The Imperishable Johann Sebastian: Dramatik

A. Demchenko
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引用次数: 1

Abstract

That figurative sphere which may be defined by the conception of Dramatik is presented in Johann Sebastian Bach’s music in a very broad range, spanning from elegiac moods to a condensed dramaticism and even certain tragic qualities of world perception. His elegiac qualities have been interpreted in the range from emphatic sadness to emphasized melancholy. Dramatic figurativeness asserts itself with the greatest amount of distinctness in Bach’s music when the motives of depiction of the struggle of lie are depicted. In contrast to the struggles of a proud titanic nature, Bach turned upon numerous times to depicting the perturbed human spirit, which was naturally connected with heightened expression and complex psychologism. The composer elaborated most frequently the idea of the path of life, which was his first artistic discovery. Comprehending perfectly well the entire drama of human existence, Bach brought out in his music a humanistic conception of stirring confrontation with darkness and grief, and also that which according to its semantic essence may be defined by such conceptions as the special tenderness of the soul and deep commiseration to the sufferings of man.
约翰·塞巴斯蒂安:戏剧家
在约翰·塞巴斯蒂安·巴赫的音乐中,可以用“戏剧性”这个概念来定义的具象领域,在一个非常广泛的范围内呈现出来,从挽歌的情绪到浓缩的戏剧主义,甚至是某些悲剧性的世界观。他的哀歌特质被解读为从强调悲伤到强调忧郁。戏剧性的具象性在巴赫的音乐中以最明显的程度体现了对谎言斗争的描绘动机。与高傲的泰坦尼克般的大自然的斗争形成对比的是,巴赫多次转向描绘人类精神的不安,这自然与高度的表达和复杂的心理主义联系在一起。这位作曲家最频繁地阐述了生命之路的概念,这是他的第一个艺术发现。巴赫对人类生存的整个戏剧有着完美的理解,他在他的音乐中提出了一种与黑暗和悲伤进行激烈对抗的人文主义概念,而且根据其语义本质,可以用灵魂的特殊温柔和对人类苦难的深切同情等概念来定义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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