I have to advocate for this way of reading this book. The result is a unique book about one of the greatest of all creative artists. But even this is rather vague. There is much to commend here. He has even endangered him in directing Pélléas which is the most boring Opera of the repertoire.
But what, then, does Gardiner say about those compositions that have no words, or no religious agenda? The actor John Barrymore once complained that attending to a footnote was like having to go downstairs to answer the doorbell while making love. If you are interested in certain works from Bach's large collection of church music, it might be worth reading only the chapter s that addresses the work. Geyersbach, for his part, was beleidigt that superbly expressive German word which signifies both taking offence and feeling hurt , stung by the public dressing down he had received at the hands of a stuck-up young organist, known to be paid exceptionally well for doing remarkably little. If I were to tell any of my friends that I know a great 700 page book about church music I don't think any of them would ask for the title. Those very familiar with Bach's Big Three John, Matthew and the B Minor Mass will find his chapters on those works easier to follow.
There is much to commend here. In this remarkable book, John Eliot Gardiner distils the fruits of a lifetime's immersion as one of Bach's greatest living interpreters. The language here is not that of a musicological scholar but that of a paean of admiration, from a devoted performer, for the tremendous sacred work of an enigmatic personality. Also there's a couple of hundred pages of relatively light musicology. Buscaba un libro que me introdujese a la figura de Bach así como su música. As an exploration of Bach's labyrinthine thought-processes, and as an analysis of his music's overwhelming emotional power, this book will now be required reading — ideally in tandem with Christoph Wolff's magisterial biography — for listeners and performers alike. The goal was to play again the Baroque music with more close to the authenticity: instrument of time, diapason with 451 herz, cord in bowel.
Some are social and personal: the tetchy burgomasters, the creaky performance conditions, the frustrations and career plans of the composer. In this remarkable book, John Eliot Gardiner distils the fruits of a lifetime's immersion as one of Bach's greatest living interpreters. This book is part biography, part a study of the music Bach wrote for church services. Although I appreciate the author noting the sparse evidence supporting his speculations, he keeps coming back to them as if, despite the lack of evidence, we should take them as true. Chronicles of Maria Magdalena Bach drawn from the chronicles of the same name. The book offers musical insights into Bach's sacred music, and also into his time and place. The most common criticism of this book I've seen in the press and on Goodreads is that it glosses over most of Bach's instrumental works.
It is often said that the skill of a good teacher lies in making the students interested in essence, in showing enough passion in the subject to make it come alive , rather than choosing interesting things to teach. This section becomes a goldmine of musical insight and factual detail, as Gardiner situates the works in their many contexts. He was one of the heroes of the baroque revolution. In this case, when you answer the door, the caller may grab you by the elbow and walk you around several city blocks. Gardiner presents the evolution of that music in an illuminating series of chapters beginning with an evocation of life in Bach's Thuringian home town, with Germany's Christian intellectual culture on the brink of the Enlightenment. These are very important works, for sure, but either mentioned only in passing or ignored entirely are seminal works like The Well Tempered Clavier, the Art of Fugue, the Notebook for Anna Magdalena, the Christmas Oratorio, and perhaps most noticeably absent, the Brandenburg Concerti. While there is biographical information to be found in the book- the first few chapters succeed in shedding light on his turbulent upbringing- the vast majority of it was made up of musical synopses of Gardiner's favorite cantatas.
Gardiner is undoubtedly the best person to write on Bach. Why one moreover and what news? There is much in-depth exploration, and it is worth it to read and consider every detail. And while I find the examination of the musical culture as influenced by a religious climate interesting, it is honestly not necessary to go into a history of the forest of Thuringia or to spend chapters discussing obscure Bach relatives before getting to the absolute little sure known about Bach. Just be aware that this should not be the first, and definitely not the last, book about Bach that you read. Allen Lane, 629pp, Telegraph offer price: £26 plus £1.
In this remarkable book, John Eliot Gardiner distils the fruits of a lifetime's immersion as one of Bach's greatest living interpreters. Gardiner's aim is 'to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. Finally, the book ends with a move toward a typical biography, describing the highlights of the last years of Bach's life. And what about the performance? To allure my wife I took her along to listen to him to play of harpsichord at the Sainte-Chapelle. Moreover, as biography it's disjointed and patchy, despite dashes of colour like its eye-witness vignettes of Bach at the organ feet flying over the pedals as though on wings. This is part biography of Bach, part biography of his music and the imagination that birthed it, and part evocative description of Bach's sacred music itself.
Es un libro bastante exhaustivo sobre Bach y el panorama musical de su época, especialmente en Alemania. Gardiner has, for example, a couple of pages on the use of dance-forms in the choral motets; but it is almost inconceivable that he could talk about the importance of the dance for Bach without discussing the keyboard suites and partitas. In spite of the book's 560 pages of text, Gardiner really does not touch upon J. He passed all his childhood in a farm of Dorset under the severe glance of Bach. He lives and farms in Dorset. Shout for joy and exult! He founded the Monteverdi Choir and Orchestra, the Orchestre de l'Opra de Lyon, the English Baroque Soloists, and the Orchestre Revolutionnaire et Romantique.