The Culture Concept Circle » Baroque

The Cello – The Nature of Sound and an Art of Sophistication

Carolyn McDowall — Sat, 10 Dec 2011 20:06:05 +0000

Croatian Cellists Luke Sulic and Stjepan Hauser - 2Cellos

Along with a passion for early music is the enjoyment and love of music written for my favourite instrument, the violoncello. Often shortened to Cello. I would ride through storm and tempest to attend performances played by renowned modern cellists such as Steven Isserlis and Peter Wispelway, especially when they perform with the Australian Chamber Orchestra.

Over the centuries the instruments that have been played and the voices that have either sung, or narrated to music, have been a powerful force affecting the lives of many people. English actor Orson Welles’ radio broadcast of 1938 about an invasion of the world by aliens, against a backing of a music show terrified millions. In more recent times Elton John’s rendition of the poignant song Candles in the Wind at Princess Diana’s funeral touched the hardest heart.

Music expresses emotions and ideas in significant forms with rhythm melody, harmony and colour elements contributing to creating an art of sound. It can have both darkness and light, as opposing forces in its make up, highlighting its ability to represent both evil and good. It creates camaraderie, and has been proven to have many therapeutic qualities, including providing an atmosphere wherein calm can prevail in a very busy world.

More recently I have enjoyed the innovative brilliance of the acclaimed 2Cellos, Croatian musicians Luke Sulic and Stjepan Hauser, who performed with Elton John on his 2011 tour. If you haven’t caught up with this divine duo yet, now’s the time.

http://www.youtube.com/watch?v=0UyEtlJfG_Q

: Eric Siblin – The Cello Suites

When it emerged during the seventeenth century from a more modest position among a group of instrumentalists, the art of violoncello playing became valued first in Italy, which became overpowered by the love of opera, while Germany and France went on to cultivate its solo playing as the art form.

If you want to understand the style of music originally designed for the cello as a solo instrument, The Cello Suites is an extraordinary tale, beautifully crafted and terrifically told of an epic quest undertaken by Canadian rock critic Eric Siblin. a great book about the search for a Baroque masterpiece, a score specifically written for the cello.

It seems Eric Siblin had an epiphany of sorts when he attended a recital of J S Bach’s six Cello Suites, falling completely under the spell of this classic musical masterpiece. He decided to go on his own journey to learn all about the works and their composer and to record his findings. By all accounts he certainly got more than he bargained for. Along the way he unravels three centuries of mystery, intrigue, history, politics and passion and his compelling work is part biography, part music history, and part literary mystery as it follows three diverse trails on an ever evolving story.

The first is a dramatic narrative featuring eighteenth century composer Johann Sebastian Bach and his missing manuscript; the second traces the journey of Spanish musician Pablo Casals and his rise to fame playing the suites; and the third is Eric Siblin’s own discovery of, and infatuation with the transcandental quality of the music itself.

“It was a powerful experience for me,” he said. “It was like being struck by lightning in a musical way.”

His journey takes him from the back streets of Barcelona to a Belgian mansion, and bombed-out German palace.

He has interviews with renowned modern day cellists Mischa Maisky, Anner Bylsma, and Pieter Wispelwey. He digs into archives, follow festivals, attends conferences, and investigates certain cemeteries. He also takes cello lessons himself all in pursuit of uncovering the mysteries that continue to haunt this piece of music more than 250 years after the composer’s death.

He turned up some fascinating details about Bach….”His life wasn’t as deadly dull as most people imagine it to be” said Siblin. Up until he was ten years old Johnann Sebastian Bach was taught by his father, however following his death in 1695 he and his brother Johann Christoph studied organ in Ohrdruf and he also developed an interest in organ building.

He was a Court Composer at Weimar for two ruling Grand Dukes 1708 – 1717 and then, at Cöthen for a youthful Prince Leopold. He wrote works for small court orchestra, including toccatas, capriccios, fantasias, fugues, variations, suites, sonatas, and miscellaneous shorter pieces for teaching.

Bach’s six acclaimed Brandenburg Concertos were dedicated to the Margrave of Brandenburg in 1721. In 1723 he was employed as Cantor for the Choir School of St. Thomas in Leipzig where he was given responsibility for the music at five principal city churches. This is the period when he composed a huge amount of choral works and also took charge of the University Collegium musicum. His collected works were first published by the Bach-Gesellschaft (Bach Society), 1851-1900 using the Bach-Werke-Verzeichnis (Thematic-Systematic Listing of the Works of J.S. Bach) devised by Wolfgang Schmieder.

The rendition of 2Cellos ‘Welcome to the Jungle’ by Guns N Roses is so awesome it has to be seen to be believed. Bach would have surely approved of these boys and their magical music making on the violoncello.

http://www.youtube.com/watch?v=_AYEgwwCYWw

Carolyn McDowall The Culture Concept Circle 2009 – 2011

J S Bach – Unleashing Music Reviving the Spirit and Soul

Carolyn McDowall — Fri, 09 Dec 2011 21:12:37 +0000

I was obliged to be industrious. Whoever is equally industrious will succeed equally well*

: Johann Sebastian Bach and his sons

During the eighteenth century in Europe marvelous music swept all before it as contemporary composers strove to produce works that exuded ‘noble simplicity and quiet greatness’, qualities that ‘enlightened’ men and women were seeking to gather unto themselves. Converting drama and religion the pedal fugues of Johann Sebastian Bach (1685-1750) lit up many a gathering of the faithful especially when a new pedal organ was installed at Westminster Abbey. The sounds rebounded off the architecture with sounds of unparalleled intensity. It was definitely music that resonates. J S Bach composed music meant for reviving the spirit and nurturing the soul. Today a lot of younger musicians are discovering its many possibilities for electric arrangements. Although it’s still great just how he composed it. Considering he died over 260 years ago, it is amazing that around the world in schools, churches, halls and grand venues, people still celebrate this extraordinary man and his unique compositions. As Julie Andrews sang in ‘The Sound of Music …he must have done something good’.

Having been brought up as a regular Sunday worship observer in the Anglican tradition, and singing in choirs for nearly the same amount of time, my acquaintance with Mr Bach and his splendid works has been over a sixty-year period. An abiding affection for him is always aroused, especially when the Toccata and Fugue in d minor is played. Although since the ‘80’s a number of scholars have apparently challenged its authorship. We will leave them to work it out…the point is that it is a piece of music that never fails to quicken the step. So do listen to it played by Karl Richter at the end of this piece. Otherwise enjoy Walter Murphy’s version from 1978, entitled Walter Murphy (1952- ) – Toccata And Funk In d Minor DISCO 1978. This may also put a smile on your face, because at that time time American instrumentalist, songwriter and arranger Walter Murphy Jr and his ‘Big Apple Band’ were quite the rage, as was disco dancing. What?

Toccata and Fugue attributed to Bach arranged by Murphy as Toccata and Funk

Johann Sebastian Bach 1685-1750

It was his father who taught Johann Sebastian Bach music, at least up until he was ten years old. His death in 1695 changed the lives of Johann Sebastian and his brother Johann Christophe forever. They were sent away to study the organ in Ohrdruf where Johann also developed an interest in organ building.

An organ is an amazing instrument whose destiny seems to have always been linked to the church, despite organs being installed in many grand venues including public Town Halls across Europe and here in Australia as well as Concert Halls, Universities and Conservatoria.

Then there were the ‘theatre’ organs imitating an orchestra, which were installed during the late nineteenth and first decade or two of the twentieth century in movie cinemas to accompany the popular silent movie genre.

The landmark talking movie The Jazz Singer in 1927 changed everything. Since then first with the decline of silent movies and the many problems besetting the church, it often seems the organ’s fate would, despite the Organ Historical Trust of Australia and its best efforts, be limited.

So it was a great surprise to find out that Sydney Grammar School, always considered one of the most progressive in the country, had a new organ installed as recently as 2004.

On their website it says ‘The new organ was heard in public for the first time in a series of concerts in August and September of 2004. Each of these concerts was recorded for radio broadcast by the Australian Broadcasting Corporation and 2MBS-FM.’ How great is this. The school, like so many others in the country today offer a wonderful music experience to their students, if they wish to pursue a career in the field.

Organist Christopher Cook at St Johns Cathedral Festive Music Series 2004

The organ is such a difficult instrument to play and when staging a series of Festive Music events in St John’s Cathedral at Brisbane in 2004 with organist Christopher Cook, the church provided ‘foot cam’ so that people were able to watch how he played the giant keyboard with his feet, while playing all the others with his hands. It was a huge success as so many people did not realize that this was how it happened. Playing an organ is a bit like rubbing your tummy while you pat your head – two things at once. You have to be amazingly fit, very flexible and versatile. It certainly requires considerable skill and loads of practice, practice and more practice, which organists tell me is the key.

Johann Sebastian Bach became Court Composer at Weimar for two ruling Grand Dukes 1708 – 1717 and then, at Cöthen for a youthful Prince Leopold. He wrote works for small court orchestra, including toccatas, capriccios, fantasias, fugues, variations, suites, sonatas, and miscellaneous shorter pieces for teaching. His six acclaimed Brandenburg Concertos were dedicated to the Margrave of Brandenburg in 1721. In 1723 he was employed as Cantor for the Choir School of St. Thomas in Leipzig where he was given responsibility for the music life at five principal city churches. This is the period when he composed a huge amount of choral works and also took charge of the University Collegium musicum. His collected works were first published by the Bach-Gesellschaft (Bach Society), 1851-1900 using the Bach-Werke-Verzeichnis (Thematic-Systematic Listing of the Works of J.S. Bach) by Wolfgang Schmieder.

Pipes of the Sydney Grammar School Organ

In 1722 Bach completed a collection of 24 preludes and fugues in all major and minor keys, which he called “The Well-tempered Clavier“. During the next twenty years he wrote a further 24, making the present total of 48. They have a complex structure with a wealth of detail utilizing and extending the full possibilities of the organ keyboards, and represent a challenge for any organist.

His now famous Six Suites for Unaccompanied Cello have achieved legendary status. Their emotional range, intimacy and intensity have made them among the most popular of all his works today. If you want to understand The Cello Suites a beautifully crafted book tells the tale terrifically of an epic quest undertaken by Canadian rock critic Eric Siblin about his search for the original Baroque masterpiece, a score specifically written for the cello Bach.

The Schübler Chorales were named for Georg Schübler, who published six Chorales by Bach ca. 1748 all of which were unique in Bach’s organ compositions. Five of the six chorales are transcriptions from his cantatas in which the melody is easily heard, because it is assigned to its own keyboard throughout the piece.

In his final decade 1740 – 1750 Bach composed The Leipzig Chorales. Australian organist Christopher Wrench performed seven of these on Bach’s birthday at Sydney Grammar School in March 2011. They were produced from earlier works when Bach was court organist at Weimar. A keyboard specialist, Brisbane based organist Christopher Wrench has mastered the complexities of playing the organ. He applies sensitive phrasing and rhythm to enhance the interpretation of each of the compositions he tackles. He is well renowned for the virtuosity of his performances and the considerable joy he imparts when making full use of the organ’s wide tonal palette and expressive power.

J.S.Bach-Toccata e Fuga BWV 565-Karl Richter

http://www.youtube.com/watch?v=Zd_oIFy1mxM

Carolyn McDowall, The Culture Concept Circle, 2011

In Australia it seems that many of our historic instruments have been documented with histories, specifications and photos listed on the Organ Historical Trust of Australia website. So if you would like to join or know how you can help do more please contact them directly.

* J S Bach