BACH senza BASSO
When an important violinist has reached the 4th bar of
the 1st Adagio in the 1st Solo per Violino, he will
already have changed enough little things to put his
listener on a different footing.
B.’s music is about communication between equals,
but this violinist’s playing is about performing. He is a
colonialist, the score is his material now, and there is
no discussion allowed between him and his silent
Whereas you can imagine Bach’s playing - and he was
an excellent violinist - as the sermon of a minister in a
small German-protestant church speaking to everyone
personally, the violinist is singing about himself,
preferably in large premises, for the masses.
It has been three hundred years since these Solos
were composed and it feels almost like archaeology to
dig up the many undisturbed gems lying about, or
rather, standing up in front of us in those few pages
of the autograph. Great pleasure is awaiting those
who just give it a try, and it is best to stay out of
range of people who play awfully, but call themselves
‘authentic’, or something.
About the solo works for violin of Joh. Seb. Bach
Discussions about counterpoint for one solo-
instrument only - and how less can be more - and
about the role of the listener in all communication, and
how to suggest things which actually are not there,
and also about the uncanny memory of our customers.
But in the first place how not to make masterworks
sound like exercises.
Published (July 2012) and exclusively distributed by:
Bylsma's Fencing Mail, Utrecht, The Netherlands
88 pages, 29.7 x 21 cm, sewn paperbound;