Verdi’s opera Aida enthralls a packed house in New York City, July 1964.Photograph by Albert Moldvay, National Geographic
March 1955, Columbia recording studio, NY — Pianist Glenn Gould laughing as engineers let him hear how his humming spoiled his recording of the Bach Goldberg Variations — after which he offered to wear a gas mask as a muffle.
Gould would not let engineers remove the sound of his humming in the background over fear that doing so would diminish the recording’s quality.
Photograph by Gordon Parks for LIFE.
J. S. Bach
Matthäus-Passion, BWV 244
I. Kommt, ihr Töchter, helft mir klagen /
O Lamm Gottes unschuldig
Herbert von Karajan
"The composer’s concern for the for the most appropriate graphic presentation of the music even led him to write the manuscript in two different colours of ink, the customary of blackish brown for most of the work, and a striking deep red for the chorale melody appearing in the opening movement and for all the Gospel words except for those sung by the chorus. Dürr sums up some of the other characteristics of the score as follows:
The barlines are drawn… very straight, at difficult places (e.g., “Sind Blitze, sind Donner” [No. 33]) with the help of the ruler. The staves, drawn with a staff-liner, are always counted out exactly – there is never an excess at the lower margin, and a somewhat greater expanse is left between systems, so that the eye can readily orient itself to the beginning of a new line. The movement headings and the indications of instrumentation are entered more carefully than usual in Bach’s scores; Part II receives a new title page, and the opening title even gives both the real name and the pseudonym of the librettist.”
- Joshua Rifkin
Probably one of my favorite Bach compositions ever.
Bach liked to add his “signature” to pieces, the St. Matthew’s Passion being one of those pieces.
"Bach", when translated into numbers, follows this very simple rubric: B is 2, A is 1, C is 3, and H is 8. The total sum of those numbers if 14 and its mirror is 41. These numbers were among Bach’s favorite numbers. Scholars have found these numbers tucked away in a countless number of Bach’s pieces.
If you follow the score presented from the very beginning of this movement, the cello and bass lines repeat exactly 41 times before they change and soar away.
Andrew Manze discussed this piece in depth in his presentation “Bach To The Future”, which I would totally recommend to any Bach fan.
Can someone who’s good with music explain this to me.
it means to go cry in a corner
Crawl into fetal position and cry
How does one even try to play this?
Like This: *insert a cacophony of your playing the instrument of your choice*
I bet this is in some fucking unheard clarinet part too
- Beethoven 5: dadada DUMMM.....dadada DUMMM.....
- Tchaikovsky 4: DAAA....dadada da da DAAAA....dadada da da dadaaada DAAA
- Mars: dadada da da da-da-da. dadada da da da-da-da.
- Moldau: dadida dadida da. *plink* dadida dadida da. *plink*
- Dvorak cello concerto: DAAA...dadi DAAA. DAAA...dadi DAAA. DAA di DAA di DAA. BWAAA BWAAA...
- Rhapsody in blue: brrrr...badidadidadidaDIDADIDADIDADIDADIDAAAAAAAAAAAAHHH