Bach's Bungalow

[Karl Henning]

There's been one retrofitted, but I remain rather leery (even while I genuinely enjoy the Morimur project by the Hilliards and Ch. Poppen).

[Opus106]

There's been one retrofitted, but I remain rather leery (even while I genuinely enjoy the Morimur project by the Hilliards and Ch. Poppen).

Thanks for the ref. Will have to bookmark it.

[Karl Henning]

It's a lovely recording; and I was able to hear them perform it live here in Boston (in the Cathedral Church of St Paul). Brilliant music-making, but (as I say) not sure I buy into the gloss.

[kishnevi]

What about it? The Romantics certainly saw something in it and went on a transcription spree, to the point of almost forgetting the rest of the partita, but do you think Bach really had a message attached to it?

I have seen an argument that the Sonatas and Partitas for Solo Violin are essentially a memorial for JSB's first wife--in the liner notes to one or another of the recordings I have of these works (Perlman's I think, but I don't feel like hunting up the reference when I should be already virtously in bed)--and that the Chaconne's placement has important symbolic meaning.  It also pointed out that the short title Bach himself gave to the set--Sei Solo--could mean both "Six solo [works]" and "I am alone".  But the argument relies on numerological symbolism of the type Bach is known to have inserted into his works,  and not on any "message" inherent in the notes themselves.  The adepts of musical symbology could see Bach's intent; the rest of the world would simply hear jaw droppingly good music.

And the fact that they are jaw droppingly good music will probably always be more important than figuring out whatever "meaning"  Bach may have meant to convey with them.

[Opus106]

Thank you, Jeffrey. I will certainly look into this aspect of Bach's music further.

[jlaurson]

Dip Your Ears, No. 130 (Bach, Fresh Squeezed)

The accordion has a reputation problem in the US, where its esteem ranks somewhere between recorder and kazoo...

http://ionarts.blogspot.com/2013/03/dip-your-ears-no-130-bach-fresh-squeezed.html

[Marc]

Dip Your Ears, No. 130 (Bach, Fresh Squeezed)

The accordion has a reputation problem in the US, where its esteem ranks somewhere between recorder and kazoo...

http://ionarts.blogspot.com/2013/03/dip-your-ears-no-130-bach-fresh-squeezed.html

Bach works very well on this instrument IMHO.

Here's another example:



http://www.gramophone.co.uk/blog/web-exclusive-reviews/a-deeply-moving-goldberg-variations-%E2%80%93%C2%A0on-accordian

http://www.amazon.com/J-S-Bach-Teodoro-Anzellotti-accordion/dp/B003LQVM5C/

[jlaurson]

Bach works very well on this instrument IMHO.

Here's another example:



http://www.gramophone.co.uk/blog/web-exclusive-reviews/a-deeply-moving-goldberg-variations-%E2%80%93%C2%A0on-accordian

http://www.amazon.com/J-S-Bach-Teodoro-Anzellotti-accordion/dp/B003LQVM5C/

Ancellotti is excellent. Did a Goldberg Variations - on - the - accordion comparison not long ago, and while all were good, he came out (however marginally) on top.

[jlaurson]

...Christoph Biller, the 16th Thomanercantor since Bach, says that God can't be known (hence faith), but he can be felt—in Bach. Bach—and I agree wholehearted, although "without invisible means of support" myself—is next to Godliness. Part of what makes Bach stand apart is that deep, quasi-spiritual sense one gets from his music... a feeling Romain Rolland might have described as "oceanic": A sense of rightness, universal like a mathematical proof...


Bach is Next to Godliness, the Flute Not

http://ionarts.blogspot.com/2013/04/bach-is-next-to-godliness-flute-not_8.html

[Wakefield]

...Christoph Biller, the 16th Thomanercantor since Bach, says that God can't be known (hence faith), but he can be felt—in Bach. Bach—and I agree wholehearted, although "without invisible means of support" myself—is next to Godliness. Part of what makes Bach stand apart is that deep, quasi-spiritual sense one gets from his music... a feeling Romain Rolland might have described as "oceanic": A sense of rightness, universal like a mathematical proof...


Bach is Next to Godliness, the Flute Not

http://ionarts.blogspot.com/2013/04/bach-is-next-to-godliness-flute-not_8.html

I'm curious, Jens. Your displeasure is limited to Bach's recorder/flute sonatas or more generally to all his music for these intruments (I mean, for instance, the sonatina of the Actus Tragicus and many other cantata/instrumental parts). More generally: Do you enjoy other works (by other composers) using these instruments? I ask in good faith as a close friend of mine - a very intelligent listener, indeed - really hates the music for flute and recorder as a whole. 

[jlaurson]

I'm curious, Jens. Your displeasure is limited to Bach's recorder/flute sonatas or more generally to all his music for these intruments (I mean, for instance, the sonatina of the Actus Tragicus and many other cantata/instrumental parts). More generally: Do you enjoy other works (by other composers) using these instruments? I ask in good faith as a close friend of mine - a very intelligent listener, indeed - really hates the music for flute and recorder as a whole. 

1.) I prefer the recorder over the flute, usually. By a lot... and I'm not sure if it necessarily relates to having played various recorders, but never the flute.
2.) With Bach, at least, the displeasure is limited to the sonatas... and decided NOT where it is part of a greater thing with the occasional melodic solo.
3.) It really grates on me with other composers, too. Not necessarily, but definitely above average.
4.) It's an instrument that I find very easily boring... and I can't stand boring music. An OK-performed Mozart flute concerto is a nightmare. A really well performed Mozart flute concerto (if the orchestra pulls in the same direction) can be a delight. And I can definitely love flutists as musicians...  http://ionarts.blogspot.com/2010/09/music-rules-not-from.html

So... I suppose it's a mix of the particular and the general. And I'm not sure if you read the piece in question, beyond the headline... but it ends up being a recommendation of Bach Flute Sonatas, after all.

[kishnevi]

1.) I prefer the recorder over the flute, usually. By a lot... and I'm not sure if it necessarily relates to having played various recorders, but never the flute.
2.) With Bach, at least, the displeasure is limited to the sonatas... and decided NOT where it is part of a greater thing with the occasional melodic solo.
3.) It really grates on me with other composers, too. Not necessarily, but definitely above average.
4.) It's an instrument that I find very easily boring... and I can't stand boring music. An OK-performed Mozart flute concerto is a nightmare. A really well performed Mozart flute concerto (if the orchestra pulls in the same direction) can be a delight. And I can definitely love flutists as musicians...  http://ionarts.blogspot.com/2010/09/music-rules-not-from.html

So... I suppose it's a mix of the particular and the general. And I'm not sure if you read the piece in question, beyond the headline... but it ends up being a recommendation of Bach Flute Sonatas, after all.

I'm the opposite: I tend to not like the recorder but am usually okay with the flute.  However, it's too easy to have a "prettified" sound in these two instruments--and that applies to Mozart and Vivaldi and most other composers, with the result that I don't often put Bach's flute works on my player.  I did like the Pahud/Pinnock collaboration for the flute sonatas, and the Bruggen recording that is part of the Teldec box.


Side not to Jens: the Ionarts link in your 10:46 post is a bad link.

[jlaurson]

Side note to Jens: the Ionarts link in your 10:46 post is a bad link.

Ah! Thanks - fixed.

...Christoph Biller, the 16th Thomanercantor since Bach, says that God can't be known (hence faith), but he can be felt—in Bach. Bach—and I agree wholehearted, although "without invisible means of support" myself—is next to Godliness. Part of what makes Bach stand apart is that deep, quasi-spiritual sense one gets from his music... a feeling Romain Rolland might have described as "oceanic": A sense of rightness, universal like a mathematical proof...


Bach is Next to Godliness, the Flute Not

http://ionarts.blogspot.com/2013/04/bach-is-next-to-godliness-flute-not_8.html

[Wakefield]

1.) I prefer the recorder over the flute, usually. By a lot... and I'm not sure if it necessarily relates to having played various recorders, but never the flute.
2.) With Bach, at least, the displeasure is limited to the sonatas... and decided NOT where it is part of a greater thing with the occasional melodic solo.
3.) It really grates on me with other composers, too. Not necessarily, but definitely above average.
4.) It's an instrument that I find very easily boring... and I can't stand boring music. An OK-performed Mozart flute concerto is a nightmare. A really well performed Mozart flute concerto (if the orchestra pulls in the same direction) can be a delight. And I can definitely love flutists as musicians...  http://ionarts.blogspot.com/2010/09/music-rules-not-from.html

So... I suppose it's a mix of the particular and the general. And I'm not sure if you read the piece in question, beyond the headline... but it ends up being a recommendation of Bach Flute Sonatas, after all.

Thanks for your detailed response, Jens. I also prefer the recorder to the flute. Its sweetness and freshness are incomparable.

Of course, I did read completly your article. 

[jlaurson]

Dip Your Ears, No. 133 (Bach Motets)

http://ionarts.blogspot.com/2013/04/dip-your-ears-no-133-bach-motets.html

According to Gardiner, the Motets are "the cantor's 'most perfect... most hypnotic... works'. Certainly perfect for a Sunday. (With audio samples from all six, by different performers.)

[Wakefield]

Dip Your Ears, No. 133 (Bach Motets)

http://ionarts.blogspot.com/2013/04/dip-your-ears-no-133-bach-motets.html

According to Gardiner, the Motets are "the cantor's 'most perfect... most hypnotic... works'. Certainly perfect for a Sunday. (With audio samples from all six, by different performers.)

By coincidence just last night I listened to three different versions of the motets: Harnoncourt, Fasolis and Kooij, being Kooij and his ensemble Sette Voci my favorite. It will be great to know your opinion on Gardiner's new attempt on these works.

P.S.: I did read your note, I thought you had done a more comprehensive review as usual. Anyway, it was fine. 

[jlaurson]

By coincidence just last night I listened to three different versions of the motets: Harnoncourt, Fasolis and Kooij, being Kooij and his ensemble Sette Voci my favorite. It will be great to know your opinion on Gardiner's new attempt on these works.

P.S.: I did read your note, I thought you had done a more comprehensive review as usual. Anyway, it was fine. 

Yeah, I kept it a bit shallow there. True. (In my halfhearted defense, a more elaborate review had already appeared on the site, written by CDT). To now add to the shallowness: I think Gardiner is good with a touch of bland... and hasn't the razor-precision that I look for, when I hear minimal-accompaniment versions of the Motets. They're engaging but could benefit from more zip. Zip, I think it a technical term, and was specifically requested by Bach in "Höchstnöthiger Entwurff  für eine wohlbestallte Motettenaufführung nebst einigem unvorgreiflichen Bedencken von dem Verfall der vorort präsenten Zippigkeit". Ueber-zipmeister Suzuki, in contrast, has all the spunk, but not the innigkeit I am looking for...

Hmm... I have my fair share of Motet recordings, but none of those three, drats. Well, that will have to be rectified, before long, I'm afraid.

[kishnevi]

Yeah, I kept it a bit shallow there. True. (In my halfhearted defense, a more elaborate review had already appeared on the site, written by CDT). To now add to the shallowness: I think Gardiner is good with a touch of bland... and hasn't the razor-precision that I look for, when I hear minimal-accompaniment versions of the Motets. They're engaging but could benefit from more zip. Zip, I think it a technical term, and was specifically requested by Bach in "Höchstnöthiger Entwurff  für eine wohlbestallte Motettenaufführung nebst einigem unvorgreiflichen Bedencken von dem Verfall der vorort präsenten Zippigkeit". Ueber-zipmeister Suzuki, in contrast, has all the spunk, but not the innigkeit I am looking for...

Hmm... I have my fair share of Motet recordings, but none of those three, drats. Well, that will have to be rectified, before long, I'm afraid.

Chaconne a son gout, as I like to say.
I found Gardiner to have all necessary Zippigkeit,  and Suzuki to have too much: sehr Zippig, as it were.
But I agree that Suzuki did not have the Innigkeit: I do think Gardiner does. 

[Wakefield]

I would suggest to listen to these samples:

http://www.ramee.org/0906gb.html#extraits

[jlaurson]

I would suggest to listen to these samples:

http://www.ramee.org/0906gb.html#extraits

I think I have access to the whole thing via Qobuz, actually. Which is like a Spotify for classical, except the highest sound quality on Spotify is half the lowest on Qobuz, and they're properly indexed.