Hans von Bülow famously said that in piano music “Bach is the Old Testament and Beethoven, the New Testament”. With all respect to the great man, I would content that a better framework to compare the two is not a
Wolfgang Amadeus Mozart famously told Gottfried van Swieten, a diplomat, librarian and esteemed patron of music, “Bach is the father. We are the children!” Interestingly, Mozart did not have Johann Sebastian in mind, but referred to Carl Philipp Emanuel instead.
Astor Piazzolla Fugata From BACH à PIAZZOLLA “tête-à-tête” (2013) Released by Indésens Records Astor Piazzolla: FugataA beautiful recording of Bach and Piazzolla, both performed on piano and bandoneon, with this wonderful Fugata by Piazzollo. Official Website
Carl Philipp Emanuel Bach: Trio Sonata in A minor, Wq. 148, H. 572 I have always wondered what it must have been like to grow up as the son of Johann Sebastian Bach. The old man was known around town
Arcangelo Corelli (1653-1713) and Johann Sebastian Bach (1685-1750) were two of the composers most familiar to me in my youth, with their oratorios, concerti grossi and choral compositions, respectively, heard particularly during the Christmas Season. Today’s article will reflect on
St. Matthew Passion: Part 29 Chorale O man, bewail ‘your great sin From St Matthew’s Passion (2013) Released by Harmonia Mundi Bach: St. Matthew Passion: Part 29 Chorale O man, bewail ‘your great sinIt has haunted René Jacobs since childhood:
Throughout his extended Leipzig career, J. S. Bach had a rather uneasy relationship with civic and church authorities. At his election as Cantor of St. Thomas Church in 1723, Bach was cautioned to make compositions that were not theatrical. “In
In his Suite 1922, Paul Hindemith had not only referenced in popular music genres; he also paid homage to the gestures and aesthetic of the high Baroque. Like many composers of the time, Hindemith was looking for greater objectivity and