Johann Sebastian Bach, "Mass in B Minor"

Johann Sebastian Bach
"Mass in B Minor"
Harmonia Mundi (1998)
1000 Recordings to Hear Before You Die

As a Catholic, I can say with some authority that the more shallow members of the faith (aka: most of us) appreciate a short ceremony. They would've been out of luck during Bach's day. The average mass lasted more than two hours. The good news is that, if it was anything like the composer's Mass in B Minor, the music was excellent.

Mass in B, the last of the four Bach pieces that this blog will examine, was drafted by Bach to encompass every aspect of the Catholic mass (this in itself is ironic, considering that Bach was a Lutheran). The piece is comprised of five sections that align with the mass (modern equivalents in parentheses): Kyrie ("Lord have mercy"), Gloria, Credo (Nicene Creed), and a compilation consisting of Sanctus, Hosanna, Benedictus and Agnus Dei. If heard in English, a Catholic will be able to trace the progression of the Mass based on the lyrics.

Something worth clarifying is the overall mood of this piece. It's easy to understand why someone might initially presume this to be a downer; The "minor" indicates the minor key, scales that create a "sad" tone. "In B Minor" is a misleading title however, one that was not assigned by Bach. Untitled, the collection was dubbed "in B Minor" because its opening movement, "Kirie Eleison," is in B Minor. If a key-based title were to be given, "Mass in D Major" would have been more accurate. There are ten movements in D Major, as opposed to five in B Minor.

Despite the two-plus hour listen, there is an incredible degree of variety from movement to movement, which makes it easy to pay attention. The variety of keys has already been mentioned, but the variety in vocal approaches helps even more. There are five-part, four-part, and solo arias, each in a variety of keys. Moon rightly applauds the Collegium Vocale of Ghent for its 23-voice approach. A choir of 120 (as seen with the Abyssinian Baptist Church) would not allow appreciation for the subtle intonation artfully present in Bach's layout. The diversity applies to the instrumentals as well; The music stretches from typical Baroque chamber orchestras to solo (obbligato) instruments, including the violin and oboe.

Variety is a popular theme in this entry, but it is even more important as an overriding theme to the four entries for Bach. We have seen full-out concertos, solo works for violin and piano, and a religious composition designed primarily for vocalists. The ability to work in so many forms is a testament to his genius, reputation in the Baroque era, and his overall influence on modern music.

INTERESTING FACT: Although Mass in B Minor is of course, a mass, its first performance was not at mass at all, but rather at King Augustus III of Poland's Oath of Allegiance festival, following his rise to the throne.

"Cum Sancto Spiritu"

Johann Sebastian Bach, "Das Wohltemperierte Klavier"

Johann Sebastian Bach
"Das Wohltemperierte Klavier"
ECM (2004)
1000 Recordings to Hear Before You Die

The ultimate lesson in Bach's discography is that the composer couldn't write anything without it being historically monumental. Sure, Bach's grander Baroque contributions (such as the Brandenburg Concertos that we already examined) were great. Ultimately, his greatest contributions might be from the educational standpoint however. The purpose behind his Sonatas and Partitas for Solo Violin (the last Bach we looked at) was not an educational one, but its overarching grasp on Baroque techniques make it a standard for violin players today. Das Wohltemperierte Klavier (or "The Well-Tempered Clavier," as it will be referred to from this point) was actually intended as an educational tool for pianists in training.

There were only so many people who could afford a piano or similar instrument at the time, so young piano players came from wealthy families. As there were so few pianists, there were even less who were qualified to instruct. Composers like Bach could only depend on patronage so much, therefore they filled their time teaching aristocrats the art.

Bach's Clavier was especially relevant because it's the first collection that contains movements in all 24 keys. Previous composers had also contrived similar compositions, but not with as wide a reach. This collection is also relevant for when it occured. At the time, equal temperament was on the rise. Equal temperament is a method of tuning in which every pair of adjacent notes has the same frequency ratio (this is the modern standard tuning). Meantone temperament (the other option) forms a less-perfect scale. Bach's title suggests that the piece is meant for well temperament, a method of tuning that allows a piano to be played in all keys without sounding out of tune.

It's not necessarily important, but it certainly is interesting to mention that there's no authoritative proof that Bach intended of the Clavier to be performed in well temperament. Most concur that the official title is unquestionable evidence of his intents. However, during much of the 19th century, experts presumed that Bach intended it to be performed in equal temperament, the rising trend at the time. Bach left no hints aside from his title; the composer preferred tuning his own instruments, and there are no records as to how he did it. Well-tempered is the current popular tuning, but Moon seems to favor the equal temperament argument. Others have even wilder theories (see "Interesting Fact").

The actual music is a demonstration in form and function, much like Bach's solo violin entries. Each step in the standard piano tuning alignment gets a prelude and a fugue in both major and minor (totaling 24 pairs for those unfamiliar). The preludes serve as the form; more convivial than its partner. The fugues are a more straightforward exercise in contrapuntal playing; giving both hands a workout that winds back to the original theme.

So it's good exercise, but is it good for enjoyment? If you're a piano nut, certainly. Don't get me wrong; It's a worthwhile listen but most will prefer an orchestra backing the pianist. This probably sounds terribly shallow to a piano purist, but this is wonderful study music.

INTERESTING FACT: Music scholar Herbert Anton Kellner suggested that the the proper temperament was hidden within the design on Bach's signet ring, and could be solved using numerology. Surely Dan Brown could spin a book out of this, or perhaps "National Treasure 3: Bach's Baroque Booty." Booty as in treasure, clown.

Prelude and Fugue in F# (major)

Johann Sebastian Bach, "Complete Sonatas and Partitas for Solo Violin"

Johann Sebastian Bach
"Complete Sonatas and Partitas for Solo Violin"
Philips (1961)
1000 Recordings To Hear Before You Die

You'll recall when we were looking at the Brandenburg Concertos, we learned that Bach was a virtuosic talent on the harpsichord and organ. Well guess what: Bach wasn't a slouch when it came to the violin either. Bach's sonatas and partitas for solo violin demonstrate both his talent for playing, along with his genius for composition.

Part of understanding that genius is understanding that composers just didn't write pieces for solo violin at that point in history. As Moon points out, the instrument is rarely used for solo pieces because as a melodic instrument, it works best with others providing a harmony. Bach shrugged off this logic.

It's important to realize that this isn't a Charlie Daniels album. Four of the six pieces are in a minor key, which lends support to the theory that Bach wrote the album as a memorial to his first wife. The three partitas are built on a series of Baroque dances, but these aren't jaunty numbers.

Although each of the pieces are built from movements that are variations of a common theme, the partitas emerge more variable than the sonatas because they're composed as different dances, and therefore follow a less orthodox structure than the sonatas. I'd personally recommend the partitas for this reason, but the sonatas are equally beautiful.

The partita that stands out amongst critics, and rightfully so, is the fourth piece on this collection, Partita no. 2 in D minor. This particular partita is comprised of five movements; an Allemanda, Corrente, Sarabanda, Giga and Ciaconna. The first four movements are each a style of dance popular during Bach's day, but the last is where the attention belongs. The Ciaconna (more commonly known as the Chaconne, in French) was a popular form that allowed a composer to draft several variations on repeated harmonic progressions, and Bach does as such here. The movement is longer than the previous four combined, and implements every aspect of violin playing known during Bach's era, spread over a triptych layout (one variation is that the middle section is in a major mode). Regardless of your grasp on Baroque era classical music, the Ciaconna is a superb and enthralling listen thanks to its constant shifts. I may be easily impressed, but allow Brahms to explain his enjoyment: "If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind."

As Brahms' blown mind might hint, the Ciaconna is still among the most difficult movements composed for solo violin, and many believe Bach wrote the piece for his own performance, rather than trust another player. Due to its complexity, it is often a required piece at violin competitions across the world. One piece of advice for anyone who doesn't normally listen to classical: Don't listen to all six pieces in one sitting. Altogether they add up to nearly two hours of listening, and if the listener grows bored, it could easily run together, which would ruin the individuality of each piece.

INTERESTING FACT: Arthur Grumiaux, the violinist on this recording (a Belgian, not French as suggested by Moon), owned a Stradivarius violin that had been commissioned for a "General Dupont" in 1727. The violin is currently on loan to virtuoso Jennifer Koh.

Partita no. 2 in D Minor-Ciaconna pt. 1

Partita no. 2 in D Minor-Ciaconna pt. 2

Johann Sebastian Bach, "The Brandenburg Concertos"

Johann Sebastian Bach
"The Brandenburg Concertos"
Opus 111 (2005)
1000 Recordings To Hear Before You Die

Mankind has historically embarked on grandiose projects in the name of two things: either A) God or B) Self. For every cathedral and enormous Buddha, there is a Taj Mahal; a monolith built for self-glorification (technically the Taj was built for Shah Jahan's wife, but he had plans to build a mirror of the monument in black for his own tomb). During the Baroque era, the grandest of the grand classical periods, much of the grandeur was dedicated to religious purpose. Johann Sebastian Bach and others wrote music (although funded by wealthy nobles) as a tribute to the divine. The Brandenburg Concertos were an exception. Bach wrote the six concertos for a potential patron, and unlike classics such as "Mass in B Minor," God wasn't part of the mix.

So to my second point, man creating to praise himself. This statement isn't entirely accurate when describing the Brandenburg Concertos, but it is entirely accurate in describing Brandenburg No. 5. One important element to consider is that each one of these concertos involve a different instrumental lineup, somewhere between 10 and 20 musicians, each tending to focus on different instruments. No. 5 is notable for featuring the harpsichord at the forefront, an instrument Bach played at the virtuosic level. Listening to the piece is evidence that Bach was writing to, if not toot his own horn, at least have a little fun.

No. 5 seems like a thrill ride for anyone well-practiced in harpsichord. The opening Allegro movement stretches for nine minutes, most of it featuring rapid harpsichord, and climaxing with a three minute solo cadenza from the instrument. The solo's density is reminiscent of the guitar hammer-on crescendo during the solo of Lynyrd Skynyrd's "Free Bird" and of John Coltrane's "wall of sound" technique on saxophone. Even for listeners easily lulled by classical music, this moment is enthralling.

Although No. 5 is certainly written primarily for Bach himself, it'd be wrong to label him as a narcissist. No. 5, along with Nos. 2 and 4, are concerto grossos, or multi-virtuoso concertos. The typical concerto was drafted for a single virtuoso, but the best of the Brandenburgs are the grossos. Each grosso has a different lineup of virtuoso instruments (the instrumentation is split into two categories: Concertino, or the virtuoso instruments, and Ripieno, the rest). No. 5 was the only concerto to feature the harpsichord.

No. 2's unique instrument is the natural trumpet, a valveless predecessor to the modern trumpet, which dominates its fellow Concertino instruments (a recorder, oboe and violin) as the harpsichord dominates No. 5. It's believed that No. 2 was written for Johann Ludwig Schreiber, the who's-who of trumpeters in the day, based on the complexity of the part. Concerto No. 4 is another excellent grosso, highlighting a pair of recorder virtuosos. Those who played the instrument in grade school may find it difficult to believe that such an instrument could involve virtuosity, but the the part is impressive.

The single-virtuoso concertos are worth a listen, but are rarely as enjoyable as their grosso brethren. One interesting point about No. 6 is its emphasis on the viola da braccio, taking a higher role over the viola da gamba. In Bach's day, the viola da gamba (or viol) was a higher class instrument than the viola da braccio (viola), which was played by musicians of a lower class. Bach may have been tweaking his nose at the system when composing No. 6.

The Brandenburg Concertos are one of the more popular series and as such have had hundreds of versions recorded. Moon recommends the recording by the acclaimed Concerto Italiano because he claims it sticks closer to the original tempos and structures set by Bach. I can't comment because I haven't listened to many versions to compare with, but I'd take Moon's word for it. If you really don't think you're game for classical, at least give Bach's harpsichord theatrics a shot.

INTERESTING FACT: The Brandenburg Concertos were never actually performed during Bach's lifetime. He gave them to Christian Ludwig, a margrave in Brandenburg, in the hopes that he would score patronage. It never got used because Ludwig lacked the musicians necessary, and was later sold for the equivalent of $24.00 worth of silver. They were finally discovered and published for the first time in 1849.

Brandenburg Concerto #5 in D - Allegro