A Quote by Mahan Esfahani

And it totally has transformed my relationship with someone like, say, Bach. You know, Bach is born 330 years ago but, you know, gosh, he really is alive. — © Mahan Esfahani
And it totally has transformed my relationship with someone like, say, Bach. You know, Bach is born 330 years ago but, you know, gosh, he really is alive.
Yes, I mean like you know, having studied with Yehudi Menuhin that is like some direct route into Bach, because he was one of the foremost interpreters of Bach for the violin.
One of the tracks that I have is Carl Philipp Emanuel Bach - by the way, that's Bach's second son - Emanuel Bach's variations on "Le Folie." You'll definitely hear - I mean, I think if we listen to, say, the last couple of minutes of that track, there's a wide range of colors that the harpsichord is capable of. And I think, you know, that gives lie to the assumption that it doesn't have that kind of variety. And I think it very much speaks for itself.
I think in Baroque music, especially in the case of Bach, what really transformed Bach's musical language, what changed it for him was hearing Vivaldi, hearing the sort of manipulation of small cells of information and patterns in order to generate sort of huge blocks of harmony.
There is nothing like a Bach fugue to remove me from a discordant moment... only Bach hold up fresh and strong after repeated playing. I can always return to Bach when the other records weary me.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
I think Bach is equally a romantic composer because he laid the seeds harmonically for people like Chopin and the great Romantics, Brahms, so its difficult to you know all this like labelling and putting - I think Bach is attractive to musicians because he supersedes the labels.
I think Bach is equally a romantic composer because he laid the seeds harmonically for people like Chopin and the great Romantics, Brahms, so it's difficult to you know all this like labelling and putting - I think Bach is attractive to musicians because he supersedes the labels.
Bach, of course, was my first love. He still is. I mean, he's the man of my life, that's for sure. And when I say that there's been a re-evaluation, look, to be perfectly honest, I think I have a re-evaluation of my relationship with Bach probably every day, and that will never stop. And that's probably why I still get up in the morning and I do this.
I played a lot of Bach's partitas and sonatas; I like the way that Bach was abstracting already from these dance forms.
Bach's music is really some of the greatest. I think, in some ways, Bach is the most profound composer of all.
Some months ago, while I was preparing a new work, I told a young cinema executive my intention of including in a soundtrack two themes from Bach. But when he asked me which has been the last hit from that Bach?, then I knew that I had no longer place in cinema.
I think that Bach has a very nice sound on the lute. But I find that what I want to do with Bach is best revealed on the guitar.
If all the music written since Bach's time should be lost, it could be reconstructed on the foundation which Bach laid.
The music of Bach is so timeless, so fulfilling. You don't feel like you have to be in front of it. The music has everything, and you are there to find the balance when you conduct. You don't have to give too much of your individuality. It's Bach, so it's dangerous to get in the way.
Bach is really the ultimate in bass players you know
Bach is a colossus of Rhodes, beneath whom all musicians pass and will continue to pass. Mozart is the most beautiful, Rossini the most brilliant, but Bach is the most comprehensive: he has said all there is to say.
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