The author of The Life You Save May Be Your Own (2003) returns with a tour de force about Johann Sebastian Bach and a description and assessment of the recordings that have made his work an essential part of our culture.
Elie, a former senior editor with FSG and now a senior fellow at Georgetown University’s Berkley Center for Religion, Peace, and World Affairs, tells a polyphonic tale, weaving throughout his narrative a history of the recording industry and brisk biographies of Bach and the 20th-century performers who first recorded his work for mass audiences, including Albert Schweitzer, Leopold Stokowski, Pablo Casals and Glenn Gould. The author begins with a snapshot of Bach’s pervasive presence today, then takes us back to 1935 and Schweitzer’s recordings of Bach’s organ works on wax cylinders. Throughout the text, Elie moves us forward in the history of technology—from 78s to LPs to tapes to CDs to MP3s, showing how Bach managed to remain relevant. We also follow the careers of his principals; Elie’s treatment of the talented and troubled Gould is especially sensitive and enlightening. Occasionally, the author enters the narrative for a personal connection, perhaps nowhere more affectingly than in his account of the time he danced in the rain on the Tanglewood grass while Yo-Yo Ma played a Bach cello suite. Elie also tells us how other cultural figures have employed the music and the man—e.g., Douglas Hofstadter’s 1979 book Gödel, Escher, Bach, the 1968 album Switched-On Bach and the use of Bach in films and on TV.
The author’s passion, thorough research and imaginative heart produce one revelation after another.