Back to Bach – The 20th-century obsession with Baroque order
The early 20th century saw a significant resurgence in interest for the music of Johann Sebastian Bach, particularly among modernist composers and musicians. This renewed fascination can be attributed to the perceived order and structure that characterized Bach’s compositions.
“Bach is the fountainhead of Western classical music… His art represents the consummate expression of unity and coherence.” – Ferruccio Busoni
One of the most influential figures in this revival was Arnold Schoenberg, an Austrian composer who saw Bach as a role model for his own atonal compositions. Schoenberg’s theory of twelve-tone technique, which emphasized symmetry and mathematical order, mirrored Bach’s own use of counterpoint and fugue.
- Counterpoint: A key aspect of Bach’s compositional style was his mastery of counterpoint, the interweaving of multiple melodic lines. This technical skill allowed him to create complex, yet harmonious music.
- “Counterpoint is the art of combining several voices in such a way that each one supports and enhances the others.” – Johann Sebastian Bach
- Fugue: Another hallmark of Bach’s compositional style was his use of fugue, a musical form that involves interweaving multiple themes. This technique allowed him to explore complex relationships between different melodic lines.
This renewed interest in Baroque order had far-reaching implications for modern music composition. Composers like Igor Stravinsky and Sergei Rachmaninoff drew inspiration from Bach’s works, incorporating elements of counterpoint and fugue into their own compositions.
The 20th-century obsession with Baroque order continues to influence music composition today, as artists and musicians continue to draw inspiration from the works of Johann Sebastian Bach.