“Old concept: Love is blind. Marriage is an eye opener. New concept: Love is not blind; it simply enables one to see things others fail to see.” -- J.S. Bach
by Rebecca Cochran
“Old concept: Love is blind. Marriage is an eye opener. New concept: Love is not blind; it simply enables one to see things others fail to see.” -- J.S. Bach by Rebecca Cochran
On Bach: “It's music that makes you think. It compels you. The more you listen, the more you hear; the more attentive you are, the more you realize there is to discover in it.” — Pianist, Angela Hewitt by Rebecca Cochran
I’ve just discovered this excellent video entitled Glory to God Alone: The Life of J.S. Bach. It features scenes from Eisenach, Ohrdruf, Weimar, Kothen, Muhlhausen and Leipzig with insights from noted J. S. Bach scholars. Enjoy the video here. by Rebecca Cochran
Bach’s Sonata No. 6 in G Major for Violin and Harpsichord (BWV 1019) might just be my favorite of this set of six. I love the fact that Bach writes a harpsichord solo (Allegro) as the entire third movement. Enjoy this recording by harpsichordist, Trevor Pinnock. by Rebecca Cochran
The third movement of Bach’s Cantata 135 (Ach Herr, mich armen Sünder) is a comforting tenor aria. Thank you, JSB. Listen to it here, performed by the Choir and Orchestra of the J. S. Bach Foundation with Rudolf Lutz, conductor and Hans Jörg Mammel, tenor. by Rebecca Cochran
This being Election Day in the U.S., after casting my vote, I knew I needed something soothing to get me through the day. I immediately thought of the andante movement from Bach’s Sonata in E minor for flute and continuo (BWV 1034). Relax to this recording featuring flutist, John Solum, harpsichordist, Igor Kipnis and cellist, Barbara Bogatin. by Rebecca Cochran
In his Violin Partita No. 1 in B minor (BWV 1002), Bach followed each of the usual French dance movements of the day (allemande, courante, sarabande and bourée) with a double. The double is a sort of variation that elaborates on the bass line of the previous movement. Bach also broke with tradition in this partita by substituting the bourée in place of the typical Baroque gigue. Furthermore, he marked it Tempo di Borea. Perhaps Bach was experimenting? Evolving? Rebelling? Whatever the case, his results are exquisite. Hear for yourself in this performance by violinist, Gidon Kremer. by Rebecca Cochran
La Folia is one of the most popular musical themes in all of Western music, used by scores of composers from the Baroque period to the present day. J.S. Bach used the theme as an instrumental accompaniment to an aria in his Peasant Cantata (BWV 212). Enjoy this lively video of a performance featuring the Choeur de Chambre de Namur and Les Agrémens, directed by Leonardo García Alarcón. by Rebecca Cochran
“Once I understood Bach’s music, I wanted to be a concert pianist. Bach made me dedicate my life to music, and it was that teacher who introduced me to his world.” — Nina Simone by Rebecca Cochran
On this day in 1847, Felix Mendelssohn passed away at the tender age of 38. We have Mendelssohn to thank for the revival of J. S. Bach’s music in Germany and, eventually, throughout Europe. Mendelssohn’s grandmother had given him a copy of the manuscript of Bach’s St. Matthew Passion. Four years later, he arranged and conducted a performance of the work in Berlin. The rest, shall we say, (thankfully) is history. by Rebecca Cochran
I just chanced upon Classical FM’s Fast and Friendly Guide to Bach. It’s a short video on J.S. Bach and some of the defining moments of his life. The written biography within this link is well worth a read, too. Characterizing Bach as “music’s most sublime creative genius” is spot on! by Rebecca Cochran
In his Cantata BWV 66 Erfreut euch, ihr Herzen (Rejoice, you hearts), Bach treats us to two vocal duets! The fifth movement, scored for alto, tenor and virtuoso violin is one of my favorites. Enjoy this video recording featuring soloists Alex Potter, alto and Julius Pfeifer, tenor with the J.S. Bach Foundation and conductor, Rudolf Lutz. by Rebecca Cochran
Bach’s Pedal-Exercitium (BWV 598) is a short, complex work for organ pedals. With its fast passages and challenging articulations, the piece is considered a sort of exercise for the developing organist. The surviving manuscript is in the hand of Bach’s son, Carl Philipp Emanuel. It may simply be a piece that Carl Phillip jotted down as he was listening to his father improvise at the pedals. To add to the mystery, the manuscript does not include an ending. Recent research concludes that this fragment was not a work of J.S. Bach. 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. |
My Year of Bach.This is an experiment. Archives
January 2017
Categories
All
|