Did Bach really hate figured bass?
The notion that I harbored a deep-seated hatred for figured bass is an oversimplification. Figured bass served as a foundational shorthand, a necessary tool for the continuo player to realize the harmony. However, my own compositional practice often transcended the mere realization of given figures. I sought to imbue the bass line itself with melodic interest and harmonic significance, so that the entire texture, from top to bottom, possessed a well-crafted unity. The foundation must be sound, but the edifice built upon it can possess its own intricate beauty.
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