The Significance of Bach

A few words are warranted on the use of countertenors for the solo alto part. The middle-German Kantorei tradition and its music, which had its roots in the endeavors of Martin Luther, knew nothing of the English countertenor practice. Boys sang the solo alto parts. Why, then, use countertenors today, when they represent a historical performance practice that did not exist as far as Bach was concerned? It is for this reason that I prefer the natural-sounding, low female voice that belongs to our current concept of vocal sound. You know, I often think that Bach's alto arias were conceived as arias for the female voice. Consider, for example, the Christmas Oratorio, where the recitative "But Mary Kept All of These Words and Stirred Them in Her Heart" is followed by the alto aria "My Heart, Enclose This Blessed Miracle Securely in Thy Faith." Is not Mary speaking here? There are numerous such examples.

In terms of instrumentation, the "historical" performance-practice school makes use of string instruments that correspond roughly to the instruments that are in common use today (the gamba family excepted). They are, however, strung with gut strings and played with an upward-curving bow. Reproductions of original wind instruments from the time of Bach are often used. These both lack playing aids that were invented at a later time, such as additional keys and valves. I find the resulting sound thoroughly charming, but for me the charm is fleeting. The sound is, on the whole, too thin, too lacking in body. In the case of the strings, for me, they lack the greater dynamic spectrum and the sharp attack and brilliance of sound that are made possible by the use of wound gut and steel strings. The old wind instruments disturb me primarily because of their uneven tone quality, the difficulty of playing them, and their problems of intonation. It seems to me a shame when one cannot hear the flute's lower register; this is even true in an ensemble of old instruments. Furthermore, why should one complicate the omnipresent intonation difficulties of a wind ensemble by giving up what later instrument builders invented precisety to help with this problem? Finally, does one want to put up with bungled, cracking high notes from the trumpet, merely to hear old instruments? I am speaking, of course, of a concert situation, not of a recording, in which most any problem can be solved by microphone placement, retakes, or editing.

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