Category Archives: Bach Suites

Happy Bach’s Birthday! Celebrating in the NYC Subways–and “Everywhere”

It’s J. S. Bach’s 327th birthday.

Dale Henderson and about a dozen (last count I heard from him) other cellists and other musicians are celebrating by playing Bach in the NYC subways. A year ago, I was part of the first “Bach in the Subways Day.” Invited and inspired by Dale, I brought a cello and a folding chair, plopped myself down on the 96th St. 1/2/3 uptown platform, and played and played. Tips were offered and declined.  “Happy Bach’s Birthday,” I’d say.

It was one of the most enjoyable, interactive music-making experiences I had while in NYC on sabbatical, or anywhere else, for that matter. Now I’m back at DePauw, teaching this week, not able to play in a subway.  Poor me!

Then it came to me–go play Bach other places.  So a some of my student and faculty friends are putting on DePauw’s first annual “Bach Everywhere” event.  An elementary school assembly program later this morning.  A free, informal, bring-your-lunch concert at the Methodist church on campus.  We’ll be playing outside, dropping into classrooms (where the teacher has invited us), showing up at the Rotary club.

It’s going to be a fun day.  And what better way to celebrate Bach, and music, than by giving away musical presents?

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Welcomed Back to NY with Bach in the Subway

I got back to New York Tuesday night, after a long weekend away for my son’s college graduation, and fell in love with the city all over again. I just love it here.  What can I say?

To save money, I took a shuttle bus (instead of a cab) from LaGuardia to Times Square.  I stood on 42nd St. for a while, just looking at all the lights and people, and was happy.

Then I went down to the subway, and there, on the 1/2/3 platform, was Dale Henderson, the Bach in the Subways cellist, Baching in the subway.  Couldn’t think of a more perfect welcome “home” (as temporary as it may be).  We chatted a bit, in between movements, as I waited for my train. “Any requests?” Dale asked me.  At first I declined, but then I asked for a Gigue (essentially a jig; each of the six Bach Suites ends with one).  Dale played the powerful and stormy D minor, and then my favorite, the one from the D major suite. When Pete, my son, was born, I used to sing Bach Gigues to him in the hospital nursery.  As I was getting in the subway car, Pete was driving home from Grinnell. Dale playing a Gigue for me (and everyone else), right there, was a perfect way to celebrate Pete’s milestone and the start of my final weeks in New York.

I got back to my big corner room. It was a warm night.  I opened all the windows, and turned out the lights so that I could lie in bed without being on display, yet see the lights from the buildings surrounding mine. Very nice.

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March 21: Playing Bach in the Subways, to Celebrate Bach’s Birthday

I’m going to play Bach. In a New York City subway station (probably the uptown side of the 1/2/3 96th St. station). On Bach’s birthday–Monday, March 21.  I’ve never played in a subway before, but I’m looking forward to it.

Dale Henderson, the Bach in the Subways cellist, invited me.

You, too, if you’re a musician and going to be in New York. (Here’s Dale’s invitation on Facebook.  He’s also on Twitter.) What a great way to celebrate Bach’s birthday!

Dale Henderson at the 96th St 1/2/3 Subway Station on March 7

A week ago tonight (Monday, March 7), I’d been to that great Tyondai Braxton/Wordless Music Orchestra concert at Tully Scope. I usually walk home from concerts at Lincoln Center–it’s about 26 or 27 blocks, a bit over a mile and a quarter. But I’d stopped at Trader Joe’s and had a bag of groceries, and my personal trainer had really earned his money earlier in the day. I was tired. So I got on the subway, and got off at 96th St.

And, to my surprised delight, there he was. I’d read about him on the Wall Street Journal and CNN sites. He wants to share classical music with as many people as possible, so he plays Bach Suites in subway stations, accepting no money, handing out postcards about the project.

He was playing the Prelude of the C Minor Cello Suite, with love and commitment. I was so excited–I’ve been wanting to meet him and hadn’t gotten around to tracking him down.  Such serendipity–if I hadn’t bought groceries, or wasn’t tired from working out, I would have missed him.

When he finished the Prelude, I introduced himself. We had a great chat, and he told me how he wants to get as many musicians as possible to celebrate Bach’s birthday by playing in a subway station anytime (midnight to 11:59 PM) on Monday, March 21. So of course I said yes–I’ve been wanting to play in the subway, just for fun, and have just been waiting for the weather to clear up.

Then Dale wanted to get back to his Bach, and played the Courante from the G Major Suite, one of my favorites.  He let me take a video with my iPhone (I’m waiting for him to look at it before publicly posting in on YouTube).  Trains came and went, and he kept going.  The movement finished.  As my groceries and I headed home, at the other end of the station I heard the lilting arpeggios of the same suite’s Prelude, which gradually faded as I walked up the steps and into the noise of Broadway on the Upper West Side

(Once I’ve decided when I’ll be playing, I’ll post it here and on Facebook.  If you’re going to play, let me know where and when–I’m going to try and get around with a camera during the day.)

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Eric Siblin on his writing process

Reading Eric Siblin’s The Cello Suites: J.S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece, I found myself very curious about Eric’s writing process.  (My review of the book is below.) I’ve struggled with writing my own book, on improvisation and creativity and playing classical music.  It seems to want to be several books, none of them quite long enough to warrant it’s own volume.  Eric’s book combines four different stories and he found an organizational structure which enabled him to combine them.  He very kindly agreed to answer some questions via email.  Our correspondence (published with his permission, of course) is below.

Q. Do you see a parallel between Casals’s personal discovery of the Suites as a teenager and your own discovery of them in adulthood? Is that why you focus on Casals rather than, say, Yo-Yo Ma, whose own career has been so involved with the Suites?

A. I never thought of it along those lines. But the theme of discovery certainly ran through my mind on a regular basis while writing the book. And there was a magical moment in my research when I stumbled upon a Grutzmacher edition of the suites in a second-hand music shop called “Prelude” in Brussels and experienced a sort of Casalsian déjà-vu. Because the first historical scene that came to mind when I set out to write the book was a young Casals strolling in the old port district of Barcelona in 1890 when he stumbled upon the music (also a Grutzmacher edition) my own “discovery” of the sheet music had a wonderful sense of coming full circle, of actually stepping into a “prelude” I had always imagined.

Why did I focus on Casals and not on, say, Ma, Rostropovitch, Starker or Bylsma? In my initial attempt to figure out what makes this music tick I of course read up on Casals and was struck by how dramatic his life was from a storytelling point of view. I also have a deep interest in history, which is one of the things that appealed to me about classical music – it has such an eloquent past. In that sense it’s the polar opposite of the Top 40 pop world, which tends to be very much about the here and now.

Fundamentally my book is an attempt to tell a story based on a piece of music and for that purpose Casals was a terrific narrative thread. I quickly came to feel that his life was a compelling 20th century counterpoint to the story of Bach, who was born back in 1685 and whose life is shrouded in so much mystery.

Q. You are, among many other things, a music writer.  You love the Suites, but in the book you don’t write much about the music itself.  You focus on the life of the Suites (and the manuscripts) and the lives they’ve changed.  How did this focus–including the choice not to write much about the music itself, or comparing recordings, come about?

A. The main reason why the book does not spend more time delving into the music in purely musical terms is that I simply don’t possess the necessary technical know-how or vocabulary. I have no literate music background; although I play guitar, I have always played by ear (or with “guitar tablature”). I learned how to read the bass clef in a rudimentary way when I took cello lessons during the writing of the book, but otherwise I’m quite illiterate musically, certainly in the classical sense.

But there is another reason why there’s not more musicological material in the book. I was writing for the general reader, perhaps the music lover, but not necessarily a classical music expert, and wanted to keep the narrative ball moving. I tried as best I could to get the facts right, but my primary allegiance was to story line.

That said, I also wanted to embed the music in the text as much as possible, hence my organization of the chapters according to the suite movements; and whenever I could speak to the music itself in human terms I tried to do so. I also began every suite with a descriptive passage about what the music sounds like to me (in non musicological terms).  And whenever something strictly musical jumped out at me, I tried to use it. For example, when 20 seconds into the gigue of Suite No. 3 I hear the riffing of a rock guitarist, I write about it. Or when the prelude of the fourth suite suddenly goes off on an exotic tangent, I play with it. That fourth prelude is also an example of my decision not to use overly technical musical language even when I was able to. At some point I learned that that exotic passage in that prelude is called a cadenza. I was tempted to show off my new knowledge. But I figured my average reader would not know what a cadenza means, so I resisted the temptation.

Q. This book is obviously the product of a lot of research and reflection.  Organizing the different stories you tell–Bach’s life, Casals’s life (especially with the Suites), the missing autograph manuscript, and your own–into one book was quite a challenge.  How did the form of the book evolve?  What role did your editor(s) and informal advisers (like friends) play?

A. Very early on I had the idea to mirror the structure of the music in the text itself.  I liked the idea for several reasons, because it was a way of injecting the music directly into the book and, on a more superficial level, using the lyrical names of movements like sarabande and gavotte as chapter titles.  It also served as a sort of narrative GPS for me in the writing of the book. Having never written a book before it was a daunting project. But knowing there would be an extremely effervescent third prelude following the sad second suite, to take one example, helped me see the narrative light at the end of the tunnel. Take the prelude of the second suite. It sounds sufficiently tragic to me that as I started to follow Bach’s life it seemed clear that the biographical event most likely to dovetail the music at that point in time was the death of his wife.

But there was a downside to this attempt at following the music, which was that I was trying to fit the narrative pieces into a vast musical mosaic, trying to make the story melancholic when the music suggested as much, and so on. I pulled my hair out a fair bit over this. Ultimately I relaxed the symmetry in order to complete the book. And when a publisher accepted the finished manuscript that’s one of the things my editor focused on – urging me to relax this overly rigid attempt to make the words mirror the music. There were even discussions about whether I should drop the musical structure of the book altogether. At one point I did drop the preludes and gigues etc. from the text in order to focus on narrative flow. But I knew I would put that structure back in so I never lost sight of the musical template. It became less of a straitjacket in the editing process.

Otherwise the book evolved in a quite an organic way that reflected my own research. I tended to research it one suite at a time, writing it more or less one suite at a time, so that when I made to Suite No. 5, for example, I was consumed with finding out what the relation of the lute suite to the cello suite is (Bach composed a version of the first cello suite for lute – BWV995); who this mysterious Monsieur Schouster might have been (dedicatee of the lute suite); which led me to what was going on in Saxony and the capital of Dresden in Bach’s day; the mind-blowingly minimalist sarabande of that suite; the solo cello works of  the Italian cellist Gabrielli; and the notion that Bach’s music can be played with artistic impunity if not total charm on absolutely any instrument. So the music itself very much guided me and spurred me on.

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Eric Siblin’s Love Affair with the Bach Suites

(I never knew when I started a blog that someday I’d start receiving review copies, just as if I was a print journalist.  So full disclosure to all five or six of you who read me:  Grove/Atlantic sent me a free copy of this book.)

You’re ready for something new in your life, decide to go to a concert of something you’ve never heard before, and fall in love.  That’s what happened to Eric Siblin,  a writer who had recently ended a stint as a pop music critic for the Montreal Gazette. The concert was Larry Lesser playing Bach cello suites.  With that cellist and this extraordinary music, no wonder he became enraptured.

And, obviously, more than a little obsessed. I’ve been reading Eric’s award-winning book The Cello Suites: J.S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece, the American edition of which is just being released.  It’s three or four books, or at least stories, in one.  There’s the tale of Eric’s deepening interest in the suites and his quest to learn as much as possible about them; the story of how Pablo Casals brought them into concert life; a fine synopsis of the life of J.S. Bach and the research about where and when the suites were written; and the history of the extant manuscripts (none of which, to the eternal dismay of cellists and musicologists, are in Bach’s hand). Eric’s a great storyteller, and each of the narratives (including his encounters with various cellists, including Mischa Maisky)  is fascinating.

He organizes the book into six sections totalling thirty-six chapters, one for each movement of the suites.  Each “suite” in the book starts with “movements” discussing Bach, then Casals, and finally Eric’s journey. I found this particular method of organization a bit confusing; on the other hand, if you’re less interested in thread than the others, after a few pages the subject changes.  Eric had a huge amount of material to deal with, and from the reviews I’ve read, this way of handling it works quite well for most readers.

The book’s written for a general audience; there’s no musical analysis and surprisingly little description of the music itself (which, since music is so hard to describe in words, is perhaps one of the book’s strengths;  on the other hand, I love metaphorical descriptions of music, and would have enjoyed reading more of Eric’s reactions to specific movements).  I knew a good bit about Casals, having read and reread Joys and Sorrows many times as a teenager, but there was much here I didn’t know.  The book brings together the musicological research on the history of the manuscripts  quite well, and manages to make it not just interesting but fascinating.  (Most musicologists seem dedicated to the quest to make sure that even the most fascinating information is presented in as mind-numbingly boring a manner as possible.)

The passion that comes through is inspiring.  I love the suites, but recently I hadn’t been playing them much as part of what you might call my recreational music life.  Like most college cello professors, I practice pieces I’m going to perform, look through music my students are working on, prepare classes, read and write endless streams of email, teach, go to meetings, etc., all with not enough time to get everything done.  Perhaps the thing I love most about this book is that it got me to set aside time to play Bach–for myself.

That, in and of itself, would be enough reason to buy the book (which, by the way, I see Amazon has heavily discounted).  If you’re looking for musical analysis, or detailed comparisons of recordings, and if you are thoroughly up to date on the history of the manuscripts and the lives of Bach and Casals, you won’t find much you don’t already know (although Eric’s story may still be of interest).  Most amateur cellists and even many professionals will find much new in this book, as I did, and will connect with the love for the suites Eric communicates so well.

Hey, I’d buy myself one or put it on my Christmas list if I hadn’t received a free copy.

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