Gilles Cantagrel -- Passion Bach by Lucie Renaud
/ September 1, 2000
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Passion Bach, musicologist Gilles
Cantagrel's most recent
work (in bookstores on September 10),
explores the man behind
the master. The title is also an apt
description of the man whose
self-appointed mission is to destroy the
myths surrounding "Papa
Bach." La Scena interviewed
the author, (who will
be in Canada this fall at the invitation of his
friend Jacques
Boucher, president of Jeunesses Musicales du
Canada):
Cantagrel feels that to understand Bach's work you
must get
to know the man better. "People always refer to Bach as
the
cantor of Leipzig, their voices trembling with emotion. One
needs
to know that Leipzig at the time had 23,000 inhabitants and
that
it took 15 minutes at most to walk across the city at its
widest
point. This changes your perspective considerably. Moreover,
Bach
detested the title of cantor, which merely meant
schoolmaster.
He much preferred the title of city music director.
After all,
he was a conductor, composer, concert organizer, organ
specialist,
and of course a teacher."
That image of Bach
as a teacher watching the progress of his
pupils, is very different
from that which most admirers have in
mind. And yet, in his time,
Bach was recognized as a very distinguished
teacher. There were no
music schools or conservatories in the
seventeenth century. Musical
education often consisted of training
singers for Lutheran services.
Institutions such as Latin schools
prepared students for university
with a curriculum based on the
humanities. University students who
wanted advanced musical training
studied with a music master. Bach's
students were between seventeen
and twenty-one in age. In his early
career he was teaching students
who were actually older than himself
- a situation that had its
awkward side.
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Cantagrel's research
into contemporary documents has given
him a fairly precise idea of
Bach's teaching methods. "Initially
he had the student write a
_gured bass and a melody in order to
evaluate the latter's sense of
music. Bach felt that without this
sense there was no point studying
music. It was extraordinary!
You became a composer and harpsichordist
at the same time, studying
both the _ngering and the music theory of
a passage at once."
Bach was a perfectionist, and he never
stopped. He himself said
that anyone could do the same if they worked
hard enough. He used
to give rank beginners the preludes and fugues
of the Well-tempered
Clavier, originally composed for his
favourite pupil - his
son Wilhelm Friedmann, on whom he experimented
with new teaching
methods. Cantagrel has examined the manuscript of
one of the _rst
pieces that Wilhelm Friedmann worked on, and was
astonished with
his _ndings. "The polonaise had all the _ngering
marked,
which gives us a good idea of Bach's technique. For the _rst
time
you can see modern _ngering, including the thumb which until
then
had not been used. This was a crucial innovation that led to
enormous
progress in instrumental technique. Carl Philipp Emanuel
Bach
corroborated these discoveries in his treatise on playing
the
harpsichord."
As with artists, Bach had his pet
preoccupations. Among them,
Cantagrel mentions a concern with balance
and completion. "It
made him close what had been opened, what I
call 'tying up the
work. ' Bach often imagined closed structures. At
the end of the
Goldberg Variations, for example, there is a
reprise of
the initial Aria. This tying up makes it possible to have
independent
musical systems that are perfectly coherent. It may
reflect a
psychological need, a kind of fear of the vicissitudes of
life
such as the crushing loss of both his parents when he was
nine.
As you become familiar with his music, you realize that Bach
-
the man, - like a number of creative people, was a
profoundly
anxious individual, and that deep inside him was an
existential
angst that he sublimated in his creative work."
Paradoxically,
contemporary accounts describe him as an extremely
pleasant companion.
His wine bills show that he liked the good things
in life. People
seem to have found his conversation most edifying.
"There
are people you know who, after an hour together, make you
feel
you" ve been more intelligent than usual. Bach was one
such
person, a very cultivated man," Cantagrel notes. (And so
is
Cantagrel, one might add!)
When asked why he is so deeply
attached to Bach in particular,
Cantagrel _nds it dif_cult to say.
"I've really no idea.
I'd be tempted to reply, as did Montaigne,
'Because he is who
he is, and I am who I am. ' I think there's no
_ner de_nition
of friendship than this. When you take a special
interest in someone,
it's because that person has something to give
that goes beyond
time. I didn't choose Bach: he chose me." This
remarkable
friendship seems to be anchored in Cantagrel's earliest
memories.
His grandmother and mother both played Bach, as did an old
woman
in his building who delighted in The Well-tempered
Clavier.
His _rst piano lessons were also devoted to Bach. By age
eleven
he was singing choral music, including extracts from the
Bach
Passions. "I was bowled over," he con_des.
"The
music and the intense spirituality of Holy Week services
were
an unforgettable experience."
Cantagrel studied
piano briefly before devoting himself to
the organ. He admits to
being able to play entire sections of
Wagner operas from memory and
without practice! He believes that
various areas of knowledge should
not be cut off from one another,
which is why he chose to study
physics and art history at university."
Everything is linked to
the relationship of architecture and acoustics,"
he points out.
"The development of the language of music
is explained by the
acoustic conditions in which composers had
to make themselves
heard." He deplores the current trend
for indiscriminately
playing all kinds of music in all kinds of
venues.
For
Cantagrel, Bach remains "the father of music, and
people are
still being inspired by him." We need look no
farther to
understand his willingness to present the four concerts
offered by
the Jeunesses Musicales in the series "Bach to
School/Bach vers
le futur." Four composers have been asked
to provide modern
spice to baroque compositions. The letters BACH
are to be
developed as variations, and reflect the choice of composers:
Denis
Bédard, Serge Arcuri, Barrie Cabena
et
Jacques Hétu.
Cantagrel is eagerly looking
forward to the event. "Bach
shouldn't be a consumer
product," he says. "His music
is alive and still enriching
those who hear it, especially composers.
Bach is a universal
musician, not simply the property of baroque
fans. He is truly turned
toward the future and still has much
to say to
us."
Nine concerts will be given from September 18 to
22 in the
"Bach to School/Bach vers le futur" series. Four
works
will be presented, and Montreal's youthful public can share
this
unusual concert experience at the Maison des Jeunesses
Musicales.
In addition to his book, Passion
Bach, Cantagrel
has published Bach en son temps and Le
moulin et la
rivière, Éditions
Fayard).
[Translated by Jane
Brierley]
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