The subversive practice of a canonical composer.

Ted Gigi’s:

You can hardly find a more sanctioned and orthodox insider than Johann Sebastian Bach, at least as he is typically presented. He is commemorated as the sober bewigged Lutheran who labored for church authorities and nobility, offering up hundreds of cantatas, fugues, orchestral works, and other compositions for the glory of God. Yet the real-life Bach was very different from this cardboard figure. In fact, he provides a striking case study in how prickly dissidents in the history of classical music get transformed into conformist establishment figures by posterity.

“Suppose instead we start to view him as an unlikely rebel,” suggests conductor John Eliot Gardiner in his revisionist study Bach: Music in the Castle of Heaven. Musicologist Laurence Dreyfus, in a spirited 2011 lecture, even goes so far as to label our stolid church composer “Bach the Subversive.” Yet there is tremendous pushback to those who dare taint the atmosphere of respectability and propriety attached to this towering figure, a cultural icon who remains, even today, the poster boy for “serious music.” Amidst the celebrations linked to the 250th anniversary of the composer’s death in 2000, Bach scholar Robert L. Marshall sounded a cautionary tone when admitting that the availability of new information demands a reinterpretation of the composer’s life and works, but he and his fellow experts were “avoiding this challenge and we knew it.” As Dreyfus has pointed out, much of the current writing on Bach comes across as if it is “modeled on the lives of saints.”