Back to Bach (Lynn Kerstan)
posted by Lynn Kerstan
on
Friday, May 18, 2007
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That’s him in the picture–Johann Sebastian Bach–famous for wearing really bad wigs and siring 20 children. Guess he didn’t spend all his time writing music. And back in the day (early 18th Century), he was best known as a gifted organist. No pun intended.For a musical genius, J. S. was remarkably humble. Unlike, say, Beethoven or Mozart. Not that he lacked a temper. He once got into a sword fight with a member of his orchestra who jumped him after being called a nanny-goat bassoonist. Apparently them be fightin’ words in Leipzig.
But despite composing more than 1000 works, including some of the greatest masterpieces in all of music, Bach insisted that anyone with a little talent who worked as hard as he did could do as well. Not bloody likely.
He knew from rejection though, which is why all authors and teenagers without prom dates should identify with him. Once, when applying to the Elector of Saxony (Augustus the Corpulent) for a position, he submitted the equivalent of an audition tape–a performance of the Kyrie and Gloria from what would eventually become the Mass in B-Minor. This is probably the greatest work for chorus, orchestra, and soloists in the history of the world.
He didn’t get the job.
I’m just back from my third rehearsal this week of the B-Minor, the first with the orchestra. How is it I always wind up standing practically in the middle of the trumpet section? My ears are still ringing. Anyway, there’s a full dress rehearsal tomorrow, followed by performances on Sunday and Monday evenings. I’m already Bached into a corner. This sucker is well over two hours long, not counting an intermission, and most of it is scored for the chorus. We’ve been ridden hard and put away wet.
But what a glorious experience it has been. In all the years I’ve sung with choruses, this is the first time any of them has taken on the daunting B-Minor. And now I know why. For one thing, it costs a fortune to mount the production, especially if you bring in the San Diego Symphony to play.
And the music is harrrrrrd. It takes a long time for a non-professional chorus to wrestle it into submission. If not for the miracles of technology, which lets me sit at my computer and sing along with the alto part on cyberbass.com, I’d never come close to learning it at all. I must have stumbled through the "Pleni Sunt Coeli" a hundred times. One thing I know for sure: my neighbors will be glad when this is over.
What’s sad, really, is that Bach himself never got to hear the entire work performed. Nor did he expect to. He lived and worked within the Lutheran tradition, where a Latin Mass would not be welcomed. For him, the B-Minor was a personal offering to God, in thanks for the musical talents given him. Indeed, at the end of his compositions, Bach wrote S.D.G, meaning Soli Deo Gloria. For the Glory of God Alone.
He finished the Mass in the last years of his life, by which time he was all but blind. And he died at age 65, not long after experiencing complications from cataract surgery. Cataract surgery in 1750! Who knew?
Isn’t it strange that so many great composers were afflicted in so many ways? Beethoven went deaf. Mozart died at age 35, coincidentally on my birth date, December 5th. Not the same year, of course. Chopin died at 39. John Lennon . . . well, he died too young as well.
It’s astonishing to me that Bach’s genius was all but buried with him. It took another composer, Felix Mendelssohn, to resurrect his greatest works and introduce them to a welcoming world.
I think, often, how lucky we are to live in a time when music of every kind is so accessible. I even have the B-Minor on my Ipod Shuffle. Yes, I am obsessed with this masterpiece. It makes me happy. Especially the Gloria, which dances and shimmers and shimmies like faeries tipsy on fermented nectar.
Just lately, people walking past me on the beach have been giving me odd looks. Maybe because I can’t help singing along.
Gloria in excelsis! Et in terra, pax!
Cat Update: Lymond has been doing much better. Virtually back to normal. Then again, he’s pulled that on me before. But these last few days, I’m much encouraged.
Patricia Potter
Tara Taylor Quinn
Maggie Shayne
Anne Stuart
Suzanne Forster
Lynn Kerstan


















4 Comments :
For me Bach's works have so many undercurrents (subplots?) that each time I hear one it's almost as if I'm hearing it for the first time.
I have Bach and Mozart CDs in the office of my day job. Mozart for the times I need "smarts" and Bach to distract and sooth me.
Hugs to Lymond - let's hope he's working on his third or fourth life.
Mitzi
Lynn,
Even if I didn't already love Bach, I would have to go listen to this masterpiece again. Thanks for the delightful reading! And now listening. And for the reminder that rejection means only that one person didn't recognize a great talent or beauty - not that the talent or beauty doesn't exist.
Sure wish I could be there to hear the performance!
Lynn, Bach has always been a favorite of mine as well, although I did not love him when I was being forced to play his piano pieces as a kid. That put me off him and all classical music until I took an appreciation class in college, and rediscovered the beauty, drama, and pure genius of the work that I'd murdered all those years ago.
I'm thrilled for you that you're getting so much joy from performing his music. I'll bet your voice is glorious, and I wish we could all hear you. Any possibility of a recording?
Suz
Just got home from tonight's performance. What a joy! The orchestra--30+ musicians from the San Diego Symphony--was fabulous. So were the soloists, who had precious little to do, but they sang beautifully. I can't speak of the chorus, but there were 200 of us, so I suppose we could be heard. I'm still half-deaf from the trumpets. Such nice guys, and so close that my Bach score was practically parting the hair of one of them.
The enormous church was packed, and the entire audience rose with a cheer when the last note resounded. Verrrry long Standing O, many bows from all performers, extra cheers for the chorus. Yea, Us!
Tomorrow night we perform at St. Paul's Cathedral (Episcopal), which has room for about the same size audience but far less room for the performers. The chorus will be maybe 120, so we have to balance our sound with the same size orchestra as tonight.
It's such a privilege to be singing this music. And tomorrow will probably be the last time for me and the B-Minor. But this experience definitely seduced me back (Bach!) to music, and I intend to stay with it. Handel's Messiah in the fall (yawn, but Dr. Martin Neary is conducting), and the Rutter Requiem (Rutter himself will conduct one rehearsal), and the Mozart Vespers. No visitations from Mozart, alas. Maybe he'll be with us in spirit.
I also intend to buy new strings for my guitar. Last time I played it was 1984. I always sucked as a guitar player, but I sing loud enough to drown out my plucking. Anyway, I suspect my neighbors will not be pleased.
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