A Quote by Nigel Kennedy
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.
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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.
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.
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.
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 played a lot of Bach's partitas and sonatas; I like the way that Bach was abstracting already from these dance forms.
Menuhin was playing Bach on a fantastic spiritual level when he was a teenager.
Bach's music is really some of the greatest. I think, in some ways, Bach is the most profound composer of all.
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.
When you play Bach like Chopin, and Chopin like Bach, something good happens.
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.
Having nothing to do, I am correcting the Paris edition of Bach; not only the engraver's mistakes, but also the mistakes hallowed by those who are supposed to understand Bach (I have no pretensions to understand better, but I do think that sometimes I can guess).
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.
I had studied the violin to a certain amount of success. At some point, I realized that I didn't really like the violin. I was only doing it because I could, and I was good at it, and everyone was encouraging me. But I didn't have a great love for it.
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.
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