Bach: lute suite in E minor

Born in 1685 in Eisensach, the composer and organist Bach had earned a unique
historical position by the end of the 18th century. “His genius combined
outstanding performing musicianship with supreme creative powers in which
forceful and original inventiveness, technical mastery, and intellectual control
are perfectly balanced.” [www.oxfordonline.com]. His musical language was
distinctive, drawing together and surmounting the techniques and styles of his
own and earlier generations, and he is now acknowledged as one of the most
significant iconic figures in music. Bach’s output embraces practically every
musical form of his time except opera, and I believe that the Lute suite in E minor
provides a great example of Bach’s distinctive style and technical mastery,
making it a significant work.

In the lute suite (Preludio) we can observe some of the earlier influences that
Bach drew upon in his work, specifically from Frescobaldi. “In both areas of
composition and performance – vocal and instrumental – early 17th century
Italians sought to capture in notation the spontaneous effect of improvised
performance… Frescobaldi put the stamp of the early Baroque and of his
personal manner on them.” [John Walter Hill, Baroque Music, p. 55]. A greatly
important characteristic that we know of baroque music is the almost-
improvised approach that they took to their music, a characteristic that
influenced Bach in his own writing often though the form of spontaneous
ornamentation and musical direction. For example in the Preludio there are no
markings for tempo, dynamics or really any articulation on the score, and as a
result the interpretation of the piece is dictated by each performers own musical
intuition. In Kirchhof’s recording there is an exciting accelerando across the
opening 4 bars, and the melody is embellished with ornaments that are not
marked on the score (like a trill in bar 2 - insert quote).

One essential component of Bach’s style can be seen in his “combination of solid
craftsmanship with instrumental virtuosity.” [www.oxfordmusiconline.com]. The
technical demands made by his music are certainly present in the Preludio, with
the descending semi-demi-quaver scalic passages that require awkward
fingerings over multiple strings to leave a ‘ringing’ effect, that can be found in
bars 5, 9 and 14 (insert quote). Here, this reflects Bach’s own prowess as an
instrumentalist and his distinctive writing style where technical virtuosity
becomes a functional element within the composition. Perhaps a factor towards
Bach’s great significance in his era, and by extension the significance of this
piece, was his ability to open up new dimensions in every virtually every
department of creative works that he turned to, progressing musical quality and
technical demands.

Bach’s confrontation with Vivaldi’s music was said to be one of most distinctive
influences on Bach from about 1712, drawing from Vivaldi’s clear melodic
contours, sharp outlines of his outer parts and his motoric and rhythmic
conciseness [www.oxfordmusiconline.com]. The presto from the E minor Lute
suite exemplifies this influence on his own personal style, with the concise
rhythm that remains consistent throughout and the unmistakable quality of his
complex counterpoint marked by busy interweaving’s and harmonic refinement.
During Bach’s lifetime he was widely known and respected, however he did not
become a national icon like Handel until after his death in 1750 [John Walter Hill,
Baroque Music, p 489]. Bach’s music, such as the E minor Lute Suite, would
influence many, such as the likes of Mozart and Beethoven, and would be revered
through the ages for his works musical complexities and stylistic innovations.
Now he is considered to be one of the best composers of the baroque era, and
one of the most important figures in classical music in general.