Like Shakespeare, J.S. Bach is known largely by his works. Peter Williams asks many questions in this examination of the man as well as the composer. What was Bach like as a youth, father, and, eventually, church elder? What music did he know and how did he compose and perform such an amazing amount? Ultimately, Williams questions the effects of unremitting acclaim on objective evaluations of J.S. Bach.
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Bach, like Shakespeare, is known largely by his works, and only a few original documents convey any idea of his life and character. Interpreting the so-called evidence, Peter Williams asks many questions. What was Bach like as a young man, as a father, as an ageing church servant? What music did he know and how did he compose and perform such an amazing amount of music? In addition, he asks if our understanding of Bach has been hindered by the unremitting deference displayed towards him since his death.
Peter Williams (1937-2016) was an internationally renowned Bach scholar and performer. He held the first Chair in Performance Practice in Britain at the University of Edinburgh, where he was Director of the Russell Collection of Harpsichords and latterly Dean of Music. He was also the first Arts and Sciences Distinguished Chair at Duke University, North Carolina. He was the author of many books, including A New History of the Organ (1980), The Organ Music of J. S. Bach (3 volumes, Cambridge, 1981-1984), Bach, Handel, Scarlatti 1685-1985 (Cambridge, 1985) and Bach: The Goldberg Variations (Cambridge, 2001).
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