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Updated: June 12, 2025
Bach's music, brought to light after a hundred years of deep obscurity by Felix Mendelssohn, and rendered, though at first with much opposition from musicians of the old school, in the Sing Akademie of Berlin, now lends every year, on the eve of Good Friday, its incomparable Passion-Musik to the devotion of the occasion.
The band, during the long procession, played the E minor "Song without Words," and at the close of the service the choir sang the final chorus from Bach's "Passion." The same night the body was taken to Berlin and placed in the family plot in the old Dreifaltigkeit Kirch-hof, beside that of his devoted sister Fanny.
Thus, after Liszt, when visiting the town, had been first of all received with great coldness, owing to the usual prices of admission to the concerts having been raised, Mendelssohn set everything straight by having a soirée in his honor at the Gewandhaus, where there were three hundred and fifty people, orchestra, chorus, punch, pastry, Meeresstille Psalm, Bach's Triple Concerto, choruses from St.
At Lichfield Cathedral I heard Bach's "Easter Hymn" given beautifully, and it was needed to make up for the sermon of a colonial bishop who, having returned to England after a long stay in his remote diocese, was fearfully depressed by the liberal tendencies of English theology. His discourse was one long diatribe against the tendency in England toward broad-churchmanship.
Bach and Chopin had anticipated him in some of his most startling chord progressions. The motives of Bach's fugues and Beethoven's sonatas and symphonies, and the so-called "leading motives" of the Frenchman, Hector Berlioz, had preceded his "typical motives." Moreover, the orchestration of Berlioz had been a precursor of his orchestral tone-coloring.
He had a dream of giving to lovers of music the last of Beethoven's quartets, which were considered at the time both unplayable and incomprehensible. In the end he planned a series of concerts at which, despite my age I was only fifteen I was to be the regular pianist. He planned to give in addition to these quartets, some of Bach's sonatas and Reber's and Schumann's trios.
The shock of coming home to his dead wife did not annul Bach's powers, and his next cantata with the suggestive title, "He that exalteth himself shall be abased," shows a larger grasp of resource and power. For all they may say of the superior genius of Bach's first wife's children, it was in his second wife that he seems to have found his more congenial and appreciative helpmeet.
It is now universally acknowledged that Wagner can only be compared with the greatest names in music. His instrumentation has the advantage in being the inheritor of the enormous development of the orchestra from Haydn to Berlioz, his harmony is as daring and original as Bach's, and his melody is as beautiful as it is different from Beethoven's or Mozart's.
Now, I knew what to expect from Liszt at the piano; but I had not expected anything like what I came to hear from Bach, though I had studied him well; I saw how study is eclipsed by genius. By his rendering of this single fugue of Bach's, Liszt revealed Bach to me; so that I henceforth knew for certain what to make of Bach, and how to solve all doubts concerning him.
She could hear Bach's interminable twiddles, and this exasperated her nerves and she wept through many preludes and fugues. Later on she must have heard the fugues in a dream, for the door opened; it passed over the carpet softly; and she heard Ned saying that he hoped the piano had not kept her awake.
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