by Rebecca Cochran
 
Bach’s Cantata 36, Schwingt freudig euch empor (Soar joyfully upwards) was composed in 1731 in Leipzig for the beginning of the Advent season. The cantata is unique in structure: Bach interspersed the various arias with chorale instead of recitatives. Another reason I love this cantata is that Bach assigned major roles to the oboes d'amore. In a post earlier this year, I referred to this cantata as “otherworldly.” Read that post here.

Another beautiful aria, for tenor, from Cantata 36, is Die Liebe zieht mit sanften Schritten (Love approaches his beloved). This recording features conductor, Philippe Herreweghe with Christoph Pregardien, tenor. The tenor aria starts at 07:34.

by Rebecca Cochran
 
Bach’s Cantata 61 (Nun komm, der Heiden Heiland) is another that he composed in Weimar to celebrate Advent. It was first performed in 1714. Bach performed the cantata again in Leipzig in 1723.
 
The third movement, an aria for tenor, Komm, Jesu, komm zu deiner (Come, Jesus, come to Your Church) is written in the style of a gigue. The combination of voice, strings and continuo makes it feel like a trio sonata.

Enjoy this Nikolaus Harnoncourt recording with esteemed tenor, Ian Bostridge.

by Rebecca Cochran
 
Bach originally composed the church cantata Wachet! betet! betet! wachet! (Watch! Pray! Pray! Watch!) for the second Sunday of Advent. He later reworked and expanded it, while in Leipzig, to a cantata in two parts for the 26th Sunday after Trinity.
 
The original version, BWV 70a, was first performed on this day in Weimar in 1716. Unfortunately, the original version has been lost. Enjoy this lively rendering featuring the Bach-Collegium Stuttgart directed by Helmuth Rilling. Soloists include Arleen Augér, soprano; Verena Gohl, alto; Lutz-Michael Harder, tenor and Siegmund Nimsgern, bass. The version heard here simply omits the additions from the later version.

by Rebecca Cochran
 
On this day in 1791, Wolfgang Amadeus Mozart passed away. Although Bach was already gone by the time Mozart was born, Mozart was known to have taken inspiration from Bach. This inspiration is especially recognizable in Mozart’s religious works, specifically his use of fugal techniques in both his C minor Mass and, of course, the Requiem.

Make time to listen to your favorite recording of one of these monumental works today.

by Rebecca Cochran
 
It’s cool, dark and drizzly outside. I need something uplifting this morning. Bach’s Sonata for Violin & Piano in E major (BWV 1016) is just the ticket.
 
Here’s Frank Peter Zimmermann, violin with Enrico Pace, piano in a lively and uplifting rendition of this beautiful sonata.

Thanks, J.S.!

by Rebecca Cochran
 
On this second anniversary of my mother’s passing, I’m recalling the Bach motet, Jesu, meine Freude (BWV 227). It may have been written for a funeral.

Enjoy this video recording of the motet featuring the Vocalconsort Berlin, under the direction of Daniel Reuss.

by Rebecca Cochran
 
The koto is a traditional Japanese stringed instrument originally developed in the 16th century. Made of wood, the koto is comprised of 13 strings strung over 13 movable bridges along the width of the instrument. It is played by plucking the strings using three finger picks (or plectra).
 
Enjoy this recording of Bach’s Two-Part Invention No. 13 arranged by Norio Maeda, featuring Tadao Sawai, first koto; Kazue Sawai, second koto; Hozan Yamamoto, shakuhachi; Sadanori Nakamure, guitar; Tatsuro Takomoto, bass and Takeshi Inomata, drums.

by Rebecca Cochran
 
It’s always nice to come home. Having just done so myself, I recalled this lovely video showing historic photographs of Bach’s home in Leipzig, including his Componir-Stube (composing room).
 
The video is set to an aria from Cantata 170 (one of my personal favorites), featuring Janet Baker with the Academy of St. Martin-in-the-Fields conducted by Neville Marriner.

Enjoy!

by Rebecca Cochran
 
I stumbled upon an interesting video entitled Battle: Mozart vs. Bach in which Mozart’s Piano Concerto No. 23 and Variation 25 from the Goldberg Variations are pitted against each other.

I consider it less of a battle, however, and more of an example of the similarities between the two works. Have a look here.

by Rebecca Cochran
 
The theremin is an early electronic instrument invented by Leon Theremin in 1928. Controlled without physical contact, the instrument consists of two metal antennas that sense the relative position of the player’s hands, one for frequency and the other for volume. The electric signals from the theremin are amplified and sent to a loadspeaker.
 
The instrument has been most widely used in avant-garde music and in film scores. Of course, the occasional theremin player cannot resist trying the instrument out on Bach! 

Listen to Variation No. 25 from the Goldberg Variations performed by thereminist, Grégoire Blanc.

by Rebecca Cochran
 
Variation 25 of the Goldberg Variations, marked adagio in Bach’s hand, was famously referred to as “the black pearl” by harpsichordist, Wanda Landowska. Others have described the variation as the emotional high point of the work.

Enjoy this recording of “the black pearl” by pianist, Alexis Weissenberg.

by Rebecca Cochran
 
Bach’s Cantata 170, Vergnügte Ruh, beliebte Seelenlust (Delightful rest, beloved pleasure of the soul) is a solo cantata for alto which was first performed in Leipzig in the summer 1726. It is one of three cantatas Bach wrote that summer and fall in which the alto soloist is the only singer.
 
The cantata is fairly brief and intimately scored for a small ensemble of oboe d’amore, two violins, viola, organ and continuo.

Enjoy the restful third movement, for alto, performed by the Choir and Orchestra of the J. S. Bach Foundation with conductor, Rudolf Lutz.

by Rebecca Cochran
 
The seventh variation of the Goldberg Variations is marked al tempo di Giga by Bach. Its dotted rhythms are similar to Bach’s French Suite No. 2 and to the gigue in his Overture in the French Style. This style of gigue is sometimes referred to as a canary gigue, based on the rhythm of a dance originating in the Canary Islands.
 
Hear the canary gigue in this recording by pianist, Glenn Gould.

by Rebecca Cochran
 
Australian composer, Percy Grainger (1882-1961) spent many years in Europe and America. His Blithe Bells (Ramble on Bach's 'Sheep May Safely Graze') for band and tuneful percussion premiered in 1930 by the Goldmon Band, an American concert band founded in 1918.
 
Enjoy this 2010 rendering by the Royal Philharmonic Orchestra, conducted by Andrew Litton at Royal Albert Hall.

by Rebecca Cochran
 
Bach’s Cantata 17, Wer Dank opfert, der preiset mich (He who offers thanks praises Me) was composed in Leipzig and first performed there on September 22, 1726. With its joyous instrumental opening and two jubilant choral sections, it feels just right for Thanksgiving Day!
 
Enjoy this recording featuring the Holland Boys Choir and the Netherlands Bach Collegium conducted by Pieter Jan Leusink.

​by Rebecca Cochran
 
Johann August Reinhold Bach (1835-1914), a distant relative of J. S. Bach, is believed to have immigrated to America with his family in 1848.
 
He and his daughter were on board the Empress of Ireland, “Canada’s Titanic,” when it sank in the St. Lawrence River after colliding with a Norwegian vessel in May 1914. Johann August Reinhold Bach perished in this disaster; his daughter survived.

by Rebecca Cochran
 
“I have seen things from the famous Weimar organist, Mr. J.S. Bach, for the church as well as for the hand, and which are certainly done so that the man is much to be esteemed." — Hamburg writer, Johann Mattheson

by Rebecca Cochran
 
I heard a news report today about an effort to preserve an old cemetery in my local region. I assumed, wrongly, that cemeteries were naturally protected from development.
 
Now, I’ve just come across this beautiful video entitled “The Beauty of Old Cemeteries.” It is set to Bach’s Prelude and Fugue in A minor for organ (BWV 543). The organist is Robert Noehren. The cemetery images, from Gniezno, Poland are lovely.

by Rebecca Cochran
 
A California-based flooring company markets a range of wood flooring called the Composer Collection. The Bach line is a lovely oak offering. The collection also includes Beethoven, Mozart and Brahms lines.
 
Ah, marketing -- I wonder if the composers’ families are receiving royalties!

by Rebecca Cochran
 
Today is the anniversary of Franz Schubert’s death. In his too short life (1797-1828), he composed masterpiece after masterpiece.

Of course, Schubert revered Bach (and Beethoven)!
 
Enjoy this beautiful video of Schubert’s Ave Maria with organ soloist, Jonathan Scott in St. Mary’s Church, Failsworth, England.

by Rebecca Cochran
 
“Bach is Bach, as God is God.” — Hector Berlioz

by Rebecca Cochran
 
Chopin’s advice to his students: “Always practice Bach; this will be your best means to make progress.”
 
Chopin’s method of preparing for a performance: “For a fortnight I shut myself up and play Bach. That’s my preparation; I don’t practice my own compositions.”

by Rebecca Cochran
 
I love discovering examples of Bach’s music being used in inventive ways today.
 
A few years ago, Red Bull created a performance series entitled Red Bull Flying Bach. Here are a couple of TV commercials that advertised the series.

Watch a breakdance crew dance to Bach in Australia and another performance in Baku, Azerbaijan.

by Rebecca Cochran
 
Did you see the super moon last evening? I did; I was moved almost to tears.
 
This morning, still reveling in that memory, I found this lovely video entitled Bach Moon. Words are not necessary.

by Rebecca Cochran
 
I attended a concert yesterday by a renowned saxophone quartet. Although this performance was focused on new music, I recalled that many of J.S. Bach’s works have been beautifully adapted for various sax ensembles.
 
Enjoy this video recording of musicians from The United States Army Field Band performing Bach’s "Little" Fugue in G minor (BWV 578), arranged by Staff Sergeant David Parks.