The “last Asian composer” by Johann Sebastian Bach is the “last Asian composer”? The question of Bombay was raised in March 1985 in a seminar celebrating the 300th anniversary of the birth of the great German composer. The seminar focused on one of the latest works by Bach, the famous art of escape.

This is a collection of interrelated parts, which demonstrate the unique ability of the composer to compose different styles of counterpoint, especially that of the fugue itself. He was one of the last of the great musicians of polyphonic style, a style in which they mix the melodies and retain their own personages as individual lines. In Bach’s music, the result was a glorious and complex harmonic texture.

The seminar focused on the conference Dr. Werner Breig, a Bach specialist at the University of Wuppertal in West Germany. Through his incisive analysis, he revealed many aspects of Bach’s creative genius, so we realized that many aspects or parameters of the music of this 18th century composer were remarkably similar to the techniques and deep of Hindustani and carnival traditions .

When Bach was born on March 21, 1685, Germany was not yet a nation in the modern sense. It was a collection of varied states, rulers of princes (voters, barons, margraves, etc.) with a wide variety of sizes and characteristics that did not resemble the feudal states of India. The most unifying factor was the powerful Christian Church.

The use of a musician was in one of the princely courts or in the church, and the resulting sponsorship system is directly comparable with the tradition that prevailed in India until the 20th century. For Bach, the church and the court provided support And opportunity for his interpreting skills and composer. During most of his active musical life, however, it is the Lutheran church that he and his family provide while demanding its rich abundant musical energy.

His credo was that music was “for the greater glory of God,” and even added the Latin motto to his musical manuscripts. It was an attitude that is not so far from the idea of Nada Brahma, which has Shastriya musicians harmony for thousands of years. Bach’s name means “brook” in German, and Beethoven was to make a play on words with the respectful impression of half a century later, “No ‘brook’, but ‘ocean’ that should have been his name.”

It is also a name of great musical reputation. For more than 250 years, members of the Bach family have provided all kinds of dominant music for the small town functions, liturgical church concert work and later cosmopolitan symphonies. Perhaps it is not a gharana because both styles are represented in the long family history that it might be difficult to identify the similarities between father and son; However, the family was working in the same direction as khandans of Hindu traditions.

In his youth, Bach learned his trade at the home of his elderly family parents. Through learning to write and then copying manuscripts, you have mastered the vocal and instrumental styles of your time. He was an expert on violin and keyboard, and somewhat of an Indian way, he became skilled in adapting music for whatever instrument might be available.

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