WTF Bach

Happy Birthday Johann. Today, March 21st, not March 31st.
Let me repeat that for those of you feeling clever or citing google without thinking:
Happy Birthday Johann. Today, March 21st, not March 31st.
Why are people confused about this? How did this become a thing? And what extremely boring person got so frustrated with a toccata they started tampering with Bach’s wikipedia page?
There were two main calendars in Europe at the time: the Julian and the Gregorian. We are currently on the Gregorian, but it took a while to get everyone on board. Greece held out until 1923 even, and Protestant Germany was holding back in 1685, when Bach was born.
But you know, you gotta get with the times, man! Gotta catch up to the modern world! It’s gonna be 1700 pretty soon! We’re gonna have mercury thermometers and calculus… You’re living in the past! …ten days in the past!
So in 1700, Germany did indeed make the jump from Julian to Gregorian. In the year 1700, they jumped from February 18, to March 1. No one died, no one was born between Feb 18th and March 1st, 1700 in protestant Germany. (No one even used the toilet.)
Germany joined the Gregorian calendar when Bach was 15 years old, with the legal stipulation that all prior dates would remain valid. A legal stipulation, in fact, protecting the old dates from being overridden, and converted to the new calendar.
So, come on people, let’s not try to override this actual legal stipulation. (Here’s my gentle reminder that saying Bach was born on March 31st is illegal.) We can’t go about dismissing ecclesiastical records in favor of our modern abstractions just because we’re feeling smug about hybrid cars and vegan smoothies. It’s not like the Gregorian calendar represents some objective truth that the Julian calendar was failing to capture.
Bach was Born on March 21st. The next person I hear whispering in the bar, “well, technically he was born on March 31st…” is getting a mordent —to the face.
Are you that person who’s trying to switch Bach’s birthday to the 31st? Wow. Can’t wait to hang out with you on Christmas: “Actually, statistically speaking, the odds that Jesus was born on the 25th of December are practically zero! Did you know that in Judea, shepherds typically watched their flocks by night from Spring to early Autumn?” Yeah, yeah, yeah. Get a life.
Maybe you know about Shakespeare and Cervantes? That they died on the same day? Or rather, the same date. It’s the same thing: Protestant England, on the Julian calendar, and Catholic Spain, on the Gregorian. It created this beautifully poetic coincidence. The greatest writers of their generations both died on April 23, 1616— 10 days apart.
Now, we’re not going to switch the date on which Shakespeare died, are we?! No. That’d be asinine. Which is exactly what shifting Bach’s birthday to March 31st is, asinine. March 21st is also Early Music Day in Europe— for this very reason, and we’re not going to move early music day are we? No, that’d be asinine.
March 21st is also, nicely, International Poetry Day, …and World Puppetry Day, …and World Day for Glaciers— if you ask me we have too many days, but sure, why not. In fact, why not make a puppet of Bach reading a poem and dance him around on some ice cubes today.
Today is also Harmony Day in Australia, beautiful! The immortal god of harmony, that he should share Harmony Day in Australia. I pictured everyone leaning into triads and flat-nines down unda’ but this day happens to be about racial harmony, but still! Still. Let’s sing four-part chorales with everyone we know.
Bach’s birthday is March 21st. It always was March 21st. You know who was born on March 31st? Haydn. Who? Exactly. Never heard of him. If anyone wishes me a happy birthday Bach in 10 days, I’m blocking you.
Dig Out Your Inner Ear:

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I was always jealous of jazz musicians, simply learning music off recordings— no sheet music necessary. Why couldn’t I do that? Why don’t classical musicians have this skill? It seems like all musical cultures in the world learn this way, so what was I missing?
About 12 years ago I decided I wanted to be part of this tradition. After some trial and error, I hit upon a method that allowed me to learn Bach (or any other composer) by ear. And more than just being glad for having developed the skill of transcribing, the method is extremely efficient: I find that pieces are usually memorized faster than when using sheet music.
Here is the method as explained in the episode:
-Record, slowly with the score, up to 60 seconds of music (or even 10 seconds if you like.)-Put away the score and play ‘call and response’ with the recording, relying on your ears.-Once learned, re-record the music as you've heard it, now learned aurally.-Re-open the music, play the new recording, checking for inaccuracies, missing details, &c.-Repeat…
Stretch the Octave:

Now, once something is memorized, you may want to keep it memorized. So you’re up against the ol’ Ebbinghaus Forgetting Curve: the speed at which your mind forgets without conscious review. We all have our own curves, but my rule has been roughly:
Play the newly memorized music twice on the first day,Review the music on the second day,… three days after learning,… one week after learning,… two weeks after learning,… one month after learning,… three months after learning,… six months after learning,… one year after learning,…two years after learning.
You can even put dates in your calendar saying, “You learned fugue X three months ago: Review it today.” With this practice, you’re sure to have some counterpoint written into your DNA.
W.T.F. Bach wants YOU to learn a fugue by ear:

The Pakistani musician I mentioned is the immortal, Nusrat Fateh Ali Khan. Listen to his extraordinary live concerts where he and his band achieve the heights (while sitting on the floor.) In my next life I’d like to be one of the guys in back clapping only quarter notes.
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Analysis starts at 17 minutes. Sorry, I got carried away talking about the possible peculiar paradox of being a pianist. Just before making this episode, my harpsichord forced upon me a change of interpretation, so I started thinking about how and why this happens. I spoke about the way classical musicians are ‘bred,’ asking the following questions:
How can we spend our lives playing music from the 18th century without any contact with the instruments used then? Can we know objective aspects of older music while playing on a single model of an instrument developed toward the end of the 19th century? Do pianists exist in a vacuum, where a musical interpretation is guided by a sort of subjective vision— is it even vanity or self-flattery?
Certainly there are pianists who know the Steinway’s predecessors, but on the whole, I feel there is a real ignorance of the instruments on which our repertoire is founded. Perhaps, though, we are in the midst of a revolution of touch and interpretation: I’ve recently seen more pianists playing fortepianos, owning clavichords, et al. This can only lead to a more text-based reading of the music.
But— mind you!— is that a good thing? Do we want to push the art of keyboard playing in a direction away from self expression and toward people claiming the ‘truth’ is on their side? That sounds awful! Even if pianism indeed exists a vacuum, it certainly produces rare visions of the music only accessible through such an art.
Enough musing. While playing the A-flat major Prelude BWV 862 on my double manual harpsichord, the instrument, in a word, told me about the music. There was something about the limited palette of the instrument that forced upon me a new approach. This sort of radical adjustment to one’s playing is typical of playing on historic instruments. On the modern grand piano, possibilities are endless, but on older instruments, the sound tends to constrain the range of possible interpretations.
Spread the Fugue.

The prelude BWV 862 saw some lovely revisions between the earliest conception of the piece and the version we know. For starters, take the lovely line of the concertino solo in BWV 862a:
How different is the revision!
Now bars 22-27 in the earliest version:
Revised to the more evenly shaped:
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Concepts Covered:
J.S. Bach’s Well-Tempered Clavier, Book 1, Das Wohltemperierte Clavier, As Dur, BWV 862, The concerto style of the prelude, between two manuals in the prelude, Fugal analysis, early versions of WTK 1, BWV 862a, and the possible ‘vacuum of pianism’ creating subjective art vs. seeking objective facts about the music. Historic instruments leading to a text-based interpretation, using knowledge of older instruments to inform modern piano playing et cetera.


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“The discontent of being between two notes; the urge to break free of a single note.”-Lionel Party (Paraphrased ca. 2005)
What an opening:
In this episode we listen to at least 14 different interpreters play this expressive trill. Such a simple idea, but how many different ways this idea can be realized! At an even speed or speeding up? With a turn at the end or a turn at the beginning or no turn at all? Crescendo all the way through or perhaps even diminuendo?
Between earliest version and the fair copy, Bach seems to smooth out the rhythm in the solo voices. This is a rare case where the earliest version is rhythmically more nuanced than the revision.
Bar 6. The last beat is more varied in the early version:
It is smoothed out in revision:
Bar 9. The top two voices sing in different rhythms in the early version:
In revision, Bach makes them consistent:
Penultimate bar. Note the 64th notes in the early version:
Everything is more uniform in revision:
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As we progress through Book One of The Well-Tempered Clavier, our fugal themes become increasingly complex and chromatic. Here, the fugue’s subject is angular, modern even:
The subjects come in an memorable stretto toward the end:
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Topics Covered in this episode:J.S. Bach Well-Tempered Clavier Book One, BWV 861 prelude and fugue analysis, also Baroque ornamentation and how to play a trill, performance practice. We examine Bach’s manuscript sources in the early vs late versions of this pair. A general discussion of Baroque keyboard music, harpsichord vs piano performance, fugue structure and form, and Bach’s counterpoint.


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“But if thought corrupts language, language can also corrupt thought.”-Politics and the English Language
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