Philosophy of phenomenon - Buxtehude, Bach, Gembalski - NOSPR

Professor Julian Gembalski's recital is an attempt to philosophically grasp the phenomenon of the greatest composer in the history of Western culture. While now recognized as the most prominent author of baroque organ works, Johann Sebastian Bach wasn't the only composer creating music for this instrument. The Leipzig cantor admired and respected the performing art and creativity of his older colleague, Dietrich Buxtehude, particularly. He even traveled more than 450 kilometers on foot from Arnstadt to Lübeck to meet him in person and hear him play. He also visited Hamburg three times to listen to the forty-years-older Johan Adam Reinken. The organ concerts of these composer-organists must have had a significant influence on the preludes, toccatas, and fugues that Bach would later compose.  

Designing the program for this Friday evening, Professor Gembalski aimed to introduce the masterful legacy of the polyphonic genius within the broad context of composers who worked before (Johan Adam Reinken, Dietrich Buxtehude) and after him (Carl Philipp Emanuel Bach, his son). He also included Bach's compositions, rich in hidden symbolism and extraordinary virtuosity. The monumental Passacaglia and Fugue in C minor, BWV 582, is an early work by Bach, a stunning testament to the skill and creativity of a young artist. In the Prelude and Fugue in E minor, BWV 548, a highly chromatic theme is heard (chromaticism's use almost always indicates that the composer wants to convey something significant). Due to its large scale, this piece is sometimes referred to as a "two-part symphony." The Fantasy and Fugue in C minor is a dark and austere composition. Its history is quite surprising. The first part, the fantasy, was composed during Bach's stay in Weimar between 1708 and 1717. The unfinished fugue was added much later in 1745. Scholars disagree about whether this piece is truly Bach's work. Some speculate that it was written by one of his students or sons. We may never know the truth or why the composition remained unfinished. However, the part of the work that the composer (or his student/son) left unfinished will be heard in Professor Gembalski's improvisations. His improvisations will also feature the famous musical motto encapsulated in the sounds of "B-A-C-H." 

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Concert duration: approximately 60 minutes