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Bach at Leipzig
Leipzig, Germany, 1722: Johann Kuhnau, revered organist of the Thomaskirche, suddenly dies, leaving his post vacant. In order to fill the position, the city council invites a small number of musicians to audition for the appointment, including Johann Sebastian Bach. This, however, is not his story. Based on actual events, Bach at Leipzig imagines with uncommon intelligence and wit how six little-known musicians resorted to bribery, blackmail, and betrayal in an attempt to secure the most coveted musical post in all of Europe.
106 pages, Paperback
First published October 25, 2005
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Displaying 1 - 18 of 18 reviews
September 26, 2017
"Dear Anna,
By the time you read this letter, I will have sent it."
I was perusing my old bookshelves on a visit back home and this caught my eye - and as I sat on the floor and reread it I found myself laughing out loud again. It's a brilliant farce about ambition, politics and religion, the role of chance and providence, and the power of music. It's also just plain funny.
In one scene, one character describes how to write a fugue, the interplay of voices and themes, the way they come back and repeat themselves in a new way. Itamar Moses's play reads like a fugue, with the lives and schemes of each character twisting and turning until the grandiose finale, with Bach echoing resolutely in the background.
By the time you read this letter, I will have sent it."
I was perusing my old bookshelves on a visit back home and this caught my eye - and as I sat on the floor and reread it I found myself laughing out loud again. It's a brilliant farce about ambition, politics and religion, the role of chance and providence, and the power of music. It's also just plain funny.
In one scene, one character describes how to write a fugue, the interplay of voices and themes, the way they come back and repeat themselves in a new way. Itamar Moses's play reads like a fugue, with the lives and schemes of each character twisting and turning until the grandiose finale, with Bach echoing resolutely in the background.
dnf-d
January 23, 2023I made it 54% and decided to DNF this play. There is absolutely nothing wrong with this play. I simply feel it's something I need to see and/or hear in order to keep track of all the characters (it has a large cast of characters all with similar names: Georg or Johann), appreciate the witty dialogue, and follow the plot and stage directions.
What I really hope is that I get to see this live/recorded or hear it as an audiobook one day. This DNF is also a bummer because it was one of plays that I assumed I'd love. If anyone knows of a recording of this play, either as a live recording or audio only, could you please let me know how I can get my hands on it? TIA!
[Ebook, Scribd]
What I really hope is that I get to see this live/recorded or hear it as an audiobook one day. This DNF is also a bummer because it was one of plays that I assumed I'd love. If anyone knows of a recording of this play, either as a live recording or audio only, could you please let me know how I can get my hands on it? TIA!
[Ebook, Scribd]
May 9, 2025
Music history tells us that J. S. Bach took a new job in 1722, at Leipzig. Itamar Moses, reading between the lines with considerable freedom, shows us how it could have happened, in this comic fantasy-and-fugue. Reading the play isn’t quite as good as seeing it (I saw a New York production some years ago), because the comic spark always ignites better with an audience. Nonetheless, the script is very funny and very smart. It has zest; it has brio.
In fact, Bach at Leipzig is incredibly good. It’s entirely appropriate that Tom Stoppard agreed to write a brief preface.
In fact, Bach at Leipzig is incredibly good. It’s entirely appropriate that Tom Stoppard agreed to write a brief preface.
March 27, 2020
Wonderfully diverting. A recreation of the events surrounding the election of Johann Sebastian Bach as cantor of the Thomaskirche in Leipzig in 1722, only from the viewpoint of his competitors. Moses admirably delineates the life of the average 18th-century German choir director and his day-to-day fears, joys, and concerns, with considerable fidelity to the spirit of the age and, in the end, the universality of it all.
March 4, 2020
3.5 stars. Very enjoyable. Silly and smart.
July 25, 2022
Love the humor in this. An entertaining read.
December 11, 2015
I'm sure there are many people who love this play, but, while Moses is obviously very smart, that's the dominant feeling I had as I read through this play. That and that repetitious jokes grow old, that the play is contrived, pretentious and left me cold.
There are audiences, in certain parts of the US more than in others, that pride themselves on their intelligence. It's to this audience that Moses was writing (intended or not) and I could hear the smug laughter of that audience throughout the play.
I won't say more, as it would work only to pick away at specifics. My mother told me once, long ago, that if I had nothing nice to say about something I shouldn't say anything at all - I disobeyed her in the avow paragraphs, but I just remembered her words - and will end here.
There are audiences, in certain parts of the US more than in others, that pride themselves on their intelligence. It's to this audience that Moses was writing (intended or not) and I could hear the smug laughter of that audience throughout the play.
I won't say more, as it would work only to pick away at specifics. My mother told me once, long ago, that if I had nothing nice to say about something I shouldn't say anything at all - I disobeyed her in the avow paragraphs, but I just remembered her words - and will end here.
January 6, 2009
Masterful is the word that comes to mind as I consider what to write about this comedic play. My only complaint comes from the performer in me. There are no parts for women. However being an audience member is no sad aspect. The plot is simple enough, the organist at Leipzig has died and other organists across Germany have come to audition for the post. What Itamar Moses does within that framework is a delight to behold. The play is full of witticisms both in form-it imitates a fugue-and in text. I am certain it would also be a riot to see, in part because four of the seven parts are played by men in their fifties - seasoned performers.
August 12, 2008
This is a very witty play based on a real event -- when a processional of organists auditions to replace the formidable composer Kuhnau at Leipzig -- only to be upstaged by Bach, who shows them a thing or two about music. Moses plays it mostly for laughs -- all the composers are either Georg or Johann, that sort of thing -- and are constantly forming conspiracies of 2 and 3 people in order to squeeze the others out -- and so it never rises to the level of deeply interesting social commentary, but it's fun.
August 17, 2008
I just saw this performed at Shakespeare Santa Cruz. It was so funny! The author's afterword contains one of the best lines. If you live anywhere near Santa Cruz you should consider seeing this play. Go to the Shakespeare Santa Cruz web site.
October 25, 2012
This play bombed in New York and elsewhere, but I read it anyway. This is a play just a tad hung on an actual happening. It is in fact Bach less. Unfortunately for me I found it's humour obvious and repeated too many times. Sorry to all who rated it highly, perhaps it's just me.
January 29, 2008
Stoppardian comedy meets 17th century musicology. Of course, best experienced in live theatre as the fugue is a central character.
January 23, 2009
Saw this at Shakespeare Santa Cruz. This is a funny play, made funnier by the fab acting and staging by the folks at SSC.
January 28, 2009
Hilarious and brilliant. Want to be in it someday
March 23, 2015
Hilarious!
April 9, 2013
Hilarious, witty - one of my favorite historical fiction dramas.
September 26, 2014
"Don't while away your worth worrying if you're worthwhile"
February 13, 2016
Hmmm...really would have liked to give this 2.5.
Displaying 1 - 18 of 18 reviews