{"id":1819,"date":"2009-09-06T16:40:47","date_gmt":"2009-09-06T23:40:47","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1819"},"modified":"2009-09-06T16:40:47","modified_gmt":"2009-09-06T23:40:47","slug":"other_matters_for_harmony_fans","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2009\/09\/other_matters_for_harmony_fans\/","title":{"rendered":"Other Matters: For Harmony Fans Only"},"content":{"rendered":"<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><a href=\"http:\/\/www.artsjournal.com\/rifftides\/Bach.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"Bach.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/assets_c\/2009\/09\/Bach-thumb-130x194-9827.jpg\" width=\"130\" height=\"194\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" \/><\/a><\/span><strong>News flash: Johann Sebastian Bach may have been ahead of his time. <\/strong><br \/>\nEric Altschuler, a Bach researcher for more than a decade, was a guest today on National Public Radio&#8217;s <em>Morning Edition Sunday<\/em>. He discussed with host Liane Hansen his proposition that Bach used a twelve-tone row a couple of centuries before <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FArnold-Schoenberg-Piano-Music%2Fdp%2FB000005IVQ%3Fie%3DUTF8%26s%3Dmusic%26qid%3D1252280926%26sr%3D1-5&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">Arnold Schoenberg<\/a> revolutionized 20th century music with the device and, I might add, about 250 years before <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FShape-Jazz-Come-Ornette-Coleman%2Fdp%2FB000002I4W%3Fie%3DUTF8%26s%3Dmusic%26qid%3D1232328441%26sr%3D1-1&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">Ornette Coleman<\/a> employed the atonal row in jazz. To hear the Altschuler interview, complete with musical examples, click on the single arrow in the player below.<\/p>\n<div style=\"text-align: center;\"> <embed src=\"http:\/\/www.npr.org\/v2\/?i=112602288&#38;m=112602263&#38;t=audio\" height=\"383\" wmode=\"opaque\" width=\"400\" base=\"http:\/\/www.npr.org\"><\/embed><\/div>\n<p>There are countless recordings of <em>The Well-Tempered Clavier<\/em>. For years, I&#8217;ve been fascinated with the interpretations by the young Andras Schiff of <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FBach-Well-Tempered-Clavier-Book-1%2Fdp%2FB0000041Q7%2F&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">Book 1<\/a> and <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FBach-Well-Tempered-Clavier-Book%2Fdp%2FB0000041RF%3Fie%3DUTF8%26s%3Dmusic%26qid%3D1252280082%26sr%3D1-2&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">Book 2<\/a>.<br \/>\nIf you&#8217;re interested in going into Bach beyond listening, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FBach%25C2%2592s-Well-Tempered-Clavier-Exploration-Preludes%2Fdp%2F078642544X%2F&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">a recent book<\/a> by the Canadian musicologist Marjorie Wornell  Engells examines the musical language and emotional dimension of <em>The Well-Tempered Clavier<\/em>.<br \/>\nI suppose you could go through life without learning to love Bach, but I wouldn&#8217;t advise it.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>News flash: Johann Sebastian Bach may have been ahead of his time. Eric Altschuler, a Bach researcher for more than a decade, was a guest today on National Public Radio&#8217;s Morning Edition Sunday. He discussed with host Liane Hansen his proposition that Bach used a twelve-tone row a couple of centuries before Arnold Schoenberg revolutionized [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1819","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1819","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1819"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1819\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1819"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1819"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1819"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}