Bach – Prelude & Fugue in c#, WTC Book 2, no.4 (BWV 873) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in c#, WTC Book 2, no.4 (BWV 873) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in c#, WTC Book 2, no.4 (BWV 873) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #4 in c# minor (Bk 2), BWV 873

Eunice Norton, piano
Recorded in 1968.

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J.S. Bach – The Inexhaustible Musical Wellspring (8/21)

If the germs of Impressionism may be linked with the nihilism that has gripped our generation as I think they may, remember that this was not a germ present in Bach’s day. For, while the religious faith of many men of Bach’s day was shaken by the scientific discoveries of Copernicus, the influences of which are noticeable in the Baroque concept, Bach’s faith was not shaken. He continued to live in a spiritual milieu, a world of mysticism. Bach’s world never became a disenchanted world. All of his compositions, secular and religious, are testimony to this fact, to his faith, and to the enchantment of his world through religion and music.

This new scientific knowledge is said to have given to men and their art works a new sense of the inter-relatedness of all being—a unity to all elements. I wonder how aware was Bach of the new knowledge, or if it influenced him much? I do not know if his remarkable sense of relationships derived from any condition of his time. Intuitive recognition of relationships is a striking quality of genius. I suspect that Bach, whenever and where ever he had lived, would have possessed this quality. The power to give unity to a work of art, we say, is the intellectual part of creation, but to sense it is intuitive. Incidentally, I have come to think that an ideal interpreter also requires an intuitive sense of recognition and feeling for this most rare structural element. If it can be taught, I have not learned to teach it. To perceive the wealth of inventiveness in a perfect balance, quite naturally fitting all the parts into a whole, is indispensable in the performance of Bach.

The best Baroque art represented a unified vision. This quality was its saving grace because it derived from many sources. An extra degree of skill was required to create unity from so many and such diverse ideas. Bach, in adopting forms and styles of compositions that came to his attention, performed miraculous feats in giving each his stamp. He was no mere collector of beautiful ideas. Bach could allow his delight and curiosity to alight on music of any form and period without losing his identity. The compositions of other men stimulated his imagination and became thresholds past which he embarked on new creative excursions. In Bach, to use the words of Sir Herbert Read, “expression, content, manner, and meaning interpenetrate and are never separated.” He expresses his own musical vision in a composite of the fundamental, impersonal, objective sources of his own world of thought.

Bach, the Romanticist!

The ideals of Bach were served most effectively and magnificently by the disciplines of classicism, which were present—either latently or actively—throughout the Baroque era. Classicism enjoyed a particularly lively revival in Bach’s generation. I find an element of classical idealism and control in every great composer, even in the Romantics (as there is, to turn it around, something (cont.)

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