I don’t agree with the idea of changing the texts to Bach’s works. As a Jew, I performed the St. John passion and the Christmas Oratorio myriads of times; the St. Matthew somewhat less because of the difficulty of getting the forces together (I always played in period instrument ensembles). Of course there are plenty of eye-roll moments in the text, but the sheer beauty of the music always brought tears to my eyes. I could say a lot more …
Thanks, Elizabeth. I think most people perform these works for the sake of their beauty; their religious appeal and textual meaning is secondary, if not lower. I have sung Christian works in many choirs and identify with that experience of beauty that is in Western music. I even just found a Bohemian Hebrew source that says basically the same thing about Christian instrumental music. But I don’t think Bach’s texts are sacred. Even if most audiences (unfortunately) don’t care what they say. Same thing with Carmina Burana, which I wrote about recently. And even Handel’s Messiah. Being nonplussed by text has its benefits, but also its consequences. You are welcome to say more!
Thanks Matt! Right now I’m moving and don’t have the energy to think about lot 😎 but I totally understand your POV.
One thing I wanted to say about Carmina Burana (also didn’t have the energy to write when I first read that column…) is this: I first encountered that work as a child, at a time I was fascinated by comparing languages as well as Trouvere/Troubador music. I had a smattering of Spanish and German and would compare the Carmina Burana texts for hours against various Germans, Englishes, Frenches etc. Say what you want about the work and about Orff 🙄; it remains one of my musical favorites.
I guess it’s like Jews liking Wagner. There definitely cognitive dissonance, but a) I also like the music, and b) you can’t understand Wagner’s contemporaries and what came after without knowing/understanding his music. (But I know you know all of this — I’m not lecturing you!)
I don’t agree with the idea of changing the texts to Bach’s works. As a Jew, I performed the St. John passion and the Christmas Oratorio myriads of times; the St. Matthew somewhat less because of the difficulty of getting the forces together (I always played in period instrument ensembles). Of course there are plenty of eye-roll moments in the text, but the sheer beauty of the music always brought tears to my eyes. I could say a lot more …
Thanks, Elizabeth. I think most people perform these works for the sake of their beauty; their religious appeal and textual meaning is secondary, if not lower. I have sung Christian works in many choirs and identify with that experience of beauty that is in Western music. I even just found a Bohemian Hebrew source that says basically the same thing about Christian instrumental music. But I don’t think Bach’s texts are sacred. Even if most audiences (unfortunately) don’t care what they say. Same thing with Carmina Burana, which I wrote about recently. And even Handel’s Messiah. Being nonplussed by text has its benefits, but also its consequences. You are welcome to say more!
Thanks Matt! Right now I’m moving and don’t have the energy to think about lot 😎 but I totally understand your POV.
One thing I wanted to say about Carmina Burana (also didn’t have the energy to write when I first read that column…) is this: I first encountered that work as a child, at a time I was fascinated by comparing languages as well as Trouvere/Troubador music. I had a smattering of Spanish and German and would compare the Carmina Burana texts for hours against various Germans, Englishes, Frenches etc. Say what you want about the work and about Orff 🙄; it remains one of my musical favorites.
I guess it’s like Jews liking Wagner. There definitely cognitive dissonance, but a) I also like the music, and b) you can’t understand Wagner’s contemporaries and what came after without knowing/understanding his music. (But I know you know all of this — I’m not lecturing you!)