Bach – Prelude & Fugue in C, WTC Book 2, no.1 (BWV 870) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in C, WTC Book 2, no.1 (BWV 870) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in C, WTC Book 2, no.1 (BWV 870) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #1 in C Major (Bk 2), BWV 870

Eunice Norton, piano
Recorded in 1968.

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J.S. Bach – The Inexhaustible Musical Wellspring (1/21)

By Eunice Norton

[Delivered at the University of Maryland, in conjunction with a series of four concerts comprising the 48 preludes and fugues of Bach’s Well-tempered Clavier, for the 1968 meeting of the American Matthay Association.]

Where music is concerned I have far greater faith in music than in words about music. But if I must speak about Bach, let me start by suggesting that in this generation it would seem there could be little left to say about his music, so much is known. Much research has been done and the results have been published. Many performing musicians play the music of Bach — some who are serious and others who are surprisingly flippant. But perhaps because of the many writings and performances, controversies have fermented into burning issues. The issues are important. The outcome of discussions about them will make the difference between authoritative, moving performances and neutral, ineffective performances of his music.

The title of my talk was selected because I find hope in the idea that J.S. Bach could provide everyone associated with music, from the youngest beginners through composers, performers, educators, and audience, with a set of musical values based on a musical ideal with which he could compare all music. I am against the application of democratic principles to musical taste and programs. I think it is a tendency we must all combat. To represent all qualities of music in study and on concert programs is the most dangerous of all prevalent trends if we wish for a rich musical culture here.

My title gives room for mention of most of the facts and ideas that influence attitudes about Bach and the performance of his music. The word “wellspring” is meant to indicate to you the tone of my approach. It is a poetic word; one which I hope will guide me away from the theoretical and pedantic. In dealing with music, I consider that I am dealing with matters not measurable with tools or provable with machines. The word “wellspring” is suggestive of qualities that belong specifically to Bach’s music. It expresses an effervescent source that streams forth, that possesses inexhaustible vitality. It expresses depth, clarity, purity.

I wish to speak as an artist—as a musician with some poetic intuition—to deal with music, mystical and immeasurable, in which the involvement of human beings is indispensable; in which incomprehensible, irregular, unreal vagaries of human beings are valued, and wild leaps of the imagination, poetic fancy, and unreasoned capacity to give form to visions are treasured. I shall dare to include words that have become somewhat embarrassing today, words that (cont. https://www.youtube.com/watch?v=pqOSWZEY224)

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