Polyphony and arias from the second Bach generation

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Welcome autumn! © Charles Thibo

There is no life without Bach, at least not for me, and the moment you are reading this, I will be far away from home, on the beach, sitting in the sand, looking at the blue sky and doing nothing. Nothing except reading, listening to Bach and perhaps pondering whether I will run once more across the beach and throw myself into the waves. Right, I am on my much deserved vacation while at home the grape harvest has begun and the weather is gradually changing into a familiar grey-with-occasional-rain pattern. Welcome autumn!

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Transition to happiness with Carl Philipp Emmanuel Bach

Praise! © Charles Thibo

Music from the Bach family is a perfect way to start a day. Actually to start any day. On a sunny summer morning listening for example to Carl Philipp Emmanuel Bach’s Cello Concerto in A minor (Wq. 170) fills me with joy and enthusiasm and a strong desire to praise mankind’s inventiveness, it’s ability to create Beauty, its incredible power to fill others with happiness. What a gift from Johann Sebastian Bach’s son! What a generosity!

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An inconspicious sonata and a new passion

Sanguisorba minor © Charles Thibo

I remember that early spring walk a year or two ago. It was warm already, and we wandered as a family along the rocks that bordert the western side of the Mosella valley. The rocks trap and reflect the sunlight; the warmth they radiate and the minerals in the soil contribute to a substantial degree to the excellence of Luxembourg’s white wines. On the small path I encountered this inconspicious plant, Sanguisorba minor, than can be used as aromatic plant in a salad for instance. It was as nondescript as Carl Friedrich Abel’s Viola da Gamba Sonata No. 10 in E minor (WK 150) hidden on a recording by Rebeka Ruso (viola) and Sebastian Wienand (piano).

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After Bach: A new generation sets emotions to music

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A radiant summer. © Charles Thibo

The summer is not over yet? If that is so, let’s celebrate one more sunny day with one of the most beautiful double-concertos I know of. Sparks of joy, energy and vitality mark this piece, which had to be considered avant-garde at the time of its composition. In the year 1740, the Baroque era was drawing to its end and composers in the wake of Johann Sebastian Bach were bridging the gap to the Vienna classics era. One of these composers was Carl Philipp Emmanuel Bach, the second son of  Johann Sebastian Bach. Just like the keyboard concerto I have presented in an earlier post in July, today’s piece foreshadows the modern concertos that Wolfgang Amadeus Mozart and Ludwig van Beethoven would write several decades later.

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