How does Bach’s music sound when played by a modern orchestra? In the time of Johann Sebastian Bach, transcribing, producing, and adapting one's own or someone else's music was a common procedure. Much of the material that nourishes Bach's cantatas appears, in some way and with greater or fewer alterations, in other of the composer’s compositions regardless of their purpose. Carry on reading
The Prelude and Fugue (BWV 552), one of the longest and most elaborate in the composer’s organ music production, synthesises the French, Italian, and German styles in a single work. Arnold Schoenberg’s orchestration brings into play two radically different universes: the unmistakably Bachian composition with a modern orchestration is the antipode of the sonority of Bach. The result is a surprising and puzzling proposition.
Playing with outlines and multiple references is characteristic of the music of Raquel García-Tomás, who this time draws on Bach to present a new work. Completing the programme is Petrushka, one of the three classical ballets that brought Igor Stravinsky international fame, devised for Serge Diaghilev's Russian Ballets.