There is something about Bach's music that has made it appealing to every period. Its universality seems to have something to do with the fact that it can be interpreted and arranged in a seemingly infinite number of ways without losing its essential qualities, its inner core. At any rate, it is a fact that each generation has appropriated him for one of its own. Mozart, Haydn and Beethoven had already re-discovered Bach before the end of his own century. The romantics romanticized him. In the 1920s Stravinsky fed a "Back to Bach" movement and a bit later did some Bachian recomposition of his own. Jazz musicians discovered an extraordinary affinity with Barb's music early on (jazz and baroque music share many features) and there is, among other items, a recording made in the late 1930s of Bach's Concerto for Two Violins with Stephane CrappeUi and Eddie South accompanied by Django Reinhardt that must be heard to he believed. After World War II. the Swingle Singers developed the Bach-jazz idea in vocal form and, in 50 doing, revealed a rather unsuspected pop side to Bach s music. And, of course, Walter (later Wendy) Carlos brought Bach into the electronic age with the famous and popular "Switched-On Bach1' recordings.
01. Aria (2:41)
02. Variations 1 - 3 (4:17)
03. Variations 4 - 6 (3:40)
04. Variations 7 - 9 (3:55)
05. Variations 10 - 12 (5:35)
06. Variations 13 - 15 (7:10)
07. Variations 16 - 18 (3:21)
08. Variations 19 - 21 (4:57)
09. Variations 22 - 24 (5:01)
10. Variations 25 - 27 (6:29)
11. Variations 28 - 30 (3:55)
12. Aria da Capo (2:33)
mp3, 192kbps, artwork
Aria
Variations 1 - 3
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