If you listen to the recordings you will hear how my style evolved during the 1970s and ’80s my attitudes to articulation, vibrato and tempi changed for sure as scholarship expanded. I knew I wanted to do something different, and with the Gächinger Kantorei I was already using small forces when larger ones were the norm. The whole approach was really quite Romantic. When I started out I was a Bach lover not a Bach scholar, and in my youth the prevailing ethos was dominated by Karl Richter. Tell me about how your use of instruments, voices and tempos changed during the cycle. These categorically aren’t concert pieces they explore the readings and prayers for the relevant day of the Church’s year and send carefully considered messages to the congregation – messages, which, incidentally, I like to explain in lecture-concerts talking about the theological context and Bach’s use of musical symbolism. Did your experience of the Cantatas as liturgical works rather than concert pieces inform your approach?Ībsolutely! You have to start by asking what Bach was getting at behind the notes you have to understand the theology, to know that just as the Minister preaches a sermon, so Bach preaches a sermon in music.
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