Blog Posts - Flute Alone

Pastorella

12/20/2016

by Rebecca Cochran

Bach’s Pastorella in F major for organ (BWV 590) has often been described as a four-movement Christmas concerto. Bach chose four Italian genres — pastorale, allemande, aria and giga — imparting an uplifting and lively mood throughout.

Each of the four movements makes use of a drone-like figure, similar to a hurdy-gurdy or a bagpipe used in the meadow, thus explaining the pastoral connotation of the work.

Enjoy this recording of the Pastorella featuring organist, Karl Richter.

The Wedge

12/19/2016

by Rebecca Cochran

The Prelude and Fugue in E minor (BWV 548) is a work Bach composed for organ during his years in Leipzig. The fugue’s interesting structure has resulted in the piece being nicknamed “The Wedge.”

Enjoy this short video by Duke University Chapel Organist, Christopher Jacobson explaining and demonstrating “The Wedge.”

Joy

12/18/2016

by Rebecca Cochran

Bach composed his Cantata 147, Herz und Mund und Tat und Leben (Heart and mouth and deed and life), in Weimar for the fourth Sunday of Advent in 1716. He later reworked and expanded the cantata for the feast of the Visitation in Leipzig.

The expanded version, in two parts, closes with the now famous chorale, Jesus bleibet meine Freude (Jesus shall remain my joy). Today, we know the chorale as Jesu, Joy of Man’s Desiring.

Enjoy this version for piano solo featuring Glenn Gould.

In Full Swing

12/17/2016

by Rebecca Cochran

On this day, in 1770, Ludwig van Beethoven was baptized. (There exists no authentic record of the date of his birth.)

What we do know is that Beethoven was greatly influenced by Bach. He regularly studied the preludes and fugues of Bach’s Well-Tempered Clavier, even copying out several of them to sort of reenact the process of composing them. He was also fond of playing these works in the salons of the nobility in Vienna.

When Beethoven learned that the Leipzig publishers, Hoffmeister and Kühnel, had plans to publish a complete edition of Bach’s clavier work, he stated, “That you want to publish Sebastian Bach’s works delights my heart, which beats wholly for the great and lofty art of this father of harmony, and I wish soon to see the enterprise in full swing.”

Sinfonia Pastorale

12/16/2016

by Rebecca Cochran

I know it’s not quite Christmas yet, but I cannot resist sharing the Sinfonia Pastorale from Part II of Bach’s Christmas Oratorio (BWV 248).

This performance by the Stuttgart Radio Symphony Orchestra under Garcia Navarro is just what I needed this morning!

Bells

12/15/2016

by Rebecca Cochran

A few years ago, the venerable Canadian Brass created a beautiful compilation for Christmas. Entitled Bach’s Bells, it draws inspiration from Bach’s Cantata 29 and Carol of the Bells. The piece, for brass quintet, was composed by Canadian Brass trumpeter, Chris Coletti.

Enjoy Bach’s Bells here.

Devilish Hubbub

12/14/2016

by Rebecca Cochran

“All music should have no other end and aim than the glory of God and the soul's refreshment; where this is not remembered there is no real music but only a devilish hubbub.” — J.S. Bach

The Younger

12/13/2016

by Rebecca Cochran

Johann Sebastian Bach the Younger (1748-1778), named for his grandfather, was the son of Carl Philipp Emmanuel Bach. J.S. Bach the Younger was a painter who was renowned in his lifetime. His works consist mostly of brush drawings of landscapes and mythological themes. His collections reside in Coburg, Dresden, Hamburg, Leipzig and Vienna.

In Heaven

12/12/2016

by Rebecca Cochran

“If Bach is not in Heaven...I am not going!” — William F. Buckley

Taille

12/11/2016

by Rebecca Cochran

Bach’s Cantata 186a Ärgre dich, o Seele, nicht (Do not be confounded, o soul), originally composed in 1716 for the third Sunday in Advent in Weimar, is another of those that was since lost. Luckily, Bach had reworked and expanded the cantata during his Leipzig years. The later 1723 version still survives.

Bach’s expanded version (BWV 186) includes recitatives and the addition of taille (tenor oboe). Have a listen to a recording by Ton Koopman and The Amsterdam Baroque Choir.

Sighs

12/10/2016

by Rebecca Cochran

Bach composed his Cantata 21, Ich hatte viel Bekümmernis (I had much grief) in Weimar, possibly in 1713. He marked the work as e per ogni tempo (and for all times) to indicate its suitability for any occasion. Bach revised this cantata several times: during his Köthen years and again, in Leipzig, changing the instrumentation to suit the occasion.

The soprano aria in Part 1, Seufzer, Tränen, Kummer, Not (Sighs, tears, anguish, trouble) is gut-wrenchingly beautiful. It is one of the first arias in Italian style in a Bach cantata, accompanied by an obbligato oboe.

Enjoy this recording by The Amsterdam Baroque Orchestra and Choir with Ton Koopman, conductor and Barbara Schlick, soprano.

Love of Life

12/9/2016

by Rebecca Cochran

“I always find Bach to be an expression of a love of life. There's an enthusiasm that's absolutely contagious.” — Itzhak Perlman

Upwards

12/8/2016

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.

Come

12/7/2016

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.

Watch!

12/6/2016

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.

1791

12/5/2016

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.

Uplifting

12/4/2016

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.!

Funeral Motet

12/3/2016

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.

Koto

12/2/2016

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.

Home

12/1/2016

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!

Battle

11/30/2016

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.

Theremin

11/29/2016

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.

Black Pearl

11/28/2016

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.

Rest

11/27/2016

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.

Canary Gigue

11/26/2016

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.