Classical Concert Review: Bauhaus Bach

Classical Concert Review: Bauhaus Bach

On October 21st, the American Symphony Orchestra played an unusual type of concert at Carnegie Hall, not simply exploring the works of a composer but taking things one-step further. Though the concert consisted of works primarily composed by Bach (and one work "inspired" by Bach), it was not Bach as Bach had written it but rather how Bach had been interpreted by more modern artists, specifically during the interwar years in twentieth century Germany. The Bauhaus school was an artistic and philosophical movement and institution that touched on many (arguably all) areas of human expression, and many of its founders and adherents were enamored with the mathematical precision and clean nature of Bach's compositions (James, 2006; Weber, 2009). In this concert, the American Symphony Orchestra played works by Bach that had been orchestrated by Bauhaus composers, as well as one work by Bauhaus composer Lyonel Feininger, with somewhat mixed results.

Johann Sebastian Bach

Though by far the most famous musician and composer of his family and of his time period, Johann Sebastian Bach was just one of a family of accomplished musicians and composers. His father was the director of the town musicians in Eisenach, in Saxe-Eisenach (now a part of Germany), all of his uncles were professional musicians in one form or another, and his many of his siblings and children would also find careers in music (Stapert, 2010). Still, it is J.S. Bach that has remained the most enduringly respected and renowned.

The works that the American Symphony Orchestra played, in their adapted versions (with varying degrees of adaptation, as well), come primarily from the last period in Bach's life and music, when he was Cantor of the Thomasschule at St. Thomas Church in Leipzig (Williams, 2007). Though much music was religious at the time due to the economic nature of music and the culture in which it was produced, the political nature of Bach's position in St. Thomas Church required him to compose almost chorale and/or organ music almost solely, as these were the musical elements that accompanied religious services or were used as settings for holy texts (Williams, 2007; Stappert, 2010). Though Bach's compositions are not presented in their original forms in this concert, it is specifically this type of music that interested the Bauhaus artists and composers for several key reasons, and the influence of the religious nature of the work can be heard in interesting ways.

Bauhaus

The Bauhaus was an artistic school in both the concrete and the abstract senses of the term, espousing a certain philosophy and aesthetic while also providing direct instruction and an ability for students, teachers, and artists to practice their crafts (James, 2006; Weber, 2009). "Craft" is precisely the right term to use, as well, as this is how the Bauhaus school viewed their work; founded by architect Walter Gropius along with others, Bauhaus was founded on a principle of the aesthetics of utility and vice-versa, with the concepts largely inseparable in their view (Weber, 2009). The artistic and the mechanical were in fact one and the same thing, in other words.

It is this mentality and perspective of the Bauhaus school and its participant artists that led to their reverence for Bach, and especially to his later works arranged for large chorale groups and the organ at Leipzig, which Bach mastered the maintenance of as well as composing for and playing, as all organists were required to do for practical reasons (James, 2006; Williams, 2007). The fugues in particular, which are at once incredibly regular and mechanical in their construction -- scholars have noted the clean lines the many notes form on the printed page, for example -- yet achingly beautiful and religiously passionate embody many of the concepts of the Bauhaus philosophy and culture (Williams, 2007; James, 2006; Weber, 2009). With the newer orchestrations of Bach's works by these Bauhaus-affiliated composers, and with Feininger's own Bach-inspired fugue thrown in for good measure, the trajectory and relation of Bach's music to the Bauhaus school actually becomes quite clear, though the resultant sound is not necessarily the most impressive.

The Concert

All of the preparatory research completed before the concert definitely added to the anticipation this reviewer felt when leafing through the program and reading the extensive concert notes provided. The size of the hall and the crowd that filled it was somewhat intimidating, and added to the moment of the occasion. The crowd and the celebratory feel of the evening were not why anyone was truly there, however -- it was to enjoy the music, and perhaps to become enlightened through this enjoyment. The evening was certainly enlightening, but the enjoyment was mixed.