Glenn Gould on Bach, God, and man

When Bach died it was not him but his sons who were considered to be the masters of music — masters of a music so very different from that which their father had known. It was famed composers like the teenager Joseph Haydn who were soon to lay the groundwork for a new musical style in which all of this scientific optimism, all of this naively logical philosophic thought of their generation would find a counterpart in an art in which the aim would be not the communication of man with God, but rather of man with man — in which those traits of Sebastian Bach which parallel in music the realization of the incredible richness and indefinable complexity of the human estate could find no place. It had become an age in which the focus of musical activity had moved from the church to the theatre — in which the new art would rationally reflect a rational world, in which it would be required to deal with probabilities, and not to participate in mysteries.

Glenn Gould