Bach, Bach, and more Bach please

[Freyja]

I would think He needs no introduction in a forum like this one. Good ol' JSB is, in my opinion, the greatest Genius who ever graced this world (and all the others). I am talking about the Man who sired the most intellectually complex, technically demanding, emotionally overwhelming, spiritually inspiring, aesthetically and academically perfect, towering musical artworks ever composed; the Alpha and Omega of Music, whose Work is unquestionably considered the Everest of Civilization.

His language is universal and transcends any and all possible barriers. His influence is extraordinary, and all superlatives aren't enough to describe His magnificent body of work. On top of that, there is His divine inspiration and drive. As we all know, His signature reads "Soli Deo Gloria", or "To God alone the glory". Now, please don't get me wrong, I am not trying to preach or force any beliefs into others in any way, shape or form, but I am giving credit where credit is due. It is truly telling, and it shows a great deal of integrity the fact of dedicating a whole life to the purpose of honoring something greater than ourselves. Whether the Guy upstairs exists or not it's completely irrelevant to my point, the fact of the matter remains, Bach believed that He did, and created a whole Universe of unparalleled beauty and harmony around this belief. Not for the clout, not for fame and glory, but to honor this belief, and the God who inspired it. And He did so with the utmost excellence, which we should all strive for. Nothing but my deepest respect for this Man.

I truly don't think a more overwhelming, blatant, unquestionable supremacy can ever be stated as that of Herr Bach in His field. So without further ado, this is His well-deserved thread

Please feel welcome to participate, and thanks for doing so

I will be lucky enough to attend an upcoming performance of St. John's Passion that will take part in my town next month, on Good Friday. This is the earth-shattering opening Chorus, Herr, unser Herrscher, delivered by renowned Bach scholar Sir John Eliot Gardiner and his crew, the English Baroque Soloists and the Monteverdi Choir:

Herr, unser Herrscher, dessen Ruhm In allen Landen herrlich ist! Zeig uns durch deine Passion, Dass du, der wahre Gottessohn, Zu aller Zeit, Auch in der größten Niedrigkeit, Verherrlicht worden bist!

Lord, our master, whose glory In every land majestic is! Show us through this thy passion That thou, the true Son of God, At all times, Even in the deepest humiliation, Art glorified!

https://witness.lcms.org/2022/a-beginners-guide-to-bachs-st-john-passion/

 

[Svein]

And he also wrote happy pieces like this: .

 

[pinball1970]

I would think He needs no introduction in a forum like this one. Good ol' JSB is, in my opinion, the greatest Genius who ever graced this world (and all the others). I am talking about the Man who sired the most intellectually complex, technically demanding, emotionally overwhelming, spiritually inspiring, aesthetically and academically perfect, towering musical artworks ever composed; the Alpha and Omega of Music, whose Work is unquestionably considered the Everest of Civilization.

His language is universal and transcends any and all possible barriers. His influence is extraordinary, and all superlatives aren't enough to describe His magnificent body of work. On top of that, there is His divine inspiration and drive. As we all know, His signature reads "Soli Deo Gloria", or "To God alone the glory". Now, please don't get me wrong, I am not trying to preach or force any beliefs into others in any way, shape or form, but I am giving credit where credit is due. It is truly telling, and it shows a great deal of integrity the fact of dedicating a whole life to the purpose of honoring something greater than ourselves. Whether the Guy upstairs exists or not it's completely irrelevant to my point, the fact of the matter remains, Bach believed that He did, and created a whole Universe of unparalleled beauty and harmony around this belief. Not for the clout, not for fame and glory, but to honor this belief, and the God who inspired it. And He did so with the utmost excellence, which we should all strive for. Nothing but my deepest respect for this Man.

I truly don't think a more overwhelming, blatant, unquestionable supremacy can ever be stated as that of Herr Bach in His field. So without further ado, this is His well-deserved thread

Please feel welcome to participate, and thanks for doing so

I will be lucky enough to attend an upcoming performance of St. John's Passion that will take part in my town next month, on Good Friday. This is the earth-shattering opening Chorus, Herr, unser Herrscher, delivered by renowned Bach scholar Sir John Eliot Gardiner and his crew, the English Baroque Soloists and the Monteverdi Choir:

Herr, unser Herrscher, dessen Ruhm In allen Landen herrlich ist! Zeig uns durch deine Passion, Dass du, der wahre Gottessohn, Zu aller Zeit, Auch in der größten Niedrigkeit, Verherrlicht worden bist!

Lord, our master, whose glory In every land majestic is! Show us through this thy passion That thou, the true Son of God, At all times, Even in the deepest humiliation, Art glorified!

https://witness.lcms.org/2022/a-beginners-guide-to-bachs-st-john-passion/

Bach probably my number one too but I like to think of him as a musician first, so would have got his inspiration from wherever he got it, wife, kids, bird singing.

Science even?

Quoting Richard Dawkins from a 2007 debate, “we will never know what Haydn’s Evolution oratorio would have sounded like, or Beethoven’s Mesozoic symphony.”

 

[pinball1970]

I love this one

 

[Freyja]

And he also wrote happy pieces like this: .

He wrote so many happy pieces! Bach makes my soul dance

Beautiful Badinerie by Rampal, always loved his musicality and joy of vivre in this piece.

 

[Freyja]

Bach probably my number one too but I like to think of him as a musician first, so would have got his inspiration from wherever he got it, wife, kids, bird singing.

Science even?

Quoting Richard Dawkins from a 2007 debate, “we will never know what Haydn’s Evolution oratorio would have sounded like, or Beethoven’s Mesozoic symphony.”

We know for sure that Maria Barbara, His first wife, who died while He was travelling, and had been buried by the time He came back home, inspired the Mother of all solo pieces, the wonderful Chaconne.

Madame Poláčková's reading is extraordinary. If this isn't heaven, it's definitely as close as it can get

 

[Freyja]

I love this one

My favorite Invention of them all. My Dad used to play it on the piano, it brings so many beautiful childhood memories Perhaps this is the piece that made me fall down to my knees in love with Bach, and that love has only increased year after year.

 

[Freyja]

Blah, just realized that the video on my first post doesn't allow embedding, and the movement wasn't complete either. So here's another performance by Gardiner and the crew, this time at the Proms. This is a complete performance of SJP which also contains subtitles, so play it at your will:

 

[Vanadium 50]

They didn't like him so much in Leipzig. His performance review said something like "Good enough, but not a genius like Telemann."

 

[BWV]

Why did JS Bach have so many kids?
- no stops on his organ (sorry, bad musician joke)

 

[Freyja]

They didn't like him so much in Leipzig. His performance review said something like "Good enough, but not a genius like Telemann."

Crazy, isn't it? I love Telemann too, and he was more prolific than Bach (as far as we know, and based on surviving works), but like some wise man once said "Bach is Bach, as God is God".

Telemann's Passions are a must, and soon enough, matter of fact next April, an integral edition of Pinnock and The English Concert is coming out, which I can't wait to get my hands on

 

[Freyja]

Why did JS Bach have so many kids?
- no stops on his organ (sorry, bad musician joke)

CPE is such a worthy heir of his illustrious father indeed. Yet again, it runs in the family. My favorite piece of him is this enjoyable Organ Concerto; Marie Claire Alain and Jean Francois Paillard, a match made in heaven:

 

[Freyja]

Speaking of the First Lady of the Organ, here Madame Alain plays the majestic Toccata in F BWV 540. That pedaliter!!!

 

[pinball1970]

This is choral I think but I like this as you can hear all the parts easier.

This guy has done many Bach pieces on YT. Beautiful.

 

[Freyja]

This is choral I think but I like this as you can hear all the parts easier.

This guy has done many Bach pieces on here. Beautiful.

Yes, it is one of the Schübler Chorales, modelled after the fourth movement of the Cantata BWV 140 Wachet auf, ruft uns die Stimme. A wonderful little masterpiece, and Mr. Kindgren's playing and articulation are sublime

 

[pinball1970]

Yes, it is one of the Schübler Chorales, modelled after the fourth movement of the Cantata BWV 140 Wachet auf, ruft uns die Stimme. A wonderful little masterpiece, and Mr. Kindgren's playing and articulation are sublime

He has a capo on the third fret, how is he reading that!? Hard enough reading multiple lines but all your open strings are now in 3rd position, that would stop me in my tracks. He think he has been playing a while!

 

[Freyja]

Happy Birthday to my spiritual Papa!!! He was also the spiritual mentor of my real Papa, and I could never do without either of them

The Cantata Was mir behagt, ist nur die muntre Jagd BWV 208 is a secular cantata composed in Weimar to celebrate the birthday of Duke Christian of Saxe-Weissenfels (February 23rd, 1713). Perhaps its most known movement is the lovely Soprano aria Schafe können sicher weiden (Sheep May Safely Graze). The most beautiful transcription of this aria is played here by eminent American Professor Leon Fleisher, who suffered from focal dystonia and had to quit playing for quite a while as a consequence of that. He managed to recover from it to an extent, and what a extent!

“At the end of our visit, Fleisher agreed to play something on my piano, a beautiful old 1894 Bechstein concert grand that I had grown up with, my father's piano. Fleisher sat at the piano and carefully, tenderly, stretched each finger in turn, and then, with arms and hands almost flat, he started to play. He played a piano transcription of Bach's "Sheep May Safely Graze," as arranged for piano by Egon Petri. Never in its 112 years, I thought, had this piano been played by such a master-I had the feeling that Fleisher has sized up the piano's character and perhaps its idiosyncrasies within seconds, that he had matched his playing to the instrument, to bring out its greatest potential, its particularity. Fleisher seemed to distill the beauty, drop by drop, like an alchemist, into flowing notes of an almost unbearable beauty-and, after this, there was nothing more to be said.”​

Dr. Oliver Sacks, Musicophilia: Tales of Music and the Brain

 

[BWV]

He has a capo on the third fret, how is he reading that!? Hard enough reading multiple lines but all your open strings are now in 3rd position, that would stop me in my tracks. He think he has been playing a while!

I am sure he is reading at the actual pitch, not transposing on the fly

 

[pinball1970]

I am sure he is reading at the actual pitch, not transposing on the fly

No he is not transposing but when he plays an open top E he gets G above middle C, open G on 3rd string he gets Bb. If he frets 5th fret top E he still gets A above middle C as if the CAPO was not there. It's not the notes that would floor me but where you can get them using the open strings.

 

[Freyja]

He has a capo on the third fret, how is he reading that!? Hard enough reading multiple lines but all your open strings are now in 3rd position, that would stop me in my tracks. He think he has been playing a while!

It blows my mind too. This sort of gift is pure wizardry for a laywoman like me

 

[BWV]

 

[pinball1970]

You have the perfect name for this thread btw!

 

[pinball1970]

Speaking of the First Lady of the Organ, here Madame Alain plays the majestic Toccata in F BWV 540. That pedaliter!!!

That bass part is crazy! THAT is what I call multi tasking!

 

[pinball1970]

 

[pinball1970]

 

[Freyja]

That bass part is crazy! THAT is what I call multi tasking!

Bach's treatment of bass lines is unparalleled. See, I am not one to use absolutes and superlatives often, but when it comes to Bach, there's simply no such thing as an overstatement when praising His musical virtuosity.
Any and all superlatives will never do Him justice.

If there's something particularly remarkable in Bach, is precisely His bass. The Man built the most solid, coherent, substantial, outstanding foundation ever to be seen in musical architecture, and developed a whole universe of wonder and harmony upon it. Forget about the usual "bom, bom, bom" monotonous bass, no Sir, Bach's bass would stand on its own like any of His other such wonderful melodies.

Perhaps one of the most striking examples of this is the first movement to His 5th Brandenburg Concerto. The very first concerto for keyboard ever written. Up until then, the keyboard (harpsichord, clavichord, spinet or what have you) was being only used as a supporting instrument to the bass lines (Basso Continuo, or figured bass), without giving it any soloist consideration whatsoever. Until Bach decided otherwise.

I once read somebody calling this Concerto as "The Revenge of the Continuo Player", and that couldn't be a more accurate description. So we got this beautiful back and forth bickering between flute and violin, throwing jabs at each other, with the concertino trying to "mediate" in the discussion during the ritornello parts; meanwhile the harpsichord is there, like a stern parent, patiently listening to the kids' squabble, and keeping a low profile, minding its own business; until it had enough, and decides is now its turn to speak, and everybody must shut up and listen to what it has to say; and so starts the greatest cadenza in music history, the one who would forever change the relevance of keyboard playing, and give this instrument a whole new identity of its own.

 

[BWV]

That bass part is crazy! THAT is what I call multi tasking!

We think of music in terms of a melody and a chord progression, 18th and 19th century music was thought of as built up from a bass line. Bach and others were trained by being given bass lines upon which they would improvise / compose. Harmony as theory 101 teaches did not exist, Bach would have given a blank stare if asked to play a V7 chord in C. Harmony was not separate from counterpoint

 

[Freyja]

A little more on Cantata 140: this is a comprehensive and enlightening lecture on the musical structure and background of Wachet auf, given by two eminent Swiss scholars, Dr. Karl Graf and Dr. Rudolf Lutz, that will surely give a much better understanding of this beautiful piece. I personally love this type of documentaries, especially since I do not have a specific music education, aside from a few basics. I can of course hear and appreciate all the details that make Bach's Work something so unlike, above and beyond any other composer, but I lack the musical wherewithal to put it into words. These Professors do it wonderfully, and generously make their wisdom available for all of us to enjoy

The part on the Chorale starts at 24:30, but the whole lecture is fascinating.

 

[Sagittarius A-Star]

J. S. Bach WTC I, fugue #07 in E flat major, BWV 852 with analysis

 

[Sagittarius A-Star]

Cantata BWV140

 

[BadgerBadger92]

I love Bach. I was first introduced to him at a young age through the film “Fantasia.” My first song I’ve heard from him was “Tocatta and Fugue in D Minor.” An interesting emotional blend of horror and happiness.

“Fantasia 2000” I don’t think had any Bach in it, but it had a great interpretation of “Rhapsody in Blue.”

My favorite musician is Ludwig Van Beethoven. My dad introduced me to him when I was five through his Ninth Symphony, my favorite part was the choral part of “Ode to Joy.”

“Immortal Beloved” had a great version of the song.

 

[Freyja]

I love Bach. I was first introduced to him at a young age through the film “Fantasia.” My first song I’ve heard from him was “Tocatta and Fugue in D Minor.” An interesting emotional blend of horror and happiness.

“Fantasia 2000” I don’t think had any Bach in it, but it had a great interpretation of “Rhapsody in Blue.”

My favorite musician is Ludwig Van Beethoven. My dad introduced me to him when I was five through his Ninth Symphony, my favorite part was the choral part of “Ode to Joy.”

“Immortal Beloved” had a great version of the song.

I hope you'll enjoy this then: Karajan at the helm of the Berliner, with a glorious line up of soloists: Walter Berry, Josh Thomas, La Ludwig and La Janowitz. Berry breaks in at about 6:00 and it goes only better from then on

 

[Freyja]

Back to Bach. Today is His second birthday, due to the difference between the Julian and Gregorian calendars, so happy b-day again, Papa!

Yesterday the world was blessed with an outstanding performance of St. Matthew Passion, executed by the Atlanta Symphony Orchestra under the baton of one of the most extraordinary contraltos who ever graced this world: Prof. Nathalie Stutzmann, who is currently the director of ASO. Madame Stutzmann graciously shared the streaming of the performance, completely free of charge. While this particular performance is not available anymore (at least not that I know of), it's time to listen again to some highlights of this monumental work that is unquestionably the summit of civilization and human achievement.

Here several members of the Netherlands Bach Society give their wise input about the transcendental significance of it:



Here virtuoso extraordinaire Shunske Sato presents Erbarme dich, the alto aria that represents Peter's sorrow after having denied Christ thrice, as predicted:

 

[Freyja]

Bach never wrote opera. He certainly didn't need to. All the drama associated with this genre is contained in the Passio Domini nostri J.C. secundum Evangelistam Matthæum BWV 244. This most sublime work starts with the double choir and all of the orchestral forces, plus a children choir for the Chorale "O Lamm Gottes, unschuldig" as the cantus firmus.

Kommt, ihr Töchter, helft mir klagen, Sehet - Wen? - den Bräutigam, Seht ihn - Wie? - als wie ein Lamm! O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Sehet, - Was? - seht die Geduld, Allzeit erfunden geduldig, Wiewohl du warest verachtet. Seht - Wohin? - auf unsre Schuld; All Sünd hast du getragen, Sonst müßten wir verzagen. Sehet ihn aus Lieb und Huld Holz zum Kreuze selber tragen! Erbarm dich unser, o Jesu!

Come, you daughters, help me to lament, See - Whom? - the bridegroom, See him - How? - like a lamb! O Lamb of God, innocent Slaughtered on the beam of the cross, See - What? - see his patience, Always found to be patient No matter how much you were despised. See – Where? - our guilt; All our sins you have borne Otherwise we would have to despair. See how from love and grace He bears the wood of the cross himself! Have mercy on us, O Jesus!

Sir Stephen Cleobury with the King's College of Cambridge:

 

[Freyja]

The beautiful Hymn O Haupt voll Blut und Wunden is a translation into German done by Paul Gerhardt (1607-1676) of the Latin Hymn Salve caput cruentatum attributed to St. Bernard de Clairvaux (1090-1153) and set to music by Hans Leo Hassler (1564-1612). Also known as the Passion Chorale, Bach borrowed several verses for the SMP, harmonizing the melody according to the mood intended.

These are the different settings, in the reading of Masato Suzuki (son of scholar Masaaki Suzuki, worthy heir of his father, and current conductor of the Bach Collegium Japan):

Erkenne mich, mein Hüter, Mein Hirte, nimm mich an! Von dir, Quell aller Güter, Ist mir viel Guts getan. Dein Mund hat mich gelabet Mit Milch und süßer Kost, Dein Geist hat mich begabet Mit mancher Himmelslust. Ich will hier bei dir stehen; Verachte mich doch nicht! Von dir will ich nicht gehen, Wenn dir dein Herze bricht. Wenn dein Herz wird erblassen Im letzten Todesstoß, Alsdenn will ich dich fassen In meinen Arm und Schoß. Befiehl du deine Wege Und was dein Herze kränkt Der allertreusten Pflege Des, der den Himmel lenkt. Der Wolken, Luft und Winden Gibt Wege, Lauf und Bahn, Der wird auch Wege finden, Da dein Fuß gehen kann. O Haupt voll Blut und Wunden, Voll Schmerz und voller Hohn, O Haupt, zu Spott gebunden Mit einer Dornenkron, O Haupt, sonst schön gezieret Mit höchster Ehr und Zier, Jetzt aber hoch schimpfieret, Gegrüßet seist du mir! Du edles Angesichte, Dafür sonst schrickt und scheut Das große Weltgerichte, Wie bist du so bespeit; Wie bist du so erbleichet! Wer hat dein Augenlicht, Dem sonst kein Licht nicht gleichet, So schändlich zugericht'? Wenn ich einmal soll scheiden, So scheide nicht von mir, Wenn ich den Tod soll leiden, So tritt du denn herfür! Wenn mir am allerbängsten Wird um das Herze sein, So reiß mich aus den Ängsten Kraft deiner Angst und Pein!

Recognize me, my guardian, My Shepherd, accept me! From you, source of all goodness Much good has been done for me. Your mouth has refreshed me With milk and sweet food, Your spirit has endowed me With many heavenly delights. I shall stand here beside you; But do not despise me! I shall not go from you, When your heart breaks. When your heart becomes pale In the last death blow Then I shall embrace you In my arms and bosom. Commend your way And what troubles your heart To the most trustworthy care Of him who guides the heavens. He who to the clouds, air and winds Gives their way, course and track, Will also find a way By which your feet can go. O head full of blood and wounds, Full of sorrow and full of scorn, O head bound in mockery With a crown of thorns, O head once beautifully adorned With greatest honour and adornment, But now most shamefully mistreated, Let me greet you! You noble face Before which at other times shrinks and shies away The great weight of the world, How are you spat upon, How pale you are! By whom has the light of your eyes To which at other times no light can be compared, Been so shamefully treated? When I one day must depart from here Then do not depart from me, When I must suffer death Then step forward next to me! When most full of fear I am in my heart, Then snatch me from my fears By the strength of your agony and pain!