The music of Johann Sebastian Bach, known for its intricate structures and emotional depth, poses a challenge for anyone trying to articulate its beauty through mere words.
While one could argue that the Brandenburg Concertos are not Bach’s most profound works, such a statement can be misleading.
Drawing a comparison to the Beatles’ Help!, it’s important to recognize that the concertos, composed during Bach’s late 20s and early 30s, are youthful pieces, especially when placed alongside his more mature compositions like the Passions, Cello Suites, and B Minor Mass.
However, dismissing the Brandenburgs as simply less significant misses the essence of their charm and vitality.
These six concertos, written “for several instruments,” encapsulate a rich tapestry of musical ideas—from playful counterpoint and lively dance rhythms to profound emotional passages filled with pathos.
On a more personal note, I had the privilege of attending a recent concert conducted by Shunske Sato, organized by Chamber Music Northwest and the Oregon Bach Festival.
Describing those performances as “among the best I’ve ever heard” might seem like faint praise, leaving readers questioning what I truly mean by “among.”
The ambiguity of ranking musical experiences could lead to confusion—was it among the top thousand or five?
Moreover, the criteria for “best” can vary widely among listeners and may reflect individual preferences, complicating my subjective assessment.
Thus, it’s essential to clarify that my evaluation stems not only from Sato’s specific interpretation of Bach’s work but also from the sheer thrill of experiencing these musical masterpieces performed live.
On June 29, 2025, in Beall Hall, Eugene, during the OBF 2025, the concert truly resonated with me, ranking within my top five all-time musical experiences.
Bach’s life and context illuminate his music richly and profoundly.
He had twenty children across two marriages, lending a sensuous, almost intimate quality to his compositions, along with a homely, bourgeois feel.
As a devout Lutheran, much of his career was centered in church work where he embraced his Protestant beliefs wholeheartedly.
Interestingly, Bach was also a coffee enthusiast who spent over a decade producing weekly secular concerts at the Zimmermannsches Kaffeehaus in Leipzig.
Moreover, he blended elements of scientific inquiry with a love for nature, bringing forth music that encapsulates both natural vitality and rational order.
This duality is especially significant in the Brandenburg Concertos, as they often evoke a sense of connection with the natural world, reminiscent of the works of contemporary composer John Luther Adams.
In reexamining the past, we risk oversimplifying the spiritual outlook held by many in Bach’s era, failing to appreciate their sense of companionship with Nature amid a mindset many associate strictly with domination.
As Christoph Wolff observes, art, in its best form, should imitate and enhance the beauty present in nature—a philosophy evident in Bach’s mastery and the rich textures of his concertos.
Reflecting on the performance at Beall Hall, I felt the essence of nature pour forth through the music as a vibrant tapestry of life unfurled before us.
From the outset, the energy and joy echoed Bach’s philosophies, with Sato’s commanding presence leading the ensemble through each concerto’s intricate melodies.
With great skill, Sato animatedly directed the musicians, creating a dynamic interplay of musical voices, characterized by talent and excitement.
Particularly moving was the performance’s highlight—oboe solos by Titus Underwood and the fervent agility of violinist Adriane Post during the lively “Polacca” section.
What truly distinguishes live music from recorded performances is not only the musicality of the players but also the unique acoustic setting of Beall Hall.
The experience was further enhanced by the visual artistry of the musicians as they shared melodies back and forth, enriching the concert’s theatrical flair.
This visual aspect of concert music cannot be overstated; before the advent of recordings in the late 19th century, music was always a seen as well as an heard experience.
As I watched the ensemble skillfully deliver Bach’s enchanting works, tears formed in my eyes at the poignant beauty of the experience.
The remainder of the concert continued to delight, showcasing remarkable solos, particularly from cellist Paul Dwyer, who embraced historical techniques by playing without an endpin.
Subsequently, it would be remiss not to mention the contributions of harpsichordist Kit Armstrong, whose performance of the renowned Fifth Concerto showcased both technical skill and an engaging stage presence.
Although harpsichordist Joyce Chen excelled throughout the event, it was Armstrong who captivated the audience with his exceptional cadenza, creating an electric atmosphere.
The sheer intensity of his playing drew gasps and cheers from the crowd, breaking traditional decorum often observed in classical music concerts.
Such spontaneous enthusiasm echoed the excitement of a rock concert, challenging the norms of classical music etiquette.
This moment encapsulates the spirit of Bach’s music, transcending boundaries and inviting listeners to experience the unexpected joy it can invoke.
In conclusion, the performance served not just as a reminder of Bach’s genius but also illuminated the transformative power of live music, reminding us all of the beauty, vitality, and ultimate pleasure that can arise from encountering such artistry firsthand.
image source from：orartswatch
