Barock and Roll
Over in that post over there, R J Keefe left a comment in which he praised Baroque music for providing workable background music. I’d never come across this point of view, but can totally see where he is coming from — despite the risk of being burned at the stake for talking about Bach like that.
Baroque music (or Barock, which is how it’s been thrust in front of my eyes recently, during the reading of the Baroque Cycle books — yes yes, the title and interior spellings don’t match) has way less dynamic range and change than Classical, Romantic, etc. It doesn’t have strain-your-ear solos cascading into destroy-your-ear total orchestra devastation. It’s mostly all at the same volume. Also, the tempo doesn’t change very much.
It’s not the kind of music where you are hanging on the edge of your seat waiting for the story to unfold. There isn’t as much of a story to hear.
Or is there? Does anyone fancy arguing this one? I’m not tremendously experienced with the Baroque genre, but from what I’ve experienced it seems less like a narrative and more like word games: puns, acronyms, anagrams, palindromes. This can be beautiful, but in a more abstract, clever way. It doesn’t drag me in and tie me up like my favorite, later pieces do.
HOWEVER: I know that a lot of people totally cream their pants over Bach. What I don’t know is if they feel the same way about him as… say… Beethoven or Brahms (the stereotypical 3Bs favorites list).
NPR Night Dispatches
The other day while gleefully typing the praises of NPR, I (luckily for you) forgot to uncontrollably and unreasonably and excessively whine about one aspect of the experience. Unluckily for you, I just remembered it:
The problem occurs when you are lying atop your bed like a delightful angel (this always describes me perfectly) and something totally awesome comes on. And then you fall asleep before they tell you what it is. A variation on that theme is when you do manage to hold out until the announcer announces it, but find on waking that you’ve forgotten the composer, or the piece, or the whole thing. Kind of like all those other stupendous money-making/world-saving ideas you have in bed but can’t be arsed to get up and write down.
Like, the other night there was some Classical piece (capital C Classical, like, Mozart or someone) which had a theme really similar to a bit of the Shosty Invasion theme from the 7th symphony. I wanted to do a not-in-bed comparison, but can’t bloody remember either the composer or the piece. I think it had a clarinet in it, so that narrows it down to about 13,576 pieces.
Sometimes this saves me, which is yet another reason NPR rocks my socks. It has complete listings for Classical Music Through the Night, so if I can remember about what time the radio was on, or maybe the previous item on the playlist, the anonymous performance can be fingered.
That’s what just happened with the fifth one of these
J.S. Bach Sez: Don’t Drink and Drive
Here’s a video that someone shared with me ages ago on youtube, but that I unfortunately did not notice until now:
And here’s a non-acappella version of BWV 847 (the soundtrack to the above PSA):
The Goldberg Variations, Right Up Close and Personal
We just arrived back from a jaunt down to the city. The main attraction was my girlfriend’s brother’s kickarse piano recital including a Haydn sonata (which I thought had surprising amounts of dissonance, but maybe I’m just getting accustomed to that older stuff) a Shostakovich Prelude and Fugue, and the Mendelssohn Variations Sérieuses.
The main meat of the performance was the Goldberg Variations. This is one of those must-love/must-know-really-well pieces for all serious classical music people. But I don’t know it. Well, I’ve maybe heard it through once before when a friend lent me his Glenn Gould CD, but that’s about it. In general I think theme and variations form is awesome (it can beat up rondo form any day of the week), but it’s often well hard the first times through to put it together. In order to actually hear the variations you kind of need to know the unvaried theme enough to hum it (and mentally fill in the harmonics), or you tend to lose track of things in the variations.
This was definitely in effect yesterday. It wasn’t aided at all by the descriptions of the variations, which are not very descriptive. Take a peak over the extensive list of them on wikipedia. Instead of (relatively) easy to pick up on describers like “presto” they are instead mostly labeled with either “a 1 Clav” or “a 2 Clav”. This only served to confuse me more, as I knew enough score-Italian to suspect that Clav means keyboard. Are some of the variations meant to be played on two pianos?
Well, it turns out that is actually sort of correct, but in this case it’s 2 “manuals” on a harpsichord which as my limited understanding of harpsichord design tells me are multiple keyboards on the same instrument. This means that your hands are less likely to collide. However, on a piano you of course don’t have this luxury and it becomes extra-hard to perform, but he did a totally awesome job of it.
The other descriptive element which became a lot more descriptive after the fact are the labels Canone alla Seconda, alla Terza, etc. which I did manage to deduce were numbers, but did not manage to deduce meant that these were variations based on the major second interval, the interval of a third, and so on. In fact they are specifically in the form of a Canon, which is a form in which there is leading melody that gets followed by various imitating melodies.
If I had known all that I might have had a chance at spotting them as they came at me, but as it was I just basked in the music. Next time I shall be better mentally equipped to parse them all out. The concert still rocked though, despite my ignorance. He is truly an amazing pianist.
(Oh, by the way, if anyone is looking for parking recommendations to get into Manhattan with minimum fuss I can heartily recommend taking the ferry from Port Imperial at Weehawken. It’s $10 a day to park, and there are ferries to Midtown minimally every 20 minutes which take only about 5 minutes to cross. Then there are free buses when you get to 38th street.)
Back to Bach on a full stomach
Thanksgiving has reached its triumphant conclusion. I have been over fed and over-boozed and over-emergency-hamified by my girlfriends family, and am now plummeting into a Sunday evening over which the rest of the week is looming heavily, largely. All kinds of eventful events happened in my November absence, but as I didn’t get to sleep until five this morning those’ll get saved for future typings. Until such time as they are etc etc, take a gander at this performance of the ubiquitous but ever awesome toccata and fugue in D-minor… on an accordion.
