Lives and Path of Development of Johann Sebastian Bach and Pyotr Ilyich Tchaikovsky - Essay Example

Music - Life learning experience        One of the basic tendencies of life is to search for fulfillment, which, unfortunately, most of the time cannot be attained due to several impediments that are generally caused either by prevailing situation or by human factors. Art is one such important ingredient in the human life that helps us to compensate the faculties of such unfulfillment. Music, one of the most important of all the artistic forms, is universally accepted as one most important factors that inspire human beings to dance to the tunes of life and help them to perceive the truth that though there would be several ups and downs in life but it is the basic human capacity to fight against all such odds to triumph over all types of adversities. If we carefully study lives and path of development of musicians, we will find that they not only have incorporated the elements of musical mastermind in their works but at the same time one of the main reasons that their works have survived the onslaught of time that they have incorporated their respective philosophies of life in their works. This is, perhaps, the most important reason that as we listen to their compositions we receive a unique boost to live as well as aspire for the enlightened future. In this context it will not be much irrelevant if we focus over development of two musicians to their musical maturity, it will be easy for us to understand that how they have developed as a genius and how they have inspired the tradition of musical maturity from global perspective with their genius.       Johann Sebastian Bach is one of the most influential figures in the history of world music and the tradition of baroque music was greatly influenced by the musical mastermind of this great genius. Albert Schweitzer, while evaluating over the appeal of Bach, has commented, “We argue about absolute music, tone-painting, programme music and tone-language as about actual fundamental problems, and think it a matter for historians only that tendencies toward tone-painting, programme music, or avowed musical narration were noticeable in Italian, German and French music as early as the seventeenth and eighteenth centuries. However, primitive the pictorial and poetic music of the two or three generations before Bach may have been, in respect of their means and possibilities of expression, we can see  in it the same instincts and pretensions as in the most modern and most subtilised programme music of a Liszt or a Strauss.” (Schweitzer, 2008, 1) Expressiveness, graphic characterization and realism are three most essential aspects that separated Bach’s music from the other baroque musicians. These three aspects in a combined manner represent such exuberance of Bach music that it influenced the classical musical tradition in the later years of the global musical tradition. In the development of his musical sensibilities as well as nourishing his talents as one of the greatest musical geniuses of all times, influence of his family is undeniable.       Since the mid 19th century, as quest of the people commenced to shade off the conventional forms of music and create a separate type of musical discourse, importance of Bach’s musical creations were perceived at a higher rate. His musical career commenced since the year 1703 onwards as it has also been mentioned by him. Aftermath, he was gradually developing as a great artist and during the initial years of his extensive career, that is since 1703 to 1714, Bach himself played the role of an organist in various venues. This experience as well as difference in tone of representing a composition in different venues greatly helped him to furnish his style of presentation. At the same time it also helped him to incorporate the elements of progressive musical orientation in his works.       The famous Russian composer Tchaikovsky, perhaps, after Mozart, is one of the most popular faces in the history of western musical composition. However, during his lifetime the way his music was interpreted is completely different from the way his music was perceived during the century, preceding his death. Though in his childhood he was born and brought up within a very affluent and jovial ambiance but that would of perfectism did not last long. These emotions, sense of loss and sentimental upsurges were masterfully incorporated in his musical approach. Simon Mundy, while pondering over the musical genius of the early 19th century, observed him as “… an elusive character. Against the popular legend of an overwrought … pouring his unhappiness into works of unprecedented subjectivity, one has to balance a picture of another Tchaikovsky. … a musician whose professionalism was greater than any composer in Russia until that time … as a composer-conductor, one of the first great international superstars.” (Mundy, 1998, 7) Tchaikovsky’s yielded in the field of global music scenario during such a time when the quest for finding a modern form of classical orientation has already started and music was already been interpreted in a different manner compared to the past. The great artist incorporated elements of modernism and classic in such manner that the out of the traditional forms of music a new musical genre developed. Tchaikovsky, in this context, contributed to a great extent in the development of the modern musical orientation, fused with the elements of classical appeal as well as his personal reflection about life.         As I ponder over the aspect of personal development in understanding and appreciating musical orientation in the global arena, influence of both these composers, I feel, is most important. Bach’s appearance in the musical arena is characterized by such a time when the baroque musical tradition has already reached its culmination. Baroque music can be identified as a renaissance in the backdrop of existing musical form though on several occasions the baroque and pre baroque musical forms are similar on several occasions, such as, the elements of contrapuntal writing and note-against-note composition remained on the same plain. Additionally, in the context of cordial texture also there was a great deal of similarities. However, conflict between these two traditions mainly existed in the forms of interpretation of the contrapuntal and harmonic discourse. Achievement of the baroque musical tradition is that it solved such disparities through “contrapuntal and harmonic strands.” The genius of Bach is characterized with the aspects that he actually fused the “functional harmony and linear counterpoint” in his work, which also signified the “crowning monuments of baroque music.” (Bukofzer, 2007, 9) Thus, it becomes clear from such observation that Bach actually refined the baroque form of music and ultimately paved the path of further musical modernity as well as path of another renaissance in the field of music the world awaited eagerly. His compositions incorporate the elements of classical elements of music in such a manner that he actually inspired his successors to interpret music and perceive its aesthetic appeal from a completely new perspective. Thus, in the late 19th century the kind of musical liberation that the common people were actually expecting, Bach’s compositions paved the path for such development. On the other hand I have felt that keeping aside the technical aspects of his musical orientation, Bach’s work appealed to the psychical level of the audience from an altogether separate perspective that was never experienced before. I also feel that this is actually appeal of original compositions that have capacity to alter the trend of common approach towards musical form.       While listening to the classical music, I have, for no specific intention, sometimes have attempted to experiment with my style of listening. It was a sudden discovery for me, amidst the course of one such experimentation that there is faint link of continuation between the works of Bach and Tchaikovsky, though the latter’s work incorporated such elements that differ drastically from the trends of each other. However, I have personally felt that appeals of Tchaikovsky starts from the very point where appeal of Bach ends. I feel the most important reason is that the traits of musical modernity that Bach incorporated in his approach, have been cultivated and made mature further by Tchaikovsky’s creative bent of mind. The philosophical approach to artistry in the contemporary Russian society and conflict revolving it gave birth to two separate schools in Russia, namely, “The Slavophiles” and “The Occidentalists.” Elements of dispute regarding their respective attitude towards art influenced the musical conception of Tchaikovsky to a great extent. What I feel is most remarkable power of the artist is that he has the capacity of fusing different layers of meaning or interpretation within a simple musical creation. In this context I have experienced how he has created immortal creations developing over the foundation of folk melodies and finally fused with those the ingredients of Western classicism.       Carefully studying creations of both these great artists of all times I must say that I have been able to develop my capacity of understanding and interpreting music to further dimension. Additionally, it has become easy for me to understand how different levels of philosophical interpretation can be included within the scope of such musical creations, making those great careers of personal philosophical refection towards life also.         During his lifetime, as a composer and director of ballet music, Bach’s compositions were considered as great examples of musical creativity. Later on, after his death especially, though Bach’s music and his mastery over vocal articulation, control, tempo, and rhythm were mostly ignored but due to his immortal creations of musical masterpieces in a complete sense, he has still been remembered. David Schulenberg, in his study over Bach, has provided special emphasis over his keyboard compositions, referred to those as masterpieces and suggested that, “Bach’s keyboard works form one of the oldest and most important repertories of instrumental compositions that have remained in use since their conception. Although most of his vocal music was largely forgotten soon after his death, his keyboard works continued to be highly valued and assiduously studied ….” (Schulenberg, 2006, 1) Though I agree with opinion of the music scholar but at the same time I also feel that though he has mentioned Bach’s vocal music has mostly forgotten, in reality, those creations are still subjects of great discussion in the field of Western classical music. The main reason being as Bach, in his complete organization of the style provided equal emphasis to each of the aspects of ballet music, he also influenced very fundamental areas of composition that cannot be ignored under any circumstances. His vocal music is basic lesson for all those people who aspire to achieve a good understanding of the Western music. Being a cultivator of music he not only experimented with several forms of ballet music as well as of organ music but at the same time he also created a pattern of his own that is self constructive and deconstructive in nature. It is due to his extensive experiment with different musical forms, though on several occasion, critics have questioned his authenticity or possibilities of interpretation but at the same time it is not possible to challenge the fact that due to his experimentation and introducing different themes in the development of musical composition it has been possible to come up with so much progress in the field of ballet music composition. It is the mastery of Bach’s creations that he incorporated within the scope of his creation both musical richness and different dimensions of meaning that elevated his music to the level of philosophical interpretation, “It is perhaps a measure of the richness and complexity of Bach’s music that there is hardly a single major work by him which does not pose difficult, and often intractable …. Even many of the smaller works can raise questions about authenticity, chronology, the priority of different versions, the intentions of the composer and so on, for which there may be as yet no certain answers, and the musicologist, like the performer, is frequently supplied with enough information to appreciate the complexity of a problem but insufficient information to resolve it.” (Boyd, 2006, 59) Though in this observation the author has mainly focused over complexity of Bach’s creations but at the same time it must be admitted that as Bach incorporated so many technical aspects in his creations, his works may appear as complex but at the same time his works have also become reflection of human psychology. The complexity of texture of his work ultimately represents the ups and downs of human psychology that has always remained a major source of musical cultivation. The concert no 1 (BWV 1046), is one of the oldest of his compositions and characterized by four movements. Tonal quality of the total composition is based over G, A and D minor accompanied by subtle movements of piano and violin that provides additional aesthetic appeal to the total composition. In the context of tonal quality and understanding Bach’s reflection over harmony, one great example can be BWV 207. This creation has been widely “admired as one of the cleverest and most successful of Bach’s vocal parodies.” (Boyd, 2006, 61)       If Bach’s creations are observed as good examples of emotional spontaneity controlled with intelligence, the same traits can be are found, with a greater dimension in the works of Tchaikovsky. In backdrop of global music he was not only one of the most leading personalities, who introduced high professionalism in his musical career but at the same time he also cultivated musical ingeniousness in his creations that can be regarded as reflection of his musical genius. Fusion of intelligence and emotion that was observed in Bach’s works, can be observed at a greater magnitude in the works of Tchaikovsky. In this context his 6th symphony can be cited that is considered as one of his all time masterpieces. This composition also incorporates different levels of psychological dimension but in a more grand and explicit way. It is often said that this composition bears explicit evidences of physical union as well as the kind of emotional rhapsody that flowed between him and his wife. It also carries great deal of evidence about erotic connotation but the spontaneity and musical surge that the piece of composition actually reflected it a rare instance of ballet musical performance. Reflecting over the genius of the composer Carol Lee commented, “While Tchaikovsky preferred classical forms, he gave life to an abundance of sentiment that was at times profound, completely revealing himself and his intensity felt “Russianness” in music.” (Lee, 2002, 212) It becomes clear from such observation that he like Bach not only focused over musical intensity but at the same made the total presentation highly grand with application of explicit flow of human spontaneity.       Music and culture both are closely associated with each other and on several occasions music emerges as a mirror to the society. It is often said that music is actually song of the soul and it is originated from the very core of a particular society. Thus, all the aspects that are essential part of the society often emerges through music, reflecting culture of a particular society and reflection towards life from the common man’s perspective. As the society is dynamic in nature and in different time a person’s attitude towards his surrounding changes that is the main reason people reevaluate their position in the society and such reflection is best expressed through music. If we analyze it closely we will find that music of one society differs explicitly from others. Such difference happen not only from technical angle but at the same time judging from the perspective of altogether aesthetic appeal, traits of such difference also become explicit.       While understanding this aspect of difference in case of music both from the perspectives of aesthetic and technical appeal we can refer to musical tradition or inheritance of two different societies, namely the African and French society. The moment we listen to the tunes of African music, the very tonality, use of voice and altogether sense of composition clearly tells us about the life of the people: fast beat, roughness of music, apparently unorganized yet the musical thread of connection, all these aspects together represent the aesthetics of African music. Compared to such, in the traditional French music, we find the solemnity, elegance, restrain of pitch and overall the aesthetic appeal that clearly suggests the element of social elegance. Thus, music is becoming mirror of a particular culture, encompassing within its scope all the elements of the people’s nature in the society and their attitude towards life. Fernando Poyatos has defined culture as, “a series of habits shared by members of a group living in a geographical area, learned but biologically conditioned, such as means of communication (language being the basis of them all), social relations at different levels, the various activities of daily life, the products of that group and how they are utilized, the peculiar manifestations of both individual and national personalities … and their ideas concerning their own existence and their fellow people …” (Poyatos, 2002, 2) It is clear from such definition that culture is not a single aspect; rather a series of aspects, each of which are associated with life of an individual. At the same time it is interesting to see that music is perhaps the only aspect among all the forms of art that perhaps carry most explicit evidences of cultural traits in the society. Music is the only medium that bears evidences of all these elements or shift of mood of common people of the society and because of this reason only we see that musical orientation of a particular culture differs as a particular musical form reflects different mood of the common people as well as their reactions on different situations.       Since time immemorial there have been a lot of discussions over the issues that what is the main reason that music is so highly appreciated and admired by people across the globe, despite their difference in race, religion, sex or creed? It is really tough to identify the reason just with one single attempt but I personally feel that it is the appeal or voice of the heart fused with spontaneous human intelligence that makes music so appealable to all the people. Though music that has evolved from a particular society has a particular style and linguistic application of its own but at the same time we also feel that a careful listener is not deprived from relishing the aesthetics of music, though, it may not have been created by the society, where he actually belongs. Here comes the universal appeal of language that can easily eradicate the all types of apparent difference among human beings. I feel that music deals with basic human emotions that cannot be defined theoretically and cannot be represented like material objects. Emotion can only feel such emotional reactions of other fellow human beings. Music is one such medium that actually deals with these basic human emotions that remain unchanged in any age, under any circumstance. As music appeals to such human emotions from the very core that is why its appeal it undeniable and no matter how much people differ from each other socially or culturally, appeal of music always remains unchanged. The great masters of music have identified all these aspects from such close proximity that the basic layers of human emotions have become clear to them. On the other hand it is through their respective emotional ups and downs in their personal lives that they have leant to interpret human sentiments from a different dimension, creating universality of appeal through their compositions. No matter how much the audience differs from each other but it is the charm of their music that they have responded unanimously to such appeal.         I personally believe in the philosophy of living the life just as it comes. I am also sure that as soon as I say such a thing to the other people, they actually think me either as an individual who is indifferent about life or they will assume that I believe in a mechanized existence that remains unaffected by onslaughts of life. However, I feel that being a human creature as well as an individual entity no matter how much I believe in this philosophy but at a particular point of my life it has not been possible for me to live up to this approach. Many times I encountered several such situations, both at personal and impersonal level that completely shook me from inside. Sometimes it was really tough for me, especially at crucial junctures of my life, to face all those things. On several occasions I not only have tried to escape those situations but I also wanted to escape from the essence of my very human existence.       Except love of some of my very close acquaintances, music was only the other thing that actually boosted; rather inspired me to survive. Often such words are heard if people are asked about importance of music in their lives that music is life. I honestly do not know to which depth or extent of emotional spontaneity others feel but for me music is really the life. It is source of all my inspiration to overcome obstacles, to empty me and then refill me with vitality again. Emotional turmoil everyone has to face at different phases of their lives. I am not an exception and sometimes the factors causing such turmoil were not easy for me to handle. May be I did not try to handle those like others but finally for the sake of life, for the sake of survival, I was compelled to handle. At those points of time music was the sole companion. All those phases of life as I forced myself to take a refuge from everything, it was music only that brought me back to life.       During the small course of my life I have experienced certain things that I would never wish that my forthcoming generation would experience too. Though it was not possible for me to be present physically in Iraq during the Gulf War II among all those who were running senselessly with the fear of bombs or during 9/11 within any of the floors of the Twin Tower and face the chill of death, but as I watched instances of such man made devastation against our fellow bothers I was compelled to ask myself: where am I actually living? Am I living at all? If I am living what is the use of carrying on with such a life? I really found no answer only a shade of darkness floated inside by brain. It was becoming impossible to get in touch with any life but finally it was the music that actually brought me back to life. I feel that it was not only me who has survived through this life giving force but like me there are several others who have also been brought back to life through music.  I feel this is the only light in this era of reckless madness, hatred and destruction. Music is the only way to lead us towards the path of immortality and bring back the spontaneous spree of human creativity, aimed at a better future.                            References  1. Boyd, M., (2006), Bach, New York: Oxford University Press US 2. Bukofzer, M.F., (2007), Music in the Baroque Era - From Monteverdi to Bach, READ BOOKS 3. Lee, C., (2002), Ballet in western culture: a history of its origins and evolution, London: Routledge 4. Mundy, S., (1998), Tchaikovsky, Toronto: Omnibus Press 5. Poyatos, F., (2002), Nonverbal Communication Across Disciplines: Culture, sensory interaction, speech, conversation, Philadelphia: John Benjamins Publishing Company 6. Schulenberg, D., (2006), The keyboard music of J.S. Bach, New York: CRC Press 7. Schweitzer, A., (2008), J. S. Bach, READ BOOKS Read More