestra of the J. S. Bach Foundation conducted by Rudolf Lutz.

by Rebecca Cochran
 
A few years ago, conductor, Kristjan Järvi and his Absolute Orchestra got the idea for a concert they entitled Bach Re-invented. This ensemble presents music without borders, fusing works ranging from classical and jazz, to rock and hip-hop.
 
Bach Re-invented premiered at Musikfest Bremen, Germany in 2008, with pianist, Simone Dinnerstein as soloist.

Have a listen here.

by Rebecca Cochran
 
I took in a live performance of the Schubert Octet in F major (D. 803) last evening. I love anything by Schubert!
 
Still reeling in the number 8 this morning, I happily discovered this performance of Bach’s well-known Passacaglia in C minor (BWV 582), originally for organ, arranged for trombone octet by Donald Hunsberger.
 
This made my morning! Enjoy it here.

by Rebecca Cochran
 
“It is the special province of music to move the heart.” — J.S. Bach

by Rebecca Cochran
 
“Johann Sebastian Bach has done everything completely; he was a man through and through.” — Franz Schubert

by Rebecca Cochran
 
Stylus phantasticus was an early Baroque style of composing. Rooted in toccatas and fantasias for organ, the style represents a free, improvisatory form without the confines of a libretto. Bach was surely influenced in this style of writing during his long visit to Lübeck to meet organist, Dietrich Buxtehude in 1705, as Buxtehude was a strong proponent of stylus phantasticus.
 
The Chromatic Fantasia and Fugue in D minor (BWV 903) is a formidable example of Bach’s exploration  of stylus phantasticus. Enjoy pianist, András Schiff’s live performance of this work at The Greene Space in 2013.

by Rebecca Cochran
 
“Ceaseless work, analysis, reflection, writing much, endless self-correction, that is my secret.” — J.S. Bach

by Rebecca Cochran
 
Although I’ve been a red wine lover for many years, I’ve just come across Franciscan Estate’s, Magnificat. According to their website, “Magnificat is one of the original Meritage blends in California, a wine Franciscan has proudly produced since 1985. Named for J.S. Bach's masterpiece, it is crafted to be as seamless and harmonious as its musical namesake.”
 
Bach’s Magnificat (BWV 243) has always been one of my favorite works. As a flutist, I especially love the ninth movement, Esurientes implevit bonis (He hath filled the hungry with good things), for alto and two flutes.

Hmm…perhaps Franciscan Estate is filling the thirsty with good things, too!
 
Enjoy this video recording of Nikolaus Harnoncourt conducting the Concentus Musicus Vienna with soloist, Bernarda Fink.

by Rebecca Cochran
 
“You don’t need a fleet of commando bald monks chanting to experience mindfulness. You just need Bach.” — pianist, James Rhodes

 by Rebecca Cochran
 
Bach wrote his cantata 29, Wir danken dir, Gott, wir danken dir (We thank you, God, we thank you) for the inauguration of the newly appointed town council in Leipzig in 1731. This is one of the few sacred cantatas in which Bach opens with an orchestral sinfonia. In this case, the organ dominates. Furthermore, this opening sinfonia is Bach’s reworking of the prelude from his Partita for violin (BWV 1006).
 
Enjoy this recording of the sinfonia with Andrew Parrott conducting the Taverner Players.

by Rebecca Cochran
 
“The poetry, the atmosphere, the intensity of expression, the beauty of the preludes and fugues grip, overwhelm and stimulate us. Let us not be afraid of the supreme contrapuntal science of the fugues, nor be overawed by the stern appearance and heavy wig of Father Bach. Let us gather around him, feel the love, the noble goodness that flow from each one of his phrases and that invigorate and bind us by ties strong and warm.” — Carl Friedrich Zelter, teacher of Felix Mendelssohn

by Rebecca Cochran
 
As a resident of Boston for more than a decade, I made it a point to attend as many music performances as my time and budget permitted. Having since moved south, I still get back to Boston a few times a year, often planning my visit around a concert or two.
 
I have my eye on an upcoming performance as part of the Boston Early Music Festival on November 18. Ton Koopman will direct Juilliard415 & The Royal Conservatoire in a performance of Bach’s Mass in B Minor. Christoph Wolff, author and esteemed Bach scholar, will give a pre-concert talk.

More information on these events can be found here.

by Rebecca Cochran
 
A few years ago, American pianist, Simone Dinnerstein released a CD entitled, Bach: A Strange Beauty. The recording is a wonderful compilation including three chorale transcriptions, two Keyboard Concertos and the English Suite No. 3.
 
Enjoy this music video where Dinnerstein plays excerpts from the CD and shares some of her thoughts on Bach.

by Rebecca Cochran
 
Charles Widor (1844-1937) was a French organist, teacher and composer. He succeeded César Franck as organ professor at the Paris Conservatoire in 1890. A strong proponent of improvisation, Widor recommended that his pupils study the organ works of J.S. Bach to help them become better improvisers.
 
Widor was a prolific composer, creating a vast repertoire of orchestral works, solo works for organ and piano, chamber music, songs and choral works during his long lifetime. His appreciation of Bach shines through in his 1925 work for solo organ, entitled Bach’s Memento.
 
Enjoy this video recording of the Mattheus-Final from Bach's Memento, played by organist, Peter Van de Velde at Antwerp Cathedral.

by Rebecca Cochran
 
A friend mentioned George Shearing to me the other evening. Shearing (1919-2011) was the British jazz pianist who wrote more than 300 compositions including the jazz standard, Lullaby of Birdland. Shearing spent many years in the U.S, collaborating with other great jazz and classical musicians.
 
This morning’s crisp autumn air reminds me of one of my all-time favorite tunes, Autumn Leaves. This wildly popular tune has been recorded by scores of 20th century musicians of all genres.

I adore this short clip of Shearing’s version, à la Bach!

​by Rebecca Cochran
 
Appending to yesterday’s post, another life lesson via Bach I learned from my mentor, pianist/flutist/composer, Louis Moyse happened when he and I were working together on Bach’s Flute Sonata in C major.
 
The opening Andante movement was the reference. After playing through it, Louis advised me, “Start from nothing. Then, allow yourself to grow.”
 
To me, Louis (and Bach) was saying, “We all begin not knowing, but we should be on a lifelong quest for knowledge and self-improvement.”

​by Rebecca Cochran
 
I recall, years ago, one of many, many flute lessons with my mentor, Louis Moyse. We were working on the Bach Partita in a minor.
 
After I had played through the third movement, the Sarabande, Louis stopped me. I remember his exact words: “Make it sound simple.”
 
It took me years to realize that Louis was coaching me on life, through Bach. In this particular instance, Louis was telling me that clear, straightforward communication has a power all its own.

by Rebecca Cochran

Yesterday, pianist, Murray Perahia released his first recording on the Deutsche Grammophon label. The recording is of the Bach French Suites.
 
DG released a trailer with Perahia discussing his feelings and experiences around Bach. There was a time when, due to a hand injury, the pianist had to refrain from playing. Nonetheless, states Perahia, “I would study Bach every day and it would really nourish me. For that, I am very, very grateful.”

Enjoy the video trailer here.

by Rebecca Cochran
 
“I had been listening to a lot of Bach. All of a sudden the wheat field was playing Bach. It was the most wonderful experience of my life up to that point.” — Steve Jobs