Enjoy casually ! Life with concerts
File.8 JS Bach " Cello Suites "
Mitsuzo Mori ( music writer)
In 1890, the 13-year-old Casals discovered a worn-out book of sheet music in a music store in Barcelona. As he turned the pages of this little-known book, the magic of music instantly enveloped him, intensely and gently.
Rediscover the masterpiece "Cello Suite".
I have embellished the story a little, but Pablo Casals was a musician who recognized the artistic value of this collection of songs, which at the time was treated merely as "exercises for improving instrument playing," and made it known to the world through his own wonderful performances.
"All 6 Cello Suites" composed by the "Father of Music," Johann Sebastian Bach.
There are six suites, each consisting of six pieces, that were created around 300 years ago.
There is hardly any cellist who doesn't play this piece. In fact, the ultimate dream of every cellist is to play this piece in heaven in front of Bach and be praised by him. It is often called the "Old Testament of the cello."
Bach has a hard time too...
*JS Bach (1685-1750)
This song is often used as background music, so many people are probably familiar with it. What I want to focus on is the fact that it is often used as music for contemporary dance. In other words, cutting-edge sensibilities and audiences need the power of music composed 300 years ago.
Even so, Casals' recordings of Bach in the 1930s are wonderful. Bach is strict and can be said to be like a seeker of truth. I wanted to experience a live performance of Casals at least once. It was one of my personal, unfulfilled dreams.
*Pablo Casals (1876-1973)
What if Casals had never come across Bach's music?
Let me ask such a nonsensical question. Although it is from a much later era, there is a musician who I believe would have rediscovered this masterpiece. The great Baroque cello master Anner Bylsma, who sadly passed away this July, was one of the driving forces behind the movement known as "early musical instrument performance" and "original instrument performance," which became popular in the latter half of the 20th century.
The numerous famous recordings and performances that were developed based on the idea of restoring the true form of the music by incorporating the instruments and performance styles of the era in which it was composed have revolutionized the classical music industry.
On the harpsichord instead of the piano.
The orchestra is smaller and more brisk.
Bach, Mozart, and Beethoven are fresh and light, as if the dust that has accumulated over the years has been wiped away.
The fun part is using period instruments while still creating something new!
Naturally, the Bach that Bylsma produced in this context left a very different impression from what I had been familiar with up until then.
*Anna Bylsma (1934-2019)
The performance is more like a conversation rather than a romantic "singing". The original dance-like character is boldly incorporated, and the tempo is fast. Above all, the polyphonic structure of the piece is revealed, and the more you listen, the more interesting it becomes, and the more you are drawn deeper and deeper into the universe that is Bach.
"It's like it's forever unfinished."
These are the words a friend used to describe Bylsma, and that's exactly what he was like at the many concerts I've seen him in.
The joy and confusion of witnessing the moment music is born. There's something freeing about the atmosphere.
I think my encounter with Bylsma changed the way I listened to music, which used to be a little authoritarian and sought something "ultimate."
*Anna Bylsma (1934-2019)
I used to think that it was a bit strange to record "Unaccompanied" while still in my 20s, or to record Bach twice or three times, but now I don't care. I actually love young Bach. I welcome "Unaccompanied Cello Suites" performed on not only viola and guitar, but also marimba and saxophone. Everyone is seriously taking on Bach, and if the sound is different, you may notice new charms in the songs.
By the way, after the Bylsma experience, when I listened to Casals's performances again, I was able to hear delicate and sensitive aspects that I had not been able to hear before. Just as music changes, my ears change too.
A concert of all of Bach's "Cello Suites" will be held twice, in November and December. The performers will be Hidemi Suzuki, Japan's proud baroque cellist and conductor. Having studied under Bylsma and having extensive experience in the home of early music, we are really looking forward to hearing what kind of "modern" performance he will give us.
Although we're not sure whether we'll be able to hear any witty chatter, we can certainly enjoy watching him play the Baroque cello, an instrument that has no pins that can be stuck into the floor, held between his knees.
I would definitely like to go there as a memorial to Mr. Bylsma.
Master Bylsma had been in poor health for a long time and passed away without visiting Japan for some time. I will never forget the time I met him in front of the dressing room after one of his concerts.
The feeling of receiving an autograph and shaking his hand.
When I tried to get his wife, the violinist Vera Beth, to sign an autograph, I found her chatting with a friend. I hesitated and waited, but she kindly encouraged me to go ahead and ask, saying, "It's okay, just ask."
I received many treasures.
This event has ended.
The Rise of Early Music VI
Hidemi Suzuki: The Ultimate Bach
1st Complete Concert of Cello Suites
[Date and time] Saturday, November 2nd, 14:00-16:00 (13:30 opening)
[Venue] Tsurumi Community Cultural Center Salvia Hall 3F Music Hall
