A friend of mine says that, in his opinion, Bach's music is the one that most often works even when played on instruments other than those for which it was conceived; that is, it is abstract music and more independent of the instrument used than any other.
Now I think he was right and, in my opinion, this example proves it; listen to it with this truly unrefined timbre, even ridiculous:
http://www.youtube.com/watch?v=VV4FjkypiwE
Bach's music seems to triumph even over this, whereas in my opinion a great many pieces from, for example, the 19th century which, when performed on their intended instrument, are masterpieces, would sound truly ridiculous with such a timbre.
What do you think?
Are there other composers who have dealt with abstract music or... absolute music... if it's correct to say so...
A friend of mine says that, in his opinion, Bach's music is the one that most often works even when played on instruments other than those for which it was conceived; that is, it is abstract music and more independent of the instrument used than any other.
Now I think he was right and, in my opinion, this example proves it; listen to it with this truly unrefined timbre, even ridiculous:
Bach's music seems to triumph even over this, whereas in my opinion a great many pieces from, for example, the nineteenth century which, when performed on their intended instrument, are masterpieces, would result in being truly ridiculous with a timbre like this.
What do you think?
Are there other composers who have dealt with abstract music or... absolute music... if it is permissible to say so...
It is not a question of authors or periods... but of form.
Counterpoint-based music lends itself to "operations" of this kind (perhaps more laudable ones, eh!) because it essentially consists of the interrelation between voices, that is, in relation to notes belonging to different melodic lines.
But it's not just Bach; a fugue by Schumann or Hindemith has the same potential for reuse.
Of course, JSB is 95% counterpoint, but I still see it as difficult to bring "on any instrument" a prelude like the one in E-flat minor from Book I of the WTC or the Adagio from Capriccio BWV992, which are little or not at all contrapuntal.
That being said, I am of the opinion that, precisely because in contrapuntal music timbre is an element "external" to the musical logic, it assumes an exceptional importance in performance (in a performance that has artistic purposes, obviously, not nonsense like that).
In fact, if in other repertoire it is the music itself that "makes the sound" (think only of the piano writing of a Liszt or a Debussy), in contrapuntal music (Bachian in particular), the timbral research is a "burden" that rests solely on the performer.
It is something that will never be found "written" in the music itself, but he himself must think of and apply it... with all the risks involved.
Hence the greatness of people like Gould, who literally "invented" a sound for Bach... for Bach at the piano.
The level of abstraction increases with the amount of counterpoint present in the piece: where this is at its maximum, as in the case of the ricercar a 6, the "instrumental transportability" increases and the musical idea remains intact, pure, even with this improbable timbre... faces apart
It might be Ludovica, but in my opinion the timbre plays its part... okay on "instrumental portability" ... but let there be a musical instrument worthy of the name ....
