In music, truth. We have many ways of expressing our feelings about life and death, loss and loneliness. The brevity and often sadness of existence weighs uniquely on the human experience. We see these themes depicted in art, expoused in poetry, and examined on the stage. Novels have been dedicated to these topics; films create … Continue reading For My Daughter: Listen for the Bell
Month: April 2022
Bach, The Art of the Fugue, Part II
The Art of the Fugue closes in spectacular fashion, with two mirror fugues. As one musicologist explained: A mirror fugue is a pair of fugues in which each voice (or line) in the second fugue is a mirror image of the first - where the first goes up, the other goes down. In the previous … Continue reading Bach, The Art of the Fugue, Part II
Fellow blogger BigMikeHouston of Classical Music with Big Mike (https://classicalmusicwithbigmike.com/) wrote this week about the singificant differences a conductor's interpretation can make on how the music sounds. He's absolutely right. And his observation gave me the idea of talking about the Period Instruments Movement, derided in some circles as being too egg-headed. Let's see if … Continue reading Magnificent Choices
Bach, The Art of the Fugue, Part I
One thing is certain. Even if few truly appreciated it at the time, Bach was very aware of his genius. A humble Lutheran by nature and faith, Bach sought to cement his legacy at the end of his life through two monumental works. Sick, going blind and dying, Bach set about to compose on both … Continue reading Bach, The Art of the Fugue, Part I
Kommt, eilet und laufet!
Come, hasten and run! In contrast to the proto-sturm und drang of his two Passion-based oratorios, Bach's Easter Oratorio reflects pure joy. Written between the two Passion oratorios, but substantially revised a decade later in 1735-40, the Easter Oratorio is a comparatively brief work. Written for, and debuting on, Easter Sunday 1725, the change of … Continue reading Kommt, eilet und laufet!