Sometimes referred
to as the “Bückeburg
Bach,” he wrote
keyboard sonatas,
symphonies, oratorios,
liturgical choir pieces
and motets, operas and
songs, and served as
harpsichordist at
Bückeburg and then
concertmaster for
Wilhelm, Count of
Schaumburg-Lippe.
Johann Christoph Friedrich Bach
The Bückeburg Bach
C. P. E. Bach was an
influential composer
working at a time of
transition between his
father's baroque
style and the classical
and romantic styles that
followed it. The Off the
Cuff performance will
showcase works by J.C.
and C.P.E. along with
those of their father,
but the differences will
be striking.
Carl Philipp Emanuel Bach
C.P.E.
The old wig.
Johann Sebastian Bach
No. 2 in D minor is one of the longest and most challenging solo
pieces written for violin. Carney himself has a massive print of the
Chaconne hanging on the wall of his practice room at home. “His
use of counterpoint is so sophisticated, especially for the time,”
says Carney. “It elevated the violin to a whole new level.”
Baroque music is highly ornamental and J.S. flourished in the
rich tapestry of the style. According to Nicholas McGegan, the
beauty of baroque music is its inviting tunes and its approachability, which can belie layers of underlying depth and mastery.
“Whereas some baroque music is all about the surface, the
music of the really great composers is much more profound than
that,” says McGegan, “and music doesn’t get much more
profound than Sebastian Bach.”
“Bach takes you to heaven,” he continues. “Other composers
do that, but perhaps not for quite as long.”
It’s hard to imagine than anyone could flourish in the long
shadow cast by J.S. Bach, but of his 20 children, at least four
showed musical prowess: Johann Christoph Friedrich, Wilhelm
Friedmann, Johann Christian (J.C.) and Carl Philipp Emanuel
(C.P.E.). Of these, J.C. and C.P.E. have carved out their own
place in musical history. C.P.E.’s Essay on the True Art of Playing
Keyboard Instruments was a seminal work for generations, and J.C.
is considered a significant influence on Mozart.
The Off the Cuff performance will showcase works
Baroque music
by J.C. and C.P.E. along with
is highly
those of their father. Accord- ornamental and
ing to McGegan, the differJ.S. flourished
ences will be striking. From
in the rich
a purely practical perspective,
tapestry
of
the three were composing in
very different time periods.
the style.
C.P.E. was J.S.’s eldest surviving son by his first wife, while J.C. was the youngest son by his second wife. The two brothers could have been father and son based
on their ages. When Johann Sebastian Bach died, J.C. did, in fact,
go to his half brother’s care. C.P.E.’s works evoke the Rococo style,
while J.C.’s encompass the mannerly music of the early Classical
period at the end of the 18th century.
“When you listen to Carl Philipp Emanuel’s music, which is
cranky, strange, surprising, and really living on its wits and emotion, it’s hard to believe he’s the son of Johann Sebastian,” says
McGegan. “And then you hear the music of Johann Christian,
and it sounds like music for a Pride and Prejudice movie.”
“There’s not a ‘house’ style like you could say the House of
Chanel has a look or feel to it. These are very different composers
who inherited talent, not a language.”
Through the Off the Cuff presentation, McGegan expects
to bring to life the family history of the Bachs with interesting
stories of their time, such as how J.C. Bach played piano duets
with a nine-year-old Mozart or the great credit the world owes
Felix Mendelssohn for reviving interest in J.S. Bach’s music,
which was largely cast aside after his death by 18th-century
audiences hungry for newer music. There will no doubt be
information on the fatherly influence Johann Sebastian had,
or did not, on his children.
“Coming to a concert narrated by Nic McGegan and knowing
how fascinating and how charming he is as a speaker, I would expect [the audience] to leave with a little gossip on the Bach family
that will be crucial to understanding more about why the family
turned out the way it did and, hence, why the music turned out
as it did,” says Carney.
To hear the father and his sons side by side will be a chance,
one could say, to hear good, very good, and great in one concert.
While history seems to have determined which is which, each listener will have the chance to make his own decision in February.
Off the Cuff: The Bach Family: Saturday, February 14, 2015—7p.m.
January–February 2015 |
O v ertur e
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