Bach on the farm

Alexandra Coghlan talks to John Eliot Gardiner.

Wellies aren’t conventional attire for interviewing an international conductor but then not many conductors turn their earnings from major opera projects into cattle barns (which he’s christened “The Merry Widow” and “Benvenuto Cellini”). Still fewer, surely, have presented the Prince of Wales with two French Aubrac cows as a birthday gift.

John Eliot Gardiner has worked in all the major concert halls and opera houses of Europe, pioneered the Early Music movement and directed performances by the Berlin Philharmonic, Boston Symphony Orchestra and the Royal Opera, but the conductor’s metropolitan musical life has its roots in the dark Dorset soil. Here, in a converted barn liberally upholstered with golden retrievers and set among 650 acres of woodland and herds of cattle and sheep (which he has been known to help birth, still in concert white tie and tails), Gardiner is farming the same land that his father once farmed.

Far from being a hobby, this twin focus of Gardiner’s attentions seems both to counterbalance and fuel his music. His study at the farm is set apart at the very top of the house: a vaulted wooden eyrie made from the same trees seen through the windows on every side, the views rivalling the hundreds of books, scores and CDs in their clamour for attention. But music not farming shouts loudest today, as the conductor talks about plans for his forthcoming 70th birthday – a modest affair in which he will take over the Royal Albert Hall on Easter Monday for a ninehour marathon performance of Bach.

“Choosing the music has been both the easiest and hardest decision,” he explains. “You start off thinking it’ll be a ‘best of’ type programme but that gives you a surfeit of great music. The B Minor Mass goes without saying – it’s the summation of his whole life’s work – but we’ll be starting with the motet Singet dem Herrn which is also epic in every way, a celebration of dance in music. It shows how Bach can construct a whole orchestra just out of the consonants and sounds of a choir functioning really well.”

Bach’s Goldberg Variations, unaccompanied suites for cello and violin and his organ music will also feature, as will the fragile solemnity of the cantata Christ lag in Todes Banden, which for Gardiner “sums up the struggle between the forces of life and death, dark and light” and “symbolises the duality of German political history”. It’s a typically ambitious and iconoclastic project from a conductor whose career has ranged across centuries of repertoire, exploring music from Berlioz to Byrd. But again and again, for significant “milestone” moments (notably 2000’s unprecedented Cantata Pilgrimage), Gardiner returns to Bach. Later this year his biography of the composer will be published by Penguin and a new BBC documentary, The Genius of Bach, will show the conductor exploring the life and legacy of this founding father of western classical music.

“My first encounter with Bach really begins with that picture,” says Gardiner, pointing to a reproduction of Hausmann’s ubiquitous portrait of the composer, hanging on the study wall. “The original hung in my parents’ house when I was growing up, lent to them for safekeeping by a refugee who fled Germany in 1936. As a little boy I didn’t particularly like it. I loved his music but I couldn’t reconcile it with that portrait, which is stern and rather forbidding.”

For many, the world of “historically informed performance” to which Gardiner’s period-instrument Bach belongs can appear equally stern, still tarnished by lazy clichés of joyless authenticity that characterised the movement in its earliest days. But Gardiner’s B Minor Mass at the Proms in 1973 and the performance he and his Monteverdi Choir and Orchestra will present on Easter Monday are not just decades, but worlds apart.

“The original performance was very formalised and felt like an oratorio, with all the soloists sitting at the front in their big frocks. This won’t be like that at all.”

“You long for Bach to leap out of the picture as a vivid character, as someone who can dazzle and uplift you with his music instead of just looking pedagogically at you,” Gardiner muses, eyes returning to the picture. “But although Bach’s music has a kind of emollient, healing capacity, that doesn’t make him a wonderful man. It makes him a wonderful composer. It’s all too clear that his own life and character were deeply flawed.”

It is the gulf between this troubled man and his music that Gardiner has spent a lifetime trying to cross. As part of his marathon he has invited speakers – scientists and philosophers – to offer their thoughts. “I interviewed a mathematician about Bach once, and asked her whether she perceived number and proportion when she listened to his music. She said that she did but that she also heard tremendous amounts of emotion, love and wonderment. I put it to her that this was a conflict but she argued that maths, music and emotions are all about the sheer joy of discovery. That’s what you find in Bach.”

For Gardiner, Bach himself explains it best. “I take my cue from something he wrote in a Bible commentary: ‘Whenever musicians come together with the right spirit of dedication and devotion there is grace available to them.’ Some people find that grace through prayer but I do it through inhalation, as you would in a yoga exercise. Bach fills whatever space you allow him to enter, but you have to open the door.”

Sir John Eliot Gardiner will lead a nine-hour Bach Marathon at the Royal Albert Hall, London SW7, on Easter Monday.bachmarathon.com.

This article first appeared in the 01 April 2013 issue of the New Statesman, Easter Special Issue

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The Wood Wide Web: the world of trees underneath the surface

Mycorrhizal networks, better known as the Wood Wide Web, have allowed scientists to understand the social networks formed by trees underground.

In 1854, Henry David Thoreau published Walden, an extensive rumination on his two years, two months and two days spent in a cabin in the woodlands near Walden Pond. It was situated on a plot of land owned by his friend, mentor and noted transcendentalist Ralph Waldo Emerson.

Thoreau’s escape from the city was a self-imposed experiment - one which sought to find peace and harmony through a minimalistic, simple way of living amongst nature. Voicing his reasons for embarking on the rural getaway, Thoreau said, “I went to the woods because I wished to live deliberately, to front only the essential facts of life.”

Walden cemented Thoreau’s reputation as a key figure in naturalism; his reflections have since been studied, his practices meticulously replicated. But in the knowledge that Thoreau’s excursion into the woods was a means to better understand how to integrate into society, curious minds are left to wonder what essays and aphorisms Thoreau would have produced had he known what the botanists of today know of nature’s very own societal networks.

As scientists have now discovered, what lies beneath the ground Thoreau walked upon, and indeed beneath the ground anyone walks upon when near trees, is perhaps the most storied history and study of collaborative society in something which is now known as the mycorrhizal network or the “Wood Wide Web”.

Coined by the journal Nature, the term Wood Wide Web has come to describe the complex mass of interactions between trees and their microbial counterparts underneath the soil. Spend enough time among trees and you may get a sense that they have been around for centuries, standing tall and sturdy, self-sufficient and independent. But anchoring trees and forestry everywhere, and therefore enjoining them into an almost singular superoganism, is a very intimate relationship between their roots and microbes called mycorrhizal fungi.

Understanding the relationship between the roots of trees and mycorrhizal fungi has completely shifted the way we think about the world underneath them. Once thought to be harmful, mycorrhizal fungi are now known to have a bond of mutualism with the roots – a symbiotic connection from which both parties benefit.

Despite the discovery being a recent one, the link between the two goes as far back as 450 million years. A pinch of soil can hold up to seven miles worth of coiled, tubular, thread-like fungi. The fungi release tubes called hyphae which infiltrate the soil and roots in a non-invasive way, creating a tie between tree and fungus at a cellular level. It is this bond which is called mycorrhiza. As a result, plants 20m away from each other can be connected in the same way as plants connected 200 metres away; a hyphal network forms which brings the organisms into connection.

At the heart of the mutualistic relationship is an exchange; the fungi have minerals which the tree needs, and the trees have carbon (which is essentially food) which the fungi need. The trees receive nitrogen for things such as lignin – a component which keep the trees upright, and various other minerals such as phosphorus, magnesium, calcium, copper and more. In return, fungi get the sugars they need from the trees’ ongoing photosynthesis to energise their activities and build their bodies. The connection runs so deep that 20-80% of a tree’s sugar can be transferred to the fungi, while the transfer of nitrogen to trees is such that without the swap, trees would be toy-sized.

It’s a bond that has resulted in some remarkable phenomena. Suzanne Simard, an ecologist at the University of British Columbia, has researched into these back and forth exchanges and has found that rather than competing against one another as often assumed, there is a sort of teamwork between the trees facilitated by the mycorrhizal fungi.

In one particular example, Simard looked at a Douglas fir tree planted next to a birch tree. Upon taking the birch tree out, there was a completely unexpected result: the fir tree – instead of prospering from the reduced competition for sunlight – began to decay and die. The trees were connected underground via the mycorrhizal system, transferring carbon, nitrogen and water to one another, communicating underground, talking to each other. As Simard says in her TED talk, “it might remind you of a sort of intelligence.”

It has been documented that trees share food not just with trees of the same species, but with trees of all kinds of species, forming a social network which some have come to describe as a socialist system. Growth rates are positively affected while seedlings face greater chances of survival. There is in fact a group of plants – the mycoheterotrophic plants of which there are around 400 species – which wouldn’t survive without the mycorrhizal network. These plants are unable to photosynthesise and are therefore heavily dependent on other plants for carbon and minerals.

Over the years, Thoreau has had his fair share of critics who deemed his trip to the woods nothing more than an exercise in self-indulgence and narcissism. Perhaps if Thoreau had the chance to head back to Walden Pond with the knowledge of the Wood Wide Web at hand, he would fully understand that no one man is an island, as no one tree is a forest.