Bach – Prelude & Fugue in C, WTC Book 1, no.1 (BWV 846) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in C, WTC Book 1, no.1 (BWV 846) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in C, WTC Book 1, no.1 (BWV 846) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #1 in C Major (Bk 1), BWV 846

Eunice Norton, piano
Recorded in 1968.

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J.S. Bach – The Inexhaustible Musical Wellspring (2/21)

(cont.) symbolize what was vital and meaningful in Bach’s day: “spirit,” “soul,” “beauty,” “immortality.” I wish to keep in the forefront of our discussion the concept that music is artistic vision made audible. I recognize the relationship of mathematics to music and physics to sound, and that musicians are constantly employing tools. But, particularly in our generation, I find it imperative to insist on the vision—the vision that compels the music.

I wish to convey something of the attitudes, the spirit, and the devotion of a performing musician whose life and musical life from early childhood has grown under the spell and disciplines of Bach’s music. I am eager to discuss the results—the musical standards, the musical comprehension and exuberance, the disciplines and craftsmanship I think may be anticipated as results of long and close association with the music of J.S. Bach.

I believe every musician—student, performer, and composer—should have a model from the past, selected for qualities that are ideal, that provide a source of learning and inspiration—a standard—a set of values with which to compare and evaluate all music and one’s own musical efforts. Bach has been the model, the “musical wellspring,” for most of the great musicians who lived between his time and ours.

It is impossible to judge or measure how much Bach changed or influenced the work of those he has touched—each was affected in a different way that complimented his individuality and all in a general way that must affect every musical nature.

The story is told about Mozart when he first encountered the music of Bach. He cried out, “What is that?” and his whole soul seemed to be in his ears. When the performance was over he called out joyfully, “That is indeed something from which we can learn.” (Rochlitz)

It is a pleasant coincidence that the name “Bach,” which in English means “brook,” contributes to our subject. By one definition in Webster’s Dictionary, “a brook is a watercourse, a living stream, discharging into another body of water.” How apt! There could not be a more precise description of the living stream that was the musical creativity of Bach, and its dissemination into the mainstream of the Western world’s musical activity. Beethoven, in a burst of adulation while studying the Well-tempered Clavier, said, “Bach is not a ‘brook’ but an ‘ocean.'” True—in the depth and largeness of the tremendous fugues, even preludes, in the great vocal works, and in the wealth of musical ideas, Bach is like an ocean—a limitless, pulsating, shining expanse that loomed on the horizon of a not altogether satisfactory musical scene. But Bach is also like a brook, which word, by the way, appears often in German poetry endearingly symbolizing philosophic rumination, a wandering, inquiring spirit, happy movement and perpetual vitality. Water has symbolically been associated with artistic creation for many centuries—with “the generation of images in the mind.” (Porphyry) (cont.)

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