Bach, continued

[SDR]

Thanks for that ! Any connection between Bach and Wright appearing in public media calls for celebration; how rare is this ? I haven't yet made it through the longer video by this YouTube poster . . . but this little snippet is worth the time spent there---at least.


Lately I've been enjoying this recording of the six Partitas which Bach composed in mid-career. Only today did I notice that this recording was made when I was in high school--the second time, following Landowska's mid-'thirties pioneering sessions, that the work had been issued on disc. I find these performances exceptional; perfection demonstrated by the elimination of distractions ?

Each of the Partitas (in a different key---note Bach's apparently intentional arrangement of the key signatures in a pattern---see Wiki page) ends in a little showpiece that gets the juices flowing !

https://en.wikipedia.org/wiki/Partitas_ ... ard_(Bach)

The recordings: https://www.youtube.com/watch?v=MiPBtRjWiBc&t=2674s

S

[Reidy]

Is that quote about Coonley and Ennis accurate?

[SDR]

I do not find such a quote in "An Autobiography." The Cowles index of Wright's autobiography has the following entry for Bach:



Here are pages 12, 13, and 225 of the book:

[SDR]

One of the great joys for the music lover on YouTube is the series of dozens, if not hundreds, of "scrolling score" videos of Bach solo-instrument works, created by an anonymous individual known as Geru. In addition to the invaluable service of providing visual evidence of Bach's work for the student or the interested layman, the musical performances chosen seem to be of universally high quality. He seems to favor, as I do, non-idiosyncratic interpretations, those without the distractions of ornament or unusual tempo. (Is the difference comparable to the unfurnished house vs. the staged or occupied one, in the real estate marketing realm ?)

In the case of Bach's organ works, an instrumentalist I had not previously heard of, Michel Chapuis, and one I am long familiar with, Marie-Claire Alain, provide the sound. The latter here performs the delightful little Trio Sonata No.6, BWV 530. Its opening Vivace movement is positively playful, yet there are portions whose sequences and harmonies bring tears to these old eyes. For those who like this piece, the previous five Trio Sonatas (see https://en.wikipedia.org/wiki/Trio_sonata ) occupy the BWV list at numbers 525 through 529.

Several of Bach's well-known longer organ works are found in the 540s. All of these are searchable online, or at YouTube, by BWV number.

For those unfamiliar with musical scoring, the upper of the three staves is normally played by the right hand, the middle one by the left hand, while the bottom staff represents the pedalboard. Bach spares not the performer's pedal dexterity !

As to composition, I remain puzzled at the ability of the musical "designer" to signal or forecast the approach of the ending of a piece. What changes in harmony or cadence let the listener know that the end is coming ?

https://www.google.com/search?client=op ... 9QP4Xxh3nY

S

[Roderick Grant]

"(Is the difference comparable to the unfurnished house vs. the staged or occupied one, in the real estate marketing realm?)"

no

[DavidC]

Not Bach, but a violin concerto inspired by a visit to the Stevens Plantation (Auldbrass) - Yemassee, SC:

Violin Concerto No. 6 "Old Brass" by Mark O'Connor - (35:02)


David

[Reidy]

You could rationalize a Bach connection here, too, if you wanted to. O'Connor comes out of the milieu of country fiddling, and Bach's violin writing is sometimes reminiscent of the style, as in the last movement of Brandenburg #3 (5:44).

[SDR]

Heh. I think Papa Bach would have swung with the term "country fiddling." What we hear in this Brandenburg is perfectly representative of the chamber music he and his family and friends might have gotten down to, at home on a Friday night . . .

S

[Roderick Grant]

There are moments when Brandenburg 3 almosts slips into "Orange Blossom Special."

Country Western star Marty Robbins' hit "Streets of Laredo" is based on Bach's song "Oh, Come Let Us Adore Him."

[SDR]

My exposure to "Streets of Laredo" was via Mary Ford, multiplied eerily in front of hubby Les Paul and his multi-tracked guitar. Put them together with Walter/Wendy Carlos and you'd have stereophonic musical madness deluxe . . . I guess.

And "deluxe" puts me in mine of this: https://www.google.com/search?q=Blues+D ... 7Fm-7N694o

S

[Roderick Grant]

SDR, you must be referring to "Nuevo Laredo"; the Pauls didn't record Streets.

I was a big fan of Les & Mary, especially "Bye Bye Blues" and "Caravan" (Instrumental; Mary played a mean guitar, too!).

[SDR]

Yes, that's it. I wonder what album that was, and why my parents had it. Dad played Dixieland on his high-school saxophones and listened to jazz from the 'thirties, 'forties and 'fifties. He shopped for new recordings in Manhattan, one of those places that had a listening room. He brought home a variety of serious music, too, whatever appealed to him---American and European composers. Mom liked hearing Chopin, Debussy, Ravel---music her father had played on the piano at home.

I first heard the Baroque music I love at a friend's house. I got lucky early, I think.

I wasn't aware that Mary Ford played guitar, too . . .

S

[Roderick Grant]

Les Paul once said Mary had such a good ear that she could harmonize with a drum.

I think Mary was more responsible for their massive popularity. With the vocals, Les was the accompanist. Fans, fair or not, are drawn to vocals. Everyone remembers Frank Sinatra's first hit, "Saturday Night (Is the Loneliest Night of the Week)", but who led the band behind him?

[DavidC]

JS Bach: Prelude and Fugue in C minor, BWV 847 (Jie Liang) - (3:15)


David

[SDR]

One of the shortest of the solo keyboard works, and a sweet one. This young man was sixteen last year when that was performed. One wonders if a performer is in love with what he's playing. This performance was straight-faced, both the music and the musician. Just a couple of moments revealed an emotional response, the second one as the final major chord was struck: a facial twitch.

We'll take what we can get ! It's always a pleasure to hear the next interpretation of a familiar work.

S