Bach Suites

Garrett, My son made almost the same comments you did after he recently attended a performance of the Bach B-Minor Mass at the San Francisco Symphony. I rushed to Bach's defense. I told him that I agreed that most Baroque and Rococo music is mostly "ear-wash," that is to say very pleasant and worthy but without the touch of greatness. However, I am convinced that Bach sits at the very top of the Western classical musical heritage. First, let's look at Bach's "Passion According to St. Matthew." I have been a huge fan of opera since I was a teenager, more than forty years ago. However, after listening to so much great opera, and other classical music all these years, I am still not convinced that there is any operatic work greater than Bach's St. Matthew Passion. Here is the opening chorus of the St. Matthew passion: http://www.youtube.com/watch?v=M_LLFfFXaUA&featur… Like all vocal works, it is necessary to know the text being sung: Come, ye daughters, share my mourning, See ye --- whom? --- the bridegroom there, See him --- how? --- just like a lamb! O Lamb of God, unspotted Upon the cross's branch slaughtered, ... Have mercy on us, O Jesus! Here is an awe-inspiring Mezzo-Soprano aria, originally I think written for a castrato: Erbarme dich, mein Gott - http://www.youtube.com/watch?v=BBeXF_lnj_M&featur… Have mercy Lord, My God, because of this my weeping! Look thou here, Heart and eyes now weep for thee Bitterly. Here is a chorus that always gives me the shivers. It is sung five times in the Matthew Passion, with variations: http://www.youtube.com/watch?v=UasmivVYfPA O head of blood and wounding, Of pain and scorn so full, O Head, for spite now fettered Beneath a crown of thorns, ... I suppose it all comes down to the question of whether the St. Matthew Passion is a greater work than Tristan und Isolde. It is a difficult call, but I think it is, especially when you factor in that Bach was necessarily writing in a less complex musical style. You say you detect a transcendent, spiritual aspect in Bach's Cello Suites. And I would absolutely agree. But did you ever listen to Bach's even greater Sonatas and Partitas for solo violin (BWV 1001-1006)? These are some of the most amazing musical pieces I have ever heard. Here is the Fugue from Sonata #1, played by Henryk Szeryng (masterpieces such as this must be performed by a virtuoso, or not at all. Just like all great opera.) http://www.youtube.com/watch?v=RjSG2SVwDMY This sounds like several violinists playing a fugue against each other, but it is one man, and one violin. Here is another excerpt, played by Isaac Stern: http://www.youtube.com/watch?v=5vfMADWKFsM&featur… The "Big Three" of Western Music is usually said to be Bach, Mozart, Beethoven. But as a big fan of opera, like me, don't you agree that Wagner not only equaled Beethoven, but went well beyond him? Robert Sheaffer
— May 20, 2011 12:40 a.m.

One Hit Operas

Garrett, Thais is not about an Egyptian Princess. Thais is a famous and notorious Courtesan in Alexandria. A pious Christian monk keeps hanging around with her, trying to convert her. He won't admit it, but of course he lusts after her. Finally, he is successful and she converts to Christianity. But then the roles reverse - she goes off to live in contemplation and prayer, while he pursues her out of lust. I saw the opera once, a long time ago. I think it ought to be performed more often. Robert
— May 13, 2011 8:45 a.m.

Schooled!

Most of the made-up stuff in this column isn't very funny, but this one is!
— May 13, 2011 8:32 a.m.

Carmen Kills Herself

Hi, Garrett. As for Carmen's popularity, it's not just the sex, the piece is extremely melodious. Lots of nice tunes that you can hum, which makes it extremely accessible to the novice opera listener, unlike Wagner or Strauss (let alone Benjamin Britten!). It's a "gateway drug," if you will. Neitzsche, once he was past his extreme infatuation with Wagner, turned to Carmen as the example of what music ought to be, with his famous comment, "Il faut méditerraniser la musique". When I was about 13 I bought an LP with the highlights from Carmen, and listened to it nearly every day, until it got all scratched and worn. I think I'd heard some Carmen excerpts on TV somewhere. As a freshman in high school, we went to a student performance of Carmen at the Chicago Lyric Opera - and if my recall isn't totally wrong, the tenor was Franco Corelli (although I didn't appreciate his significance at that time). Now, I don't listen to Carmen much at all. I'm more likely to put on a video of Ariadne auf Naxos, Der Rosenkavalier, or Britten's Midsummer Night's Dream. Nice blog, by the way. Robert Sheaffer
— March 23, 2011 11:42 a.m.