by Rebecca Cochran
The link between Bach’s music and jazz is an ongoing topic of discussion, online and off. Recently, when listening to the opening chorale fantasia from BWV 140, Wachet auf, ruft uns die Stimme (nicknamed Sleepers Awake), I was reminded of Bach’s clever, even “jazzy” use of syncopation among the voices.
According to John Eliot Gardiner, conductor, harpsichordist and Bach scholar, “If anyone in the posh world of classical music ever doubted that J.S. Bach could also be considered the father of jazz, here is the proof.”
Have a listen here.
The link between Bach’s music and jazz is an ongoing topic of discussion, online and off. Recently, when listening to the opening chorale fantasia from BWV 140, Wachet auf, ruft uns die Stimme (nicknamed Sleepers Awake), I was reminded of Bach’s clever, even “jazzy” use of syncopation among the voices.
According to John Eliot Gardiner, conductor, harpsichordist and Bach scholar, “If anyone in the posh world of classical music ever doubted that J.S. Bach could also be considered the father of jazz, here is the proof.”
Have a listen here.
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