John Smyth wrote:

>What I miss in Bach, (and it's not his fault), is orchestral
>color, and changes in meter and dynamics within single movements.  His
>music, *within movements,* is infused with what I would call a sort of
>"mono-emotionalism".  There is no sense of ambiguity and mystery.  The
>Baroque is characterized by logic, restraint, and understatement; and while
>one can always find exceptions, the era as a whole just doesn't turn me on.

You have a perfect right not to be turned on, but if you will listen
carefully to the First Unaccompanied Sonata for Violin and make believe
you WANT to be 'converted', I'll point out some things you may have wished
for and not noticed before.  It would help if you looked at a score for the
music I'll be mentioning.

Even after playing and hearing this Sonata I am still knocked out over the
shift between the feeling of three pulses per measure and two pulses in the
Presto (Finale).  That alone ought to rate high in ambiguity and rhythmic
change.  There is a constant tug that can be felt, and if you compare
several different performances you will hear all KINDS of different
underlying rhythms.

Contrast in dynamics is a cornerstone of the Baroque.  Many movements are
built around it.  The use of echo, and the use of variation are two places
to look for it.  No orchestral color? Don't look WITHIN one movement, but
consider entire works, for instance certain cantatas or concerti, and you
will hear great variation in color.  Bach uses every available instrument.
Just listen to the second four sacred cantatas, (# 5,6,7,8) for instance.
Hear them one after another!  But I digress.  Back to the Unaccompanied
Violin Sonata # 1:

You will also be astounded by the mystery in the first adagio.  Try to
look at the score and separate the voices.  If you want to be fanatic about
it, do what I had to do:  write them out as three separate lines on staff
paper.  Color you want? How about THREE distinct voices coming out of one
hunk of wood?

And the Fugue (the second movement) is kaleidoscopic in emotional
impressions.  Playing it is always a roller coaster experience.  This piece
is NO exceptional example.  I could take any sonata or partita for solo
violin or keyboard and go through it like this, and find example after
example for you.  Cross my palm with silver.  Bach is full of what you say
you have missed.  Look carefully and you will always be rewarded.  You can
trust me.  Would I lie to you?

>What Bach does within the musical environment of his times is, of course,
>beyond reproach, but I prefer the music of the composers who stood on his
>shoulders--even though their excessive indulgence can sometimes be at the
>expense of musical logic.

Logic is there, but so is raw emotion.  There is a movement in this very
same Partita that can make strong men weep.  It is called the "Sicilliana"
(third movement) and if you can listen to Milstein's version, you, too,
might become a soggy, sentimental mess.

>Maybe someday this will change.  One of my piano teachers once said that
>no one under fifty has any business performing Bach or Mozart--an absurd
>statement, but haunting.  Could I be missing the emotional depths?

Yup.  But start now, without a moment to spare, and by the time you're
fifty, maybe you'll be able to play Bach with ease and not struggle the way
I had to.

Play any of the keyboard partitas.  You want rhythm? contrast? excitement?
emotion? Try the first movement of the Partita No.  2 in C Minor.  It is
a three part Symphonia.  First 8 measures are very ornamental and noble.
Measure 8 is a wild and crazy syncopated two part Andante that SWINGS, and
it's rounded out with a fugue that will fry your socks.  The rest of that
Partita isn't shabby either.  High on my hit parade of super movements with
catchy melodies and great variations is the Rondeau (fourth movement) of
that same Partita.  And while you are at play, try the last movement of the
previous Partita.  There is some amusing hand crossing going on ...  more
"orchestral" color for you to chomp on.  Aerobic Bach!

And I didn't even mention the Chaccone, which is in a class by itself.
It contains every emotion that you can imagine, and more.  It is full of
color, contrast, rhythmic variety and vitality, virtuosic display and great
melodies.  It is an all-purpose violin piece; invigorating, consoling,
inspiring.

Mimi Ezust <[log in to unmask]>