Derek Remeš, Music Theorist, Organist and Composer, talks about Bach's method of composition and improvisation. They discuss topics like teaching chorales, differences between Italian and German traditions in dealing with unfigured bases, and the need for reform in music education.
Derek Remish's research on Bach's pedagogy sheds light on the importance of improvisation in Bach's music and explores how musicians of that era understood and practiced it.
Thoroughbass played a crucial role in Bach's teaching and compositional pedagogy, providing a comprehensive understanding of composition and enabling organists to accompany in churches.
Bach's teaching methods included using chorale melodies as fugal subjects and teaching thoroughbass fugues to guide students in learning the complexity of composition and fugue.
Deep dives
Derek Remish's Musical Background and Research Interest in Bach's Pedagogy
Derek Remish, a music theorist, organist, and composer, shares his musical background and how he ended up researching Johann Sebastian Bach's method of composition and improvisation. He discusses his shift from studying piano to composition and film scoring at the Berkeley College of Music. After realizing film composition wasn't his passion, he turned to the organ and church music. Later, he discovered music theory as a possible career path and pursued studies in organ and music theory at the Eastman School in New York. His research interest in Bach's pedagogy was sparked by learning about the work of Dr. Robin A. Lever, a respected Bach scholar, and exploring sources related to Bach's pedagogical methods.
Bach's Emphasis on Improvisation and the Importance of Understanding It
Derek Remish discusses Bach's reputation as a great improviser and his understanding of the importance of improvisation in the music of his time. While Bach's emphasis on improvisation is well-known, Derek points out that his contribution lies in explaining how the musicians of that era understood and practiced it. He highlights a conference in Switzerland where a newly rediscovered source by Jakob Adlung, a contemporary of Bach, was discussed. Derek clarifies that his goal is to make these ideas more accessible and act as a bridge between the German and English-speaking communities.
The Significance of Thoroughbass in Bach's Teaching and Composition
Thoroughbass, a method of composition and accompaniment, played a crucial role in Bach's teaching and compositional pedagogy. Derek Remish explains that Bach's focus on thoroughbass allowed his pupils to gain a comprehensive understanding of composition. Additionally, the ability to play thoroughbass allowed organists to accompany in churches. Derek discusses the relationship between thoroughbass and counterpoint, emphasizing how it helped encapsulate traditional rules of composition. He also highlights Bach's utilization of thoroughbass in both composition and improvisation, and how it shaped his teaching methods.
The Transition from Chorales to Fugue in Bach's Pedagogy
Derek Remish explores how Bach transitioned from teaching chorales to teaching fugue to his students. He notes that while the exact path is not explicitly stated, there are two potential methods. The first involves using chorale melodies as fugal subjects, easing students into the complexity of fugue through familiar melodies. The second method is the thoroughbass fugue, where students learn to compose fugues by applying thoroughbass concepts. Derek emphasizes the significance of thoroughbass fugues and the inherent connection between thoroughbass and fugue in Bach's teachings and compositions.
Reflections on Music Education and the Need for Historical Context
Derek Remish shares his thoughts on music education reform, advocating for a more historically contextualized approach. He suggests teaching classical music within its historical context instead of relying on monumental theories that claim to explain music's entirety. Derek emphasizes the value of practical music-making, including a renaissance of thoroughbass and a return to the importance of imitation. He also challenges the obsession with originality in composition and highlights the benefits of imitating historical models. Finally, he discusses the need for a division between exercises that have clear right and wrong answers and free composition where composers can explore their unique voice.
My guest today is Music Theorist, Organist and Composer, Derek Remeš. He is known for his research into the pedagogy behind Johann Sebastian’s Bach method of composition and improvisation. He also is the admin for Facebook group that he started,”Composition and Improvisation in J.S. Bach’s Germany”.
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0:36 What is your musical background? 2:37 Has anyone in Bach research looked at his craft of improvisation? 4:47 Do all organists have to improvise? 5:47 Did you have a background in improvisation before learning the organ? 6:45 The terminology of thoroughbass 7:49 Would Bach have used the term thoroughbass? 7:58 What do we know of Bach the teacher? Did he have many students and how long did he teach in his career? 10:09 How does thoroughbass relate to Counterpoint and did they talk about Counterpoint much? 15:18 CPE Bach mentioning that JS Bach avoided the “dry” exercises of species counterpoint 16:43 LM 4665, the anonymous manuscript that contained thoroughbass fugues 19:04 How did Bach begin teaching new students? 19:53 Did Bach expect strict counterpoint in thoroughbass? 21:06 How about parallel movement in the middle voices? 22:40 Did he stay with 4 voices or did he eventually shrink down to 3 or 2 voices? 25:17 Was there any instruction in how to write melodies? Like how the Italians practiced Solfeggio. 26:49 The Italian partimenti eventually had no figures, was that the same for Bach? 28:27 Did Heinichen, Niedt and Bach share the same conception of thoroughbass? 31:51 Heinichen updated treatise, after his trip to Italy and the connection to Bach 33:07 What are the differences between Heinichen’s first treatise and his later updated version? 39:35 Is Heinichen an innovator? 42:03 After thoroughbass, the student moves on to chorales 43:40 The same melody in chorales but multiple, different basses with figures 45:37 Did they use solfeggio syllables like Do, Re Mi, Fa Sol, La? 49:01 Modes vs Major/Minor 49:35 What temperament are we supposed to play Bach’s music in? 50:44 Going from chorales to fugues, when does the study of imitation happen? 53:56 Does being good at thoroughbass prepare you well for fugues? 54:51 Do you find that the study of thoroughbass has helped you in understanding tonal music of other eras? 56:09 What’s the best way in your opinion, to learn counterpoint? 57:46 How would you reform music education? 1:02:22 On the modern use of “tonal” as a flippant, pejorative 1:03:43 Wrapping Up
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