THE BACH REVIVAL
ex. 7-16 J. S. Bach, St. Matthew Passion, opening chorus, mm. 34–36
This was an event of immense cultural significance. It placed Bach in a new context, one in which the very aspects of his style that had led to his temporary eclipse—its complexity, its conservatism, its uncompromising religiosity, its very asperity, which caused it to be dismissed by some critics even during his lifetime as showing an “excess of art” and a “turgid and confused style”—could now be prized and held up as a model for emulation.21 The conditions that brought about this change in Bach’s status had a great deal to do with the burgeoning of Romanticism, to which we will return in a later chapter. There was another aspect to the reassessment of Bach, however, which needs our attention now.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Class of 1685 (II)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07011.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Class of 1685 (II). In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07011.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Class of 1685 (II)." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07011.xml
