Welcome Bach (groooooan) to Komposers for Kossacks!
Today, as intimidating an assignment as I've ever attempted in this humble diary series -- Johann Sebastian Bach.
Komposers for Kossacks is the space where I, a lowly, uneducated fan of classical music, takes a stroll through the centuries with you, the reader. My wish is for us both to learn just a little bit about this amazing but misunderstood art form.
In tackling Bach, I'm scared, and need to be held. But hopefully I've done this man and his work justice, in my exploration here of his incredible talents.
"I would vote for Bach, all of Bach, streamed out into space, over and over again. We would be bragging, of course, but it is surely excusable to put the best possible face on at the beginning of such an acquaintance."
--- Scientist Lewis Thomas, on how Earthlings should communicate with other intelligences
Composer: Johann Sebastian Bach
Born: March 31, 1685
Died: July 28, 1750
Nationality: German
Occupations: Composer, organist, harpsichordist, violinist, concert master, music director, music teacher, family man
Influenced by: Vivaldi, Corelli, Telemann, Pachelbel
Influenced: Mozart, Beethoven, Chopin, everyone else
Born to a family famous for its musical abilities, Johann Sebastian Bach started out his life by learning the harpsichord and the violin from his father, and the clavicord (a keyboard instrument) from his brother Johann Christof after his parents' deaths. He copied, studied and performed the music of composers from Germany, France and Italy -- including that of Antonio Vivaldi, who we've already heard about here at Komposers for Kossacks.
In 1703, Bach actually failed an audition for a church organist post before becoming a court musician at a small chapel in Weimar. It was a "lackey" job and his duties were non-musical in nature. Nevertheless, his talents showed through despite his boring, menial work, and he was invited to bigger, better positions.
He wrote cantatas, vocal and instrumental arrangements starting with an elaborate chorus and progressing through a number of arias and ending with a chorale (where the full choir sings together). When employed by churches, Bach wrote sacred music. When his employers were government people, he wrote secular music. But he was always writing.
Here is an example of a Bach cantata, "Magnificat" BWV 243. Cantata means "sung," so don't be surprised when the vocals come in:
By the time he started writing fugues (a sophisticated, elaborate harmony that explores a theme in many different voices) around 1713, Bach had developed the "contrapuntal" technique that has made him a legend. Counterpoint is the melodic interaction between two seperate phrases of music that, when played together, produces a beautiful polyphonic whole. Bach is considered the master of counterpoint -- the technique that gives Baroque music its unique sound.
If you still don't "get" counterpoint, check this video out. See how two, three, four or even five notes can play off each other beautifully. Then imagine trying to make that many lines of music sound well together! This is why Bach is the king.
In his series of compositions known as "The Well-Tempered Clavier," Bach demonstrates preludes and fugues in every major and minor key.
Here's Angela Hewiit playing Book 2 of The Well-Tempered Clavier, Prelude No. 2 in F-Sharp Minor. Listen for how series of notes work with each other to make something even larger than the individual phrases they make up:
Bach fell out of favor at his job in Weimar and was even tossed in jail for nearly a month for "pressing the issue of his dismissal." The composer set out for more stable employment.
Serving as director of music for Prince Leopold of Anhalt-Cothen, Bach wrote secular music as his new sponsor, the prince, was a Calvinist. It was at this point where Bach penned his Brandenberg Concertos, which are some of my personal favorites.
Here is Brandemberg Concerto No. 3, Part 1, Allegro Moderato. Now that's Baroque you can bob to. ;-)
In 1723, Bach took a job in Leipzig next to St. Thomas' Lutheran Church. It was a government position rather than one that left him to the whims of the aristocrats, however there were political battles between the monarchists and the merchant-class folks to contend with. He wrote many, many cantatas that often used hymns as their inspiration -- so it's no wonder many modern churches still use Bach in Masses and services.
There in Leipzig, Bach wrote his Goldberg Variations. According to one tale, Bach penned them to soothe a visiting Count to sleep, after which the Count awarded Bach a gold goblet filled with 100 gold coins.
Here is Glenn Gould, playing the aria from Bach's Goldberg Variations:
Here's Gould playing Variations No. 1 through No. 7.
Bach remained in Leipzig until his death, and wrote music until the moment of his death as well. His final completed composition, "Vor Deinen Thron tret ich Hiermit" (or "Before thy Throne I now Appear") was dictated to the composer's son-in-law from Bach's deathbed.
By the time of his death, Bach's music was seen as old-fashioned and stodgy by the masses and many later composers. He was respected as a gifted organist and keyboard instrument player, but musical fashion had moved toward the Rococo style.
Indeed, some of Bach's compositions were never heard by human ears until as late as the 19th Century. A revival was launched by his admirers (themselves virtuousos) centuries later.
When Mozart heard Bach's music, he said, "Now here is something one can learn from!" Beethoven punned on Bach's name in German, calling the composer, "nicht Bach, sondern Meer." ("Not a brook, but a sea.") Before a performance, Frederick Chopin would lock himself in a room and play Bach's music.
Today, it's impossible to overstate Bach's impact on the world. He was a giant, but a gentle one, and his music for all its grandness remains easy to step into -- but could take a lifetime to fully appreciate.
So don't stop with the music I've posted here. Dig deeper and find something you love. It won't be hard. As I've been saying throughout this diary series, you don't need a special "ear" or years of training to appreciate classical music -- just a soul.
I'll close today with a performance of a simple, beautiful piece -- a piece you've heard before. It's the music that played when my wife and I were married. It is from Bach's Orchestral Suite No. 3 in D major, BWV 1068, and it's better known as "Air on the G String."