Tag Archives: Johann Sebastian Bach

Innisfree Garden at Season’s End

1 IMG_0142_edited-1The photographs were taken at Innisfree Garden October 17, 2015, the last weekend of its season. Photographers and artists, who had come early for a rare chance to take in the morning light, lingered on, and another group was gathering for a curator’s garden walk as we arrived. We went our own way, taking in the beautiful autumn day. Continue reading

“Less Is More” with Telemann, Debussy, Kodály, Anzoletti, Prokofiev, Berio, and . . .

1IMG_6714_edited-1The Great Composers Appreciation Society has been listening to music on the theme of “Less Is More” this month (4/15-5/14/15). The main selections for the month, chosen with typical perspicacity by our helmsman, Brian Long, include:

J. S Bach: Cello Suite No. 3 in C Major, BWV 1009 (1720?)  (More information here.)

Joseph Haydn: Symphony No.45 in F-sharp minor, Hob.I:45 (“Farewell”) (1772)  (More information here.)

Wolfgang Amadeus Mozart: Duo for violin & viola No. 1 in G major, K. 423 (1783) (More information here.)

Claude Debussy: Syrinx (1913) (See below for more information.)

Edgar Varèse: Density 21.5 (1936, rev. 1946)  (More information here.)

Anton Webern: 5 pieces for orchestra op. 10 (1913)  (More information here.)

Benjamin Britten: Cello Suite No. 3, op. 87 (1971)  (More information here.)

Luciano Berio: Sequenzas 3 (for voice, 1965) and 5 (for trombone, 1966) (See below for more information.) Continue reading

Guest Post: Curt Barnes on the Bach Cello Suites, African Masks, and Collective Genius

Ngil Society mask from the Fang people, Gabon

Ngil Society mask from the Fang people, Gabon

If you are moved by Mischa Maisky’s or Anner Bylsma’s versions of the Bach cello suites, does it matter that they’re not the way Bach heard them? I like Baroque cellists’ interpretations of the Bach suites, which may be closer to his intentions, but I absolutely wouldn’t be without modern interpretation. Bach’s Sonatas and Partitas for Unaccompanied Violin are another example: they are available in Baroque renditions, but my favorites are played with more vibrato and expression, in a post-Romantic style. And the Goldberg Variations? Like many I prefer them played on an instrument Bach never heard, the modern piano, with nuance not available to him, and I would bridle at these versions being called “illegitimate.” Seeking to justify my bias, I came to my own conclusions about it after connecting it to Robert Goldwater’s theory of African masks. Continue reading