Bach Quotes

“You'll have a good, secure life when being alive means more to you than security, love more than money, your freedom more than public or partisan opinion, when the mood of Beethoven's or Bach's music becomes the mood of your whole life … when your thinking is in harmony, and no longer in conflict, with your feelings … when you let yourself be guided by the thoughts of great sages and no longer by the crimes of great warriors … when you pay the men and women who teach your children better than the politicians; when truths inspire you and empty formulas repel you; when you communicate with your fellow workers in foreign countries directly, and no longer through diplomats...”
― Wilhelm Reich, Listen, Little Man!

“What I have achieved by industry and practice, anyone else with tolerable natural gift and ability can also achieve.”
― J. S. Bach

“Magnificat de Bach. Remué jusqu'aux larmes. Il est impossible que ce qui s'y exprime n'ait qu'une réalité subjective. L'« âme » doit être de la même essence que l'absolu. Et c'est le Vedânta qui a raison.”
― Emil Cioran, Notebooks

“Sunetele clădeau geometria solida a unor oraşe albe inundate de o lumină egală, ce se difuza repetat. Prin acele cetăţi minunate trecea radioasă. Portativul era un amfiteatru feeric pe care se proiecta arhitectura marmoreeană a palatelor.
Pe temelia coardelor notele punctau desenul grădinilor, arpegiile curbau colinele şi din cheia de sol căderi de apă trimiteau un şipot fluid sau numai o pânză de răcoare, un păianjen vaporos ca răsfirarea fină a unui jet d`eau. Apoi seara cădea în acorduri minore peste cetăţi.
Ritmul cu frază largă sau şoapta minuţioasă a lui Bach nu părăseau niciun moment o idee gravă, o emoţie concentrată, cu desenul tras sigur printre meandrele armonioase. Sunetele scoteau reliefurile unor efigii nobile, şi modulaţiile aveau sugestii virtuoase.
Se înălţau rugăciunile simple ale unor iubiri fără duplicitate cu ascensiune senină; iubiri înălţate de un suflet victorios, dar fără de fast şi vanitate, trecând peste obstacole de măiestria sufletească.
Şi mereu acea siguranţă care lega cetăţile vizionare ale muzicii una de alta cu un ţărm neîntrerupt şi lin.

Hortensia Papadat-Bengescu "CONCERT DIN MUZICĂ DE BACH”
― Hortensia Papadat-Bengescu

“It [Bach's cello suites] is like a great diamond," said [Mischa] Maisky in a thick Russian accent, "with so many different cuts that reflect light in so many different ways.”
― Eric Siblin, The Cello Suites: J.S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece

“There is much more to playing the clavier than playing written music. Do you realize with accompanying there is often nothing written out but the bass line--the left hand? There might be a few notations as to a suggested harmony, but it is up to me to fill in the music, at the proper volume, style, and harmony for the soloist--often instantly. I've heard it said that Bach questioned wether the soloist or the accompanist deserves the greatest glory.”
― Nancy Moser, Mozart's Sister

“I can whistle almost the whole of the Fifth Symphony, all four movements, and with it I have solaced many a whining hour to sleep. It answers all my questions, the noble, mighty thing, it is “green pastures and still waters” to my soul. Indeed, without music I should wish to die. Even poetry, Sweet Patron Muse forgive me the words, is not what music is. I find that lately more and more my fingers itch for a piano, and I shall not spend another winter without one. Last night I played for about two hours, the first time in a year, I think, and though most everything is gone enough remains to make me realize I could get it back if I had the guts. People are so dam lazy, aren’t they? Ten years I have been forgetting all I learned so lovingly about music, and just because I am a boob. All that remains is Bach. I find that I never lose Bach. I don’t know why I have always loved him so. Except that he is so pure, so relentless and incorruptible, like a principle of geometry.”
― Edna St. Vincent Millay, Letters of Edna St. Vincent Millay

“If we consider all the Harmonic Boldnesses that BACH used - in his time -, Messiaen, Boulez or Stockhausen look like secondary school pupils.”
― Jean-Michel Rene Souche

“The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning.
[...]
This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.”
― Arnold Hauser, The Social History of Art Volume 3: Rococo, Classicism and Romanticism

“There are not any composers like Bach. There's just Bach.”
― Cormac McCarthy, Stella Maris

“How do you feel about Coldplay, Bach, and Taylor Swift for an opening trio?” C’s thumbs tap away at the screen.
“Am I going through a 17th-century break-up with a beach?” Neo asks, monotonous.
“That’d make a cool music video, actually.” C looks up, considering it.”
― Lancali ., I Fell in Love With Hope

“When natural music is heightened and polished by art there man first beholds and can with great wonder examine to a certain extent, (for it cannot be wholly
seized or understood) the great and perfect wisdom of God in His marvellous work of music, in which this is most singular and indeed astonishing, that one man sings a simple tune or tenor (as musicians call it), together with which three, four or five voices also sing, which as it were play and skip delightedly round this simple tune or tenor, and wonderfully grace and adorn the said tune with manifold devices and sounds, performing as it were a heavenly dance, so that those who at all understand it and are moved by it must be greatly amazed, and believe that there is
nothing more extraordinary in the world than such a song adorned with many voices.”
― Martin Luther

“Wo aber sogar das Studium und die künstlerische Musik hin­zutreten, die die natürliche verbessern, sorgfältig bearbeiten und ausführen, wird es endlich möglich, die vollkommene und vollendete Weisheit Gottes in seinem wunderbaren Werk der Musik zu spüren, aber nicht voll zu erfassen. Daraus ragt beson­ders hervor, dass eine Stimme gesungen wird und, wäh­rend diese Hauptmelodie fortgeführt wird, viele Stimmen rings­um wunderbar scherzen, frohlocken und mit sehr erfreuenden Ausdrücken sie verzieren und so neben ihr gleichsam einen göttlichen Reigen ausführen, so dass denen, die wenigstens mäßig dafür empfänglich sind, nichts Wunderbareres in dieser Welt zu geben scheint.”
― Martin Luther

“When natural music is
heightened and polished by art”, he said once, “there man first beholds and can with great wonder examine to a certain extent, (for it cannot be wholly seized or understood) the great and perfect wisdom of God in His marvellous work of music, in which this is most singular and indeed astonishing, that one man sings a simple tune or tenor (as musicians call it), together with which three, four or five voices also sing, which as it were
play and skip delightedly round this simple tune or tenor, and wonderfully
grace and adorn the said tune with manifold devices and sounds, performing as it were a heavenly dance, so that those who at all understand it and are moved by it must be greatly amazed, and believe that there is
nothing more extraordinary in the world than such a song adorned with many voices.”
― Martin Luther

“When natural music is heightened and polished by art, there man first beholds and can with great wonder examine to a certain extent (for it cannot be wholly seized or understood) the great and perfect wisdom of God in His marvellous work of music. In which this is most singular and indeed astonishing: that one man sings a simple tune or tenor (as musicians call it), together with which three, four, or five voices also sing, which, as it were, play and skip delightedly round this simple tune or tenor, and wonderfully grace and adorn the said tune with manifold devices and sounds, performing as it were a heavenly dance, so that those who at all understand it and are moved by it must be greatly amazed and believe that there is nothing more extraordinary in the world than such a song adorned with many voices.”
― Martin Luther

“The three ideas of order, connection, and proportion are extremely important in understanding Bach’s musical thinking”
― Allen Winold, Bach's Cello Suites: Analyses and Explorations

“Io protestavo, ma Bach procedeva sicuro come il destino. Cantava in alto con passione e scendeva a cercare il basso ostinato che sorprendeva per quanto l’orecchio e il cuore l’avessero anticipato: proprio al suo posto! Un attimo più tardi e il canto sarebbe dileguato e non avrebbe potuto essere raggiunto dalla risonanza; un attimo prima e si sarebbe sovrapposto al canto, strozzandolo. Per Guido ciò non avveniva: non gli tremava il braccio neppure affrontando Bach e ciò era una vera inferiorità. Oggi che scrivo ho tutte le prove di ciò. Non gioisco per aver visto allora tanto esattamente. Allora ero pieno di odio e quella musica, ch’io accettavo come la mia anima stessa, non seppe addolcirlo. Poi venne la vita volgare di ogni giorno e l’annullò senza che da parte mia vi fosse alcuna resistenza. Si capisce! La vita volgare sa fare tante di quelle cose. Guai se i geni se ne accorgessero!”
― Italo Svevo, La coscienza di Zeno / Senilità

“What will become of us?...I only play Bach at the moment because he is the only one who frees me from the prison of my thoughts.' 'God in heaven. One CAN'T live without hope...'

[citing Alma's diary entries for August 31 and September 1, 1938]”
― Cate Haste, Passionate Spirit: The Life of Alma Mahler

“E pensa al tempo in cui viveva Johann Sebastian Bach e la musica assomigliava a una rosa fiorita sulla sconfinata landa nevosa del silenzio.”
― Milan Kundera, The Unbearable Lightness of Being

“Bach, he [Suvorin] said, was a person's best ally in the battle against despair, against the thought of how immeasurably great one's solitude is in the endlessness of the universe.”
― Wolf Wondratschek, Self-Portrait with Russian Piano

“Ce que cherchait Glenn Gould dans la musique de BACH, par son jeu staccatissimo - et les innombrables commentateurs ne l'ont pas vu - ce n'est rien d'autre que la lisibilité des voix contrapuntiques de ladite musique. En d'autres termes, Gould voulait rendre le plus nettement possible la spécificité de chacune des voix qui composent, par exemple, une fugue. La forme-fugue incarnant la quintessence de la musique du Kantor. Hélas, cela était impossible, comme c'est impossible pour tout instrument à clavier dont la nature sonore, l'identité sonore, est trop uniforme, le piano en tête ! L'orgue a bien quelques sonorités (jeux) à sa disposition, mais ce la ne suffit pas. La seule solution pour rendre aussi fidèlement que possible l'esprit contrapuntique de la musique de BACH, c'est de transcrire sa musique pour divers instruments ayant chacun une voix - une sonorité - très identifiable. C'est ce que j'ai modestement tenté par le moyen de diverses formations musicales (trios, quartets, quintets...) inventées spécialement à cette fin, savoir, redonner vie aux différentes voix du contrepoint. Un unique instrument ne pourra jamais même s'approcher de l'essence du contrepoint : il erre dans les limbes de l'harmonie et ne peut atteindre à aucune horizontalité - linéarité - des voix. Glenn Gould, cet anachorète des studios, n'a de cesse de chercher par quel biais technologique on pourrait rendre lisible ce fameux agencement des voix. Il se heurte à un problème de départ, insoluble : le son uniforme du piano. Ergo, cet instrument est sans aucun doute le dernier, avec le clavecin, qui convienne à la musique de BACH. Il existe, Dieu merci, d'autres compositeurs dont la musique ne pose pas le problème de la superposition de voix contrapuntiques purement linaires. L'ironie du sort voulut que Gould jouât du piano et ne goûtât pas Chopin, lequel était pourtant le seul qui a écrit - à ce jour - un musique qui épouse totalement la sonorité même du piano.”
― Leontsky

“My favourite letter, of all the ones I have received.

"Hello.

I cried in a museum in front of a Gaugin painting - because somehow he had managed to paint a transparent pink dress. I could almost see the dress wafting in the hot breeze.

I cried at the Louvre in front of Victory. She had no arms, but she was so tall.

I cried (so hard I had to leave) at a little concern where a young man played solo cello Bach suites. It was in a weird little Methodist church and there were only about fifteen of us in the audience, the cellist alone on the stage. It was midday. I cried because (I guess) I was overcome with love. It was impossible for me to shake the sensation (mental, physical) that J.S. Bach was in the room with me, and I loved him.

These three instances (and the others I am now recollecting) I think have something to do with loneliness… a kind of craving for the company of beauty. Others, I suppose, might say God.

But this feels too simple a response.

Robin Parks”
― James Elkins, Pictures and Tears

“As a contrast to the Bach of pure music I present the Bach who is a poet and painter in sound. In his music and in his texts he expresses the emotional as well as the descriptive with great vitality and clarity. Before all else he aims at rendering the pictorial in lines of sound. He is even more tone painter than tone poet. His art is nearer to that of Berlioz than to that of Wagner. If the text speaks of drifting mists, of boisterous winds, of roaring rivers, of waves that ebb and flow, of leaves falling from the tree, of bells that toll for the dying, of the confident faith that walks with firm steps or the weak faith that falters, of the proud who will be debased and the humble who will be exalted, of Satan rising in rebellion, of angels on the clouds of heaven, then one sees and hears all this in his music. Bach has, in fact, his own language of sound. There are in his music constantly recurring rhythmical motives expressing peaceful bliss, lively joy, intense pain, or sorrow sublimely borne. The impulse to express poetic and pictorial concepts is the essence of music. It addresses itself to the listener's creative imagination and seeks to kindle in him the feelings and visions with which the music was composed. But this it can do only if the person who uses the language of sound possesses the mysterious faculty of rendering thoughts with a superior clarity and precision. In this respect Bach is the greatest of the great.”
― Albert Schweitzer, Out of My Life and Thought

“The works that Johann Sebastian Bach has left us, are a priceless national heritage, of a kind that no other race possesses.”
― Johann Nikolaus Forkel

“... and this man, the greatest musical poet and the greatest musical rhetorician that has ever existed, and probably that ever will exist, was a German. Be proud of him, oh Fatherland, be proud of him, but also be worthy of him!”
― Johann Nikolaus Forkel

“The audience was transported, not only by the work but also by the fine dynamics of the choir, which were something unusual in those days. Not less powerful was the religious impression made by Bach’s music. “The crowded hall looked like a church,” writes Fanny Mendelssohn. “Every one was filled with the most solemn devotion; one heard only an occasional involuntary ejaculation that sprang from deep emotion.”
― Albert Schweitzer

“Bach represents standing and moving, resting and hurrying, elevation and depression, with a naïveté almost characteristic of the first beginning of art. Without abandoning this minute detail-painting in his later works, his method now becomes, as it were, transfigured. His thought, vision, and emotion have remained unchanged, but in the later works the tone-painting is not so isolated; it is part and parcel of the melodic form that constitutes the basis of his movements, and his genius provided him with themes that contain, in their germ, all the possibilities of expression that the movement will afterwards require.”
― Johann Theodor Mosewius

“Precisely in Sebastian Bach, we can clearly recognise that not this or that style alone can lay claim to the title of a church style, but that only a soul filled with the holiest and highest can speak the language that can bring the most exalted things home to us, and that discards the mean and the unworthy.”
― Johann Theodor Mosewius

“The fact that the work today has become common property may console us for the other fact that an analysis of it is almost as impossible as it is to depict a wood by enumerating the trees and describing their appearance. We can only repeat again and again—take them and play them and penetrate into this world for yourself. Aesthetic elucidation of any kind must necessarily be superficial here, What so fascinates us in the work is not the form or the build of the piece, but the world-view that is mirrored in it. It is not so much that we enjoy the Well-tempered Clavichord as that we are edified by it. Joy, sorrow, tears, lamentation, laughter—to all these it gives voice, but in such a way that we are transported from the world of unrest to a world of peace, and see reality in a new way, as if we were sitting by a mountain lake and contemplating hills and woods and clouds in the tranquil and fathomless water.”
― Albert Schweitzer

“Nowhere so well as in the Well-tempered Clavichord are we made to realise that art was Bach’s religion. He does not depict natural soul-states, like Beethoven in his sonatas, no striving and struggling towards a goal, but the reality of life felt by a spirit always conscious of being superior to life, a spirit in which the most contradictory emotions, wildest grief and exuberant cheerfulness, are simply phases of a fundamental superiority of soul. It is this that gives the same transfigured air to the sorrow laden E flat minor prelude of the First Part and the care-free, volatile prelude in G major in the Second Part. Whoever has once felt this wonderful tranquility has comprehended the mysterious spirit that has here expressed all it knew and felt of life in the secret language of tone, and will render Bach the thanks we render only to the great souls to whom it is given to reconcile men with life and bring them peace.”
― Albert Schweitzer