Music must shake things up

Rilling answers the skillful questions of the publicist and dramaturge Hanspeter Krellmann in such a lively and detailed manner that an exciting flow of reading is created, interspersed with photographs. After the introduction to the still active present of the octogenarian and his attitudes towards consistent fidelity to the score and proximity to the audience (Conversation concerts 2013), we learn of courageous decisions and lucky coincidences (Germani, Bernstein) during his student days and of his smooth transition into professional life as organist and director of the Gächinger Kantorei. Thanks to his communicative talent and inspiring initiatives, door after door opened. He escaped the precarious conditions of the post-war period and soon gained influence beyond Stuttgart with his consistent art of leadership, which involved everyone in the music scene.

The result is immense: Performances of all Bach works, concerts by the Bach-Collegium throughout Europe, a nine-page discography, the International Bach Academy in Stuttgart with research, publication and concert activities and one of the best-stocked Bach libraries, Bach festivals created by him worldwide, especially the one in Eugene, Oregon (USA), which has existed since 1970, Oregon (USA), many successful choir conductors who studied with him at the Hochschule in Frankfurt, the international oratorio weeks with young people and the week-long Bach academies around the world (Leipzig, Prague, Moscow - across the Iron Curtain! - Santiago de Compostela, Tokyo, Caracas), oratorios by Penderecki, Sandström, Pärt, Gubaidulina, Tan Dun, Golijov and Rihm, all commissioned by him.

Johann Sebastian Bach is at the center of Rilling's work. Early on, he decided on a self-created middle position for his interpretation between the Romantic style with a large amateur choir and orchestra that has been common since the 19th century and the original sound movement that has been emerging since 1950; his aim is to make the composer's intentions audible, which he explores through intensive score analysis: "Music must never be comfortable, not museum-like, not appeasing. It has to shake people up, reach them, make them think." He also turned his attention to many other composers of all times, but only to works that met these criteria.

The many statements about the working methods at rehearsals, conducting, dealing with the text, the use of women's voices, boys' voices or countertenors, Bach's various creative phases are valuable ... It is hardly possible to list everything one takes in while reading! It's a pity that the appendix lacks subject and composer indexes, because the need to look something up later is great.

Helmuth Rilling A life with Bach. Conversations with Hanspeter Krellmann, 216 p., € 24.95, Bärenreiter/Henschel, Kassel/Leipzig 2013 ISBN 978-3-7618-2324-8

Highlights and quotes from the book, selected by Walter Amadeus Ammann: