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Sensitive monumentality

Posted by Bambi B (A) on March 22, 2007 at 06:42:03

In Reply to: Thanks for a great summary. I think Bach, in the main, gets labeled posted by tinear on March 22, 2007 at 04:46:35:

tinear,

I agree completely- the Cantatas alone should dispell the old "Cold and mathematical" label, and the Passions, Bmin Mass are tha rare combination of sensitivity and expression with a monumentality that I find sublime and timeless. Even the small scale keyboard pieces seem perfectly integrated and are such genius the mechanics of the composition falls away and one is immersed. For me, the "Goldberg Variations" are a kind of epic exploration of the full range of life and emotion.

Too, there is Bach's astounding mastery of counterpoint and the fugue which in those gaint arching structures has a powerful drive- who can resist jumping on for the ride with the Passacaglia and Fugue in Cmin?

I was interested in your comment that only Schweitzer among public figures expressed Bach as his favourite music, as I've long noticed that it more often the people that play an instrument that appreciate and like Bach- and of course Schweitzer played the organ works and wrote about Bach. It's non-musicians I think who are usually more dismissive. There are also fads and in the pre-Classical/early music world, there is desperate competition to "discover" unknown composers and little known works and become the famous specialist in order to stand out from the crowd.

But, anyone who thinks that Bach is or can be "worn out" by overplaying should send there soul out for restoration! And for expert soul rehabilitation at popular prices I recommend the "Goldberg Variations", followed by the "Bmin Mass".

Cheers,

Bambi B

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