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Bach: Music in the Castle of Heaven Hardcover – 29 Oct 2013

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Product details

  • Hardcover: 672 pages
  • Publisher: Knopf Publishing Group; 1st Edition edition (29 Oct. 2013)
  • Language: English
  • ISBN-10: 0375415297
  • ISBN-13: 978-0375415296
  • Product Dimensions: 16.9 x 4 x 24.4 cm
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (54 customer reviews)
  • Amazon Bestsellers Rank: 233,750 in Books (See Top 100 in Books)

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Product Description

Review

Gardiner has joined the select ranks of luminary musicians articulating their experience, with this long, sumptuously illustrated survey of Bach's life and times. The result is dazzling (Iain Burnside Observer)

There could be no better-qualified guide to the mysteries behind Bach's music than the conductor who has breathed new life into its performance . . . As an exploration of Bach's labyrinthine thought-processes, and as an analysis of his music's overwhelming power, this book will now be required reading . . . for listeners and performers alike (Michael Church Independent)

Gardiner weaves industrial-strength scholarship, musical analysis and performing insight into a highly readable narrative ... extraordinary (Richard Morrison The Times) --This text refers to the Paperback edition.

About the Author

Sir John Eliot Gardiner is one of the world's leading conductors, not only of Baroque music but across the whole repertoire. He founded the Monteverdi Choir and Orchestra, the Orchestre de l'Opéra de Lyon, the English Baroque Soloists, and the Orchestre Revolutionnaire et Romantique. He conducts most of the world's great orchestras and in many of the leading opera houses. He lives and farms in Dorset. --This text refers to the Paperback edition.

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Customer Reviews

4.5 out of 5 stars

Most Helpful Customer Reviews

58 of 62 people found the following review helpful By J. Baldwin VINE VOICE on 28 Oct. 2013
Format: Hardcover Verified Purchase
This is a very fine book - a veritable magnum opus. It is a truly astounding achievement, representing as it does Gardiner's lifetime struggle to get to grips with the music of Johann Sebastian Bach. Little is known about Bach's private life, and Gardiner's research reveals many unexpected details about his upbringing, his character, his faults, his family relationships and the many difficulties and frustrations he faced.

Gardiner's scholarly commentary on Bach's compositions, especially the cantatas, the two Passions and the B minor Mass - "a procession of gripping musical works of exceptional worth" - must be unique in the literature. Readers need to have a good working knowledge of the music to make much sense of Gardiner's dissection of these masterpieces and reading these sections of the book is quite a struggle. (There is so much technical detail here that an 8-page glossary of musical terms is provided in an appendix to help readers understand the complexities.) But this analysis is very illuminating, "allowing us to see [Bach's] humanity filtering through into the music." It is Bach, Gardiner concludes, "who gives us the voice of God - in human form".

Almost every page of the book reveals Gardiner's profound love and understanding of Bach's music. He summarises what Bach's music means to him as follows: "the most beautiful and profound manifestation that man is capable of in complex harmonious sounds that capture in an inexplicable way the joys and suffering we encounter in our earthly lives, helping us to access the motional core of human experience." This is wonderfully refined and erudite writing, and it is sustained throughout the book.
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24 of 26 people found the following review helpful By JOHN BUCK on 7 Nov. 2014
Format: Paperback
I agree with another reviewer who describes this as a Magnum Opus, but with the caveat that it's often about anything other than Bach. Hence it begins with Gardiner's own autobiography before embarking upon various dissertations on subjects as diverse as German (necessarily) parochial or regional history in the century of Bach's birth, the Bach family genealogy, western choral music in the centuries before Bach, 'the class of '85' meaning Bach's place amongst other great composers born in the same year, Lutheranism, even the German or rather Saxon educational system. Although a practising barrister for many years I am an Oxford history graduate whose tutor once reprimanded him for including everything bar the kitchen sink when supposedly doing an essay on Prussian 18th century foreign policy. John Eliot Gardiner would have benefited from the same stricture. Consequently his work is rather unbalanced focusing so much on issues not really central to a Bachian hagiography that he is forced to omit anything but a perfunctory commentary on many aspects of Bach's music. Thus as a commentary and analysis of the church cantatas and indeed the two passions it is as masterly as it is illuminating. But any survey which leaves all his instrumental music largely not discussed, for example only a word or two about the Brandenburg concertos, nothing about the keyboard or violin concertos, and little about Bach's position as the greatest and most comprehensive composer of organ music (only Messiaen comes close) is actually to do Bach a disservice. So ultimately this Magnum Opus has all the qualities and flaws of a Mahler symphony: too inclusive, a little unbalanced, even unhinged, far too autobiographical.
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8 of 9 people found the following review helpful By Redhenry on 16 Jan. 2014
Format: Kindle Edition Verified Purchase
Anybody who is aware of Sir John Eliot Gardiner will know of the Bach 'Cantata Pilgrimage' of 2000. It's impossible to read this wonderful book without being conscious of the impact of that year and of how deeply the cantatas and the spirit permeating them affected the author. I've read many descriptions of music written by knowledgeable musicians, but Sir JEG's accounts of Bach's church music are remarkable. They are the best insight I have ever come across into the force which drives a great musician and here I refer to JEG as well as to JSB. Not in any way a forbidding, dusty, wordy tome, this is a joyous book, bursting with enthusiasm and experience. It is also funny, passionate, astonishingly erudite and, if you want to roll up your sleeves and get really involved with probably the greatest music ever written, this is for you. Not a book to be picked up casually, it is a thorough and quite rigorous education and as befits a good education, some of it is great fun while parts are quite tough and demanding. Apart from the fine writing and musicianship, the memorable thing is that Bach and his music are seen in the context of Lutheranism, the Thirty Years' War, of stifling social and small-town mores and of many other factors which I, for one, had not considered. I'll be starting it again soon - some of the footnotes are worth a week's research on their own! I always snigger in my stuffy English way at the Americans' casual use of the word, but this superb book really is AWESOME!
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17 of 20 people found the following review helpful By Anselm on 27 Jan. 2014
Format: Kindle Edition Verified Purchase
Music in the Castle of Heaven - Amazon review

At the risk of being superficial, there are three kinds of book. The first you never finish because they're patent rubbish. The second is the kind you need to read again a couple of weeks, months or years later because, no matter how good they seemed at the time, you realise they had made no lasting impression on you. You also want to reread the third kind, but this time because one reading was manifestly insufficient to explore all their marvellous riches. In my view, "Music in the Castle of Heaven" definitely falls into the last category.

I'll start negatively. Two problems occurred to me as I was reading it. One is that it is full of the most erudite scholarship, but Gardiner appears not to be an academic of any kind. I can't find any articles by him in any scholarly journal, as opposed to ephemeral ones like "Gramophone" - and then only discussing his own recordings. Academic scholarship is a discipline acquired through years of intensive training in the minutiae of finding, using and referencing primary and secondary source material, usually involving the acquisition of some pieces of stiff paper with impressive-sounding letters on them. Does Gardiner know what he's doing, or is he actually at sea when pronouncing with such apparent confidence on a forbiddingly wide variety of topics including the Thuringian principalities in the aftermath of the Thirty Years' War and the state of education in Lutheran Germany in general and in Leipzig in particular, with throwaway references to an eclectic assortment of resources, including both the latest scholarship and primary sources by Bach himself and his contemporaries? My worst quibble in this respect is his short list of abbreviations for his main sources.
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