Although we think of Bach as a paragon of devotion to duty and hard work, school records indicate that as a child he was an inveterate class cutter. This gives a wrong impression, however; he was most likely helping out in the family business—singing, that is (he had a very fine soprano voice) at weddings, baptisms, anniversaries, and burials.
Still, when the 22-year-old Bach resigned his first major job in 1707 the management may have felt relieved, because he had accumulated quite a list of complaints: he had introduced too many surprising variations into the chorales, confusing the congregation; he had extended a four-week professional-development leave to study with Buxtehude to a full four months; and he was known to slip temporarily off the organ bench during a Sunday sermon to refresh himself at the local winery.
This according to Bach-ABC (Sinzig: Studio-Verlag, 2007). Above, a portrait of Bach when he was a young man; below, Robert Tiso plays Bach’s music on wine glasses.
Related article: Bach and personal conflict
The series Schola Cantorum Basiliensis: Scripta was inaugurated by Schwabe Verlag in 2009 with Die frühen Werke Johann Sebastian Bachs: Stil, Chronologie, Satztechnik by Jean-Claude Zehnder. The book follows the young composer’s development from 1699 to 1708, showing how even in his teens Bach’s compositions evinced an innovative, experimental mind at work.
Bach’s use of a musical motive based on his name, B–A–C–H, is well known, and several other composers have used it in tributes to the Baroque master. As connoisseurs of French chamber music also know, Ravel made similar use of the technique of deriving musical material from a composer’s name in his Berceuse sur le nom de Gabriel Faure and Menuet sur le nom d’Haydn.
Far less known is the further use of this technique by both Debussy and Ravel in more enigmatically titled pieces. For example, several of their works bearing the words hommage or tombeau include musical material derived from the honoree’s name. Such formerly puzzling titles, which have led the curious on wild-goose chases in their attempts to understand what on earth the music had to do with the named composer, may now be understood as sly references to uses of this technique.
This according to “Widmungsstücke mit Buchstaben-Motto bei Debussy und Ravel” by Paul Mies, an essay included in Festschrift für Erich Schenk (Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich, vol. 25 , pp. 363–368); this journal issue dedicated to the Austrian musicologist Erich Schenk (1902–74) on the occasion of his 60th birthday is covered in our recently published Liber Amicorum: Festschriften for music scholars and nonmusicians, 1840–1966.
The Italian publisher L’Epos launched the series Dal grammofono al lettore: Discografie ragionate in 2009 to present annotated discographies that illustrate aspects of the history of sound recordings. The first book in the series, Bach Goldberg, Beethoven Diabelli by Carlo Fiore, illuminates the interpretation and reception histories of these two landmark sets of keyboard variations.