For Jennifer on her birthday, from Geoff & Dad
By Geoffrey Dean
[Originally published on Jennifer Neumann’s birthday two years ago: December 31, 2016, without a subtitle.]
A few months ago, roughly coinciding with our daughter Vera’s arrival, I put together a playlist of classical pieces that I considered suitably sleep-inducing. After mining my own memory for appropriate selections, I enriched our nighttime listening repertoire with a few “readymade” albums, such as “More Bedtime Serenades.” This compilation came up as I searched for one of my favorite pieces by J. S. Bach, the “Arioso,” which is perhaps best-known and most widely performed today as a cello solo with piano accompaniment. This is the version heard on More Bedtime Serenades, in an interpretation by Janos Starker that to me brings home the sense of Arioso as “almost an aria” – a piece striving towards full-fledged aria status, and almost getting there. Starker’s is a lyrical interpretation that still retains a hint of the spoken quality that was also an important element of Baroque music and the “rhetoric” behind it.
By Geoffrey Dean
[Originally published on Jennifer Neumann’s birthday two years ago: December 31, 2016, without a subtitle.]
A few months ago, roughly coinciding with our daughter Vera’s arrival, I put together a playlist of classical pieces that I considered suitably sleep-inducing. After mining my own memory for appropriate selections, I enriched our nighttime listening repertoire with a few “readymade” albums, such as “More Bedtime Serenades.” This compilation came up as I searched for one of my favorite pieces by J. S. Bach, the “Arioso,” which is perhaps best-known and most widely performed today as a cello solo with piano accompaniment. This is the version heard on More Bedtime Serenades, in an interpretation by Janos Starker that to me brings home the sense of Arioso as “almost an aria” – a piece striving towards full-fledged aria status, and almost getting there. Starker’s is a lyrical interpretation that still retains a hint of the spoken quality that was also an important element of Baroque music and the “rhetoric” behind it.