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Bach Notes, Dards,” in the Musical Times 161/1952 Ex Officio Will Be Reissued in Paperback This Fall

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Bach Notes, Dards,” in the Musical Times 161/1952 Ex Officio Will Be Reissued in Paperback This Fall BNewsletterACH ofN theOTES American Bach Society FALL 2020 • No. 33 2020 • No. FALL TINY BACH CONCERTS he American Bach Society New England Conservatory), and Tis pleased to introduce Tiny by Paul Walker (ABS board mem- Bach Concerts, a new video series ber and retired faculty member at launched in September 2020. Each Notre Dame). episode, planned for monthly re- The ABS welcomes suggestions lease on our new YouTube channel, from its members for future epi- will feature a video performance of sodes of Tiny Bach Concerts. Please a Bach work and a spoken introduc- get in touch with Carrie Tipton at tion by an ABS expert. Our aim is [email protected] to pair well-informed and engaging to suggest performances we should presentations about Bach’s music consider featuring, or if you are in a with compelling performances of position to offer commentary in an the repertory. episode. Please also share the series The series is meant to help with friends and colleagues. the ABS reach a broader constitu- ency, including general audiences and performing organizations. We also hope to promote the work of performers and ensembles cultivating “Dona nobis pacem” from the Mass in B In This Issue: Bach’s music. Recent pandemic-imposed Minor are introduced in a talk by former limitations on concerts have shown that ABS president George Stauffer. Tiny Bach Concerts 1 there is a large appetite for music online, The ABS is fortunate to have Car- Barbara Wolff (1936–2020) 2 and it seems likely that this interest will rie Allen Tipton serving as coordinator continue. We thus anticipate that Tiny and producer of Tiny Bach Concerts. Bach Beats Corona A Review of Bach Concerts will be a part of the ABS’s Dr. Tipton trained as a musicologist and Streaming Festivals by Alannah work even after in-person music making ethnomusicologist, and ABS members Rebekah Franklin 3 resumes. know her as the creator and host of the Review: Translating an Institutional Each video will be accompanied by Bach Society Houston’s “Notes on Bach” History by Chad Fothergill 7 a transcript of the spoken portion. This podcast, now in the planning stages for will be of use to instructors who need its fifth season. Before the Downbeat: Performing Bach’s approachable and accessible Bach-related Upcoming episodes of Tiny Bach St. John Passion A Webinar Report by Brett Kostrzewski 9 material, and it will help non-specialist Concerts will include performances by viewers as they encounter new terms and Matthew Dirst (ABS board member Announcements 10 names. and faculty member at the University of Our inaugural episode features two Houston) and Ars Lyrica Houston, by Recent Publications 11 beautiful performances by the Wash- the Bloomington Bach Cantata Project, Member News 12 ington Bach Consort directed by ABS and by Kola Owolabi (professor of or- Advisory Board member Dana Marsh. gan at the University of Notre Dame); Their remotely-recorded versions of the and talks by Dirst, by Ellen Exner (ABS © 2020 “Gloria in excelsis/Et in terra pax” and Vice President and faculty member at the The American Bach Society 2 Barbara Wolff (June 23, 1936–June 24, 2020) With the passing of Barbara warm, gracious, and friendly Wolff on June 24, 2020, the to all she encountered. She world-wide Bach community recognized that she was in has lost a beloved member. a unique position to build A music bibliographer bridges and was a member and cataloger at Harvard’s of the German-Jewish Study Houghton Library, Barbara Group for many years. embraced the roles of career Barbara attended numer- woman, spouse, mother, and ous Bach conferences and hostess to a greater degree academic meetings in Eu- than any woman I know, all rope and the States and was while maintaining a beauti- well known to generations of ful home and garden. The Bach scholars. An organist wife of Professor Christoph by training, she sang in the Wolff, Barbara was the moth- Harvard-Radcliffe Chorus er of three daughters and a for many years and loved grandmother of five. Fluent attending performances— in both German and English, including many by her own she was equally at home in children and grandchildren. Germany and in the States. She loved nature and, during She took a genuine inter- the spring of 2020 when she est in the pursuits and welfare and Christoph were unable of Christoph’s students and to travel abroad due to Cov- regularly welcomed them id, apart from her daily chats into their home. A wonderful with her daughters, I think cook, she hosted gatherings her happiest hours were spent with consummate ease and walking around Fresh Pond grace, giving every evidence or among the flowering trees that it brought her great and shrubs in Mt. Auburn pleasure. She could hold Cemetery in Cambridge with her own in any conversa- Christoph. Diagnosed with tion and invariably spent advanced pancreatic cancer more time listening to oth- on June 9, Barbara died just ers than speaking herself. Comfortable in the highest echelons of two weeks later, a day after her 84th birthday. She will be sorely academe, she also counted world-famous performers among her missed. closest friends. She was devoid of any pretense, and was invariably Mary J. Greer No. 33 BACH • NOTES 3 Bach Beats Corona – Streaming the Music of Summer Festivals Alannah Rebekah Franklin (Florida State University) The coronavirus pandemic of 2020 presented music festivals Live description elaborated: and arts organizations with a conundrum: how could live music “The current crisis is global. continue with strict social distancing practices in place? How could All areas of social life are event organizers provide safe and engaging concert and festival under great strain. In crises, experiences for audiences and performers? Live music thrives on however, people have always performer and audience interactions in the moment, enhanced by found strength, especially in the social atmosphere of concert halls and other spaces. In response music. It is all the more im- to these issues, Bach festivals across the world quickly adapted their portant that we make every goals and ideas to the new global, increasingly digital environment effort to bring music into fostered in the wake of the pandemic, forging communal bonds the world at times when we over internet connections rather than physical ones. Thanks to the are not even allowed to hold creative minds and determined plans of music administrators and concerts anymore.” festival performers, the live performance of Bach’s music has thrived As the text scrolled on to a level that would not have seemed possible at the beginning the screen, the soloists and of the pandemic. This past spring and summer saw several digital conductor walked onstage performances of Bach’s music, including the St. John Passion, accompanied by silence livestreamed by the Bach Collegium Japan on March 15; the “We instead of live applause. are Family” St. John Passion concert presented on Good Friday, Throughout the concert, April 10, by the Bachfest Leipzig; and the Bachfest’s subsequent Masaaki Suzuki conducted Bach Marathon over two weekends in June. In addition, several with an intricate depth of prominent American Bach festivals have explored strategies for feeling, drawing out the making and sharing music virtually in the midst of the pandemic. lyrical passages and wealth of emotions underlying the St. John An early taste of “pandemic performance practice” occurred Passion. The chorales were especially moving, as Suzuki led the on March 15, with the livestream of Masaaki Suzuki and the Bach choir in careful articulation and text-inspired gesture. Evangelist Collegium Japan performing the St. John Passion without a live James Gilchrist guided the audience through the story skillfully, audience. (Hosted on the Cologne Philharmonic’s web page, www. singing with musical conviction and careful affect, while the other philharmonie.tv, and Facebook Live.) The livestream opened with soloists—soprano Hana Blažiková, alto Damien Guillon, tenor introductory remarks by Louwrens Langevoort, manager of the Zachary Wilder, and bass Christian Immler—contributed to the Cologne Philharmonic, after which viewers saw a written announce- emotional depth of the concert through their arias. ment encouraging them to donate the cost of their now unusable Several marked differences separated this virtual experience tickets for the performance to support the artists, ensembles, and of the St. John Passion from a regular concert. Audience members institutions connected to the Cologne Philharmonic. The Facebook could comment through Facebook Live’s chat feature, as well as by email and other means of remote communication. Instead of immediate applause or shouts of “bravo” at the end of the work, the audience responded throughout the performance with a torrent of comments and emojis. This resulted in a deeper level of involvement between the audience members themselves; as people “entered” the concert, they introduced themselves and shared where they were from. People greeted each other, asked questions, and commented on the music together. At the end of the livestream, many viewers expressed gratitude and excitement for the opportunity to attend the concert virtually. The soloists and conductor also bowed and received flowers, and the audience could see a camera operator walk onstage to shoot closeup images. The ensemble acknowledged the invisible audience by waving toward the camera. A few chuckled at the strangeness of waving BACH • NOTES Fall 2020 4 to convey the different characters within the story. Elina Albach covered the basso continuo lines on harpsichord and organ, while Philipp Lamprecht filled in the other orchestral instruments’ lines and harmonies with marimba, vibraphone, xylophone, and other percussion instruments. Kristjánsson sang each movement of the St. John Passion with stunning expressiveness, often with his eyes closed, and entirely from memory, which allowed him to add arm gestures for effect.
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