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!
The other day I felt tired, miserable, distressed. I felt like hiding from the hideous world, from which I felt totally disconnected. Hiding – but where? Johann Sebastian Bach’s music is a good place to hide, a sanctuary of singular beauty, where I always feel welcome, where I can stop thinking, where I don’t have to talk or to explain or justify. In the realm of Bach I can be. To be, to exist, without any conditions attached to it – philosophers from Parmenides to Georg Friedrich Wilhelm Hegel have struggled with the concept. How good it feels to be permeated by Bach’s Concerto for two Harpsichords, Strings and Continuo in C minor (BWV 1060), to forget reality and to contemplate Beauty, Purity, Eternity.
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!
Bach – that’s not just a composer’s name. It’s a whole dynasty of excellent musicians! We have already met Carl Philip Emmanuel Bach, one of Johann Sebastian Bach’s sons. Today we will explore a work written by Johann Bernard Bach, a cousin of Johann Sebastian. He was born in Erfurt in 1676 and died just a year before his famous cousin, in 1749. Johann Bernard Bach held the position as organist in Erfurt from 1695 on and moved into a similar position in Eisenach in 1703, where he was appointed as a court harpsichordist and later as the Kapellmeister of the court’s orchestra.