Bach – Prelude & Fugue in C#, WTC Book 1, no.3 (BWV 848) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in C#, WTC Book 1, no.3 (BWV 848) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in C#, WTC Book 1, no.3 (BWV 848) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #3 in C# Major (Bk 1), BWV 848

Eunice Norton, piano
Recorded in 1968.

*
J.S. Bach – The Inexhaustible Musical Wellspring (5/21)

bound together. Who but thrills in this perfect code of freedom?” It is joy for the senses and joy for the soul combined, a quality of only the greatest musical works.

[Book I, Prelude and Fugue in a minor.]

I disagree with Albert Schweitzer’s lamentation that “Bach was only great enough to save himself, but not his epoch.” This appears to me a narrow view. By concentrating on the realization of his musical mission, Bach established a new level of musical achievement and left examples of musical expression to be emulated and to illuminate the paths of all succeeding generations. He established a course, urgently applicable to our times and composers today, who, if they hope to compose for posterity, must sidestep unhealthy influences and false values, nihilism and apathy (“crepuscular decomposition”—Sir H. Read), and proceed with their compositions, drawing on other ages and sources for ideals and stimulation.

The painter Vasili Kandinsky says that this process in the development in art consists of the separation of its quintessence from the style of the time and the element of personality.

Bach, a Romantic composer?

It is not Bach the baroque composer we are turning to for guidance, but Bach the universal musician. In fact, if Bach had been a typical product of the Baroque and did not belong to and encompass all ages, I doubt if we today would have any thoughts of turning to him. It was not the historical Baroque quality in Bach that inspired Mozart and Beethoven, either.

One has to become wary of becoming too circumscribed by historical classifications, especially in the case of great original minds. Categorizing may lead to strange ideas and strangely strained performances. It has happened often in the performances of Bach’s music that admirable but misplaced conscientiousness has resulted in the stilted following of formulas for the typical Baroque composer. Musicians who fall into this error have worked from the words to the music (just the wrong way around) and the performances fare miserably. One must work from the music to the words.

The fact is, the Baroque classification is only partly applicable to Bach. The instruments, musical forms, and some attitudes he adopted were Baroque, but the concepts and musical results were not typical. There is no historical compartment roomy enough for Bach—no shelf to put him on. Any boundary lines, however broad, imprison him and restrict us in our grasp of him and his compositions. The important thing is to concentrate on his originality, which relates him to all periods, those preceding him and those to come. I find strong (cont.)

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