BACH最新文献

{"title":"Tales from Music School: Johann Friedrich Fasch at the Thomasschule (1701–1707)","authors":"B. Reul","doi":"10.1353/bach.2023.0002","DOIUrl":"https://doi.org/10.1353/bach.2023.0002","url":null,"abstract":"Abstract:Firsthand accounts of what life was like for students attending the prestigious Thomasschule in Leipzig prior to J. S. Bach's appointment as Thomaskantor in 1723 are scarce. The autobiography of Johann Friedrich Fasch (1688–1758) from 1757 contains an informative section on the musical education he received as a teenager in the early eighteenth century. Specifically, Fasch had been a junior musician at the court of Saxony-Weissenfels when the newly appointed Thomaskantor Johann Kuhnau recruited him for Leipzig in 1701. Over fifty years later, and for the benefit of his readership, Fasch weaves an entertaining \"From Kapellknabe to Thomaner\" character arc into his engaging narrative; it culminates in a humorous anecdote with an unexpected chronological twist. The latter emphasizes the ongoing impact that Kuhnau's rival, Georg Philip Telemann, had on Fasch's overall Kapellmeister career path.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46899486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bach Studies: Liturgy, Hymnology, and Theology by Robin A. Leaver (review)","authors":"Derek Stauff","doi":"10.1353/bach.2023.0005","DOIUrl":"https://doi.org/10.1353/bach.2023.0005","url":null,"abstract":"I n Bach Studies: Liturgy, Hymnology, and Theology, Robin Leaver has collected and substantially revised many of his essays on Bach spanning the 1970s to the present, leaving us a compilation that forms something like a Fassung letzter Hand. The volume touches on most of the areas of Bach studies to which Leaver has contributed over the years. The subtitle Liturgy, Hymnology, and Theology reflects this focus and also mirrors the book’s tripartite structure. The essays are a diverse lot, some addressing focused issues that make a quick overview impossible. In my estimation, they also do not represent the absolute best of Leaver’s scholarship on Bach, mostly because that work is either not in essay form or the original essays are still easily available elsewhere. Not included here are, among others, his essays specifically devoted to Bach’s theological library, his two chapters in The Cambridge Companion to Bach on Lutheranism and liturgy, dozens of entries in the Oxford Composer Companion devoted to Bach, and some of his recent work on Bach’s chorales. For obvious reasons, the volume also does not fully reveal Leaver’s many decades of labor as an editor for various publications on Bach, which also often contain his own essays. Yet here one often finds traces of all these writings, sometimes worked into his revisions. Leaver’s lifelong study of Martin","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45891153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Late Bach and Late Style Theory","authors":"R. L. Marshall","doi":"10.1353/bach.2023.0000","DOIUrl":"https://doi.org/10.1353/bach.2023.0000","url":null,"abstract":"Abstract:Theories about old age and the presumed manifestations of a distinctive late style in the works of great creative artists often take the form of abstractions. As proposed by such formidable thinkers past and present as Johann Wolfgang von Goethe, Sir Walter Raleigh, Erik Erikson, André Malraux, Theodor Adorno, and Edward Said, they are frequently expressed as binary opposites or as endpoints on a spectrum: organic Decline (fragmentation and disintegration) vs. metaphysical Transcendence (integration and coherence); Withdrawal vs. Rejuvenation; a Rupture with the past vs. natural Evolution or perhaps a Relapse to an earlier phase of development. Other polarities include Retrospection vs. Innovation and Objective Demonstration vs. Subjective Expression.This essay seeks to determine the relevance of such concepts to Johann Sebastian Bach. It also considers the pertinence of other proposed Late Style attributes to his later life and works: Generativity, Archaization, Asceticism, Death Obsession, and Goethe's cryptic and influential maxim: \"Old Age: the Gradual Withdrawal from Appearance.\" The article suggests that, despite their many undeniable mutual contradictions, these attributes all help illuminate one or the other facet of Bach's extraordinarily multifarious career—not only in his final decades but from the beginning.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47026246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Baroque Pop and Psychedelia: Bachian Pastness, Prestige, and Hybridity","authors":"Thomas A. Cressy","doi":"10.1353/bach.2023.0001","DOIUrl":"https://doi.org/10.1353/bach.2023.0001","url":null,"abstract":"Abstract:Baroque music and harpsichords are a well-known inspiration for many Euro-American pop and rock musicians of the 1960s. These old instrument timbres and musical forms pervaded films and television broadcasts, especially for mysterious and creepy scenes or depictions of the aristocracy. This transatlantic phenomenon has been well documented and researched. Previous literature, however, has yet to focus on Johann Sebastian Bach's prominence within these genres beyond a few pieces by the Beatles and Procol Harum. This article, through an examination of contemporary sources (music journalism, liner notes, and recordings), interviews, secondary literature, and conversations with musicians, provides a narrative and comprehensive overview of the role Bach and baroque idioms played in 1960s British pop and rock music. I also provide over a hundred listening suggestions and comments in the appendices.I focus on the aesthetic intentions behind baroque pop and psychedelia, and I aim to show what Bach and baroque music meant to these musicians in the 1960s. By isolating stylistic features at different stages, this article first shows that baroque pop musicians drew on Bach and baroque music to express vague ideas of pastness, nostalgia, and aristocracy in a humorous and playful manner. American pop and rock musicians, particularly African Americans, also inspired many British musicians to copy the stylistic features of contemporary American music (including baroque idioms). This led to the more esoteric British psychedelia stage, where musicians tried to create hybrids that merged rock with baroque and other \"exotic\" styles. For the second half of the article, I focus on psychedelic instances of Bach's music and baroque-inspired counterpoint and imitative forms. I show how psychedelic musicians were trying to unite a diverse array of styles into a hippie utopian art form called \"head\" music. Baroque music served as a prestigious vehicle to prove the intellectuality, musicality, and technical competence required for \"head\" music. Yet, as is typical for most music perceived as hybrid and boundary-crossing, these musicians faced a press backlash for, apparently, pandering to the sounds of \"the establishment\" and betraying rock's \"low\" background of intuitive blues rock. Throughout this article I prioritize the perspective of the musicians to demonstrate that pop and rock engagements with Bach and baroque music were not simply for prestige bestowed by \"elite\" forms from above. Instead, these popular British musicians were drawn to Bach in particular for musical reasons, rather than the more \"British\" music of George Frideric Handel and Henry Purcell.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66403216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Johann Scheibe: Organ Builder in Leipzig at the Time of Bach by Lynn Edwards Butler (review)","authors":"Laurence Libin","doi":"10.1353/bach.2023.0007","DOIUrl":"https://doi.org/10.1353/bach.2023.0007","url":null,"abstract":"I magine trying to comprehend J. S. Bach’s achievements if only one of his compositions had survived, not among his greatest, known from a single imperfect source. Such is the case with Bach’s associate Johann Scheibe (168","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66403264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Two New Possible Models for the \"Confiteor\" of J. S. Bach's Mass in B Minor","authors":"Zoltán Göncz","doi":"10.1353/bach.2023.0003","DOIUrl":"https://doi.org/10.1353/bach.2023.0003","url":null,"abstract":"Abstract:In the mid-nineteenth century, J. S. Bach's Mass in B Minor was considered an original work in its entirety, but later research revealed that a significant portion of its movements can be traced back to Bach's earlier compositions. With regard to the \"Confiteor\" movement, however, there is widespread consensus that it is a new composition. In my view, however, the \"Confiteor\" has two direct models or prototypes, both double fugues: the first fugue of the Toccata in E Minor BWV 914 and the opening movement of Es ist nichts Gesundes an meinem Leibe BWV 25. The relationship between the \"Confiteor\" and these two earlier double fugues is not parody-like in nature. The transformation here is more profound, more radical, and more complex, and it conforms with the procedures Bach regularly applied in the 1740s to rework his earlier fugues.The first fugue of the Toccata in E Minor resembles the combination section of the \"Confiteor\" because it combines two themes. While the two themes of the Toccata fugue show significant similarities with the two themes of the \"Confiteor,\" the fugue in the Mass in B Minor is considerably longer, it has an individual structure, and its contrapuntal texture is denser and more complex. The opening movement of Es ist nichts Gesundes an meinem Leibe primarily recalls the exposition of the first theme in the \"Confiteor.\" Just like in the \"Confiteor,\" the double fugue of the cantata has a completely irregular structure. Remarkably, this peculiar structure and the unique combination of the applied procedures deepen the similarities between these two compositions. Both themes of both double fugues appear in stretto expositions; a cantus firmus is integrated into both double fugues; these cantus firmi on both occasions appear in their augmented forms as well; and both fugues present a canon at the fifth. Besides the musical, thematic, and structural similarities, one can detect a possible connection on the textual-conceptual level as well: both movements focus on sins (Sünde / peccata) and on their remission. One of the lines, referring to forgiveness in the cantus firmus in the first movement of the cantata (\"Ach Herr, mich armen Sünder\"), reappears several times at the end of the \"Confiteor\" (Vergebung / remissio), emphasizing both sin and its remission.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45065279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Temple of Fame and Friendship: Portraits, Music, and History in the C. P. E. Bach Circle by Annette Richards (review)","authors":"Paul E. Corneilson","doi":"10.1353/bach.2023.0006","DOIUrl":"https://doi.org/10.1353/bach.2023.0006","url":null,"abstract":"I personally have been waiting for this book for several years, after working with author Annette Richards on Carl Philipp Emanuel Bach: Portrait Collection, in Carl Philipp Emanuel Bach: The Complete Works. The book grew out of her reconstruction of most of the portraits that C. P. E. Bach collected and that were listed in the composer’s estate catalogue in 1790 following his death in December 1788. As Richards points out, “Bach’s was not the only collection of musician portraits known to contemporaries, but it was by far the largest and most significant” (3). Of the 300 or so portraits listed in the estate catalogue, Richards assembled more than two-thirds of them in her edition. I edited the appendices for the Portrait Collection, which included the portraits of C. P. E. Bach and his family, not listed in the estate catalogue, as well as his collection of silhouettes. Richards begins appropriately enough with Charles Burney, who experienced Bach’s collection firsthand when he visited the composer in Hamburg in October 1772:","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48476606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Let's Calculate Bach: Applying Information Theory and Statistics to Numbers in Music by Alan Shepherd (review)","authors":"Robert L. Wells","doi":"10.1353/bach.2023.0008","DOIUrl":"https://doi.org/10.1353/bach.2023.0008","url":null,"abstract":"T he music of J. S. Bach has long been the subject of numerical investigations, from the work of Arnold Schering and Friedrich Smend in the early twentieth century to more recent scholarship involving duration, tempo, and compositional architecture. The matter of numbers in Bach took a new musicological turn in 2015 with Ruth Tatlow’s Bach’s Numbers: Compositional Proportion and Significance. In this work, Tatlow aims to provide documentary and numerical evidence that Bach’s published works demonstrate simple internal proportions of 1:1 and 1:2 in measure counts and/or numbers of movements. The response to Tatlow’s work has been mixed, with some scholars praising her work and others being largely critical. In particular, Daniel R. Melamed suggests that many of Tatlow’s claims about intentional, planned proportions are unsupported by documentary evidence, and the numbers likely result from a combination of analytical choices about counting measures/movements and mathematical chance. It is in the context of these discussions that Alan Shepherd’s Let’s Calculate Bach: Applying Information Theory and Statistics to Numbers in Music has arisen, seeking to answer questions not of musicology, but of probability and statistics: namely,","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44935753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contributors to this volume","authors":"","doi":"10.1353/bach.2023.a907248","DOIUrl":"https://doi.org/10.1353/bach.2023.a907248","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135653419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Music and Urban Life in Baroque Germany by Tanya Kevorkian (review)","authors":"","doi":"10.1353/bach.2023.a907245","DOIUrl":"https://doi.org/10.1353/bach.2023.a907245","url":null,"abstract":"Reviewed by: Music and Urban Life in Baroque Germany by Tanya Kevorkian Janette Tilley (bio) Tanya Kevorkian. Music and Urban Life in Baroque Germany (Charlottesville: University of Virginia Press, 2022). 336 pp. For the past half century or so, early music studies have predominantly oriented themselves toward musical recreation. How well equipped we are today to hear with ears attuned to these antique sounds is a question that has recently come to the fore, and with it, investigations into the broader historical sonic world. Tanya Kevorkian's new volume contributes to this broadening of scope of historical sound studies to investigate the urban musical (and not so musical) landscape of baroque Germany. A methodology and theoretical framework for this work was established by Canadian sound studies pioneers Barry Truax and R. Murray Schafer, who founded the World Soundscape Project at Simon Fraser University in the late 1960s. Over the course of several decades, their research, recording, and creative project married emergent concerns about the state of the environment, both physical and aural, with technology to produce an electroacoustic record of time and space. Project participants were often composers, gathering field recordings, documenting change, and creating innovative works, including site-specific experiences and sound walks, radio programs, and electroacoustic compositions. Composer and early project member Hildegard Westerkamp helped raise the international profile of soundscape studies with the founding of the World Forum for Acoustic Ecology and its publications, the Soundscape Newsletter (1991–1999), WFAE Newsletter (2004–2015), and Soundscape—The Journal of Acoustic Ecology (2000–2019; 2023–present), for which she served as editor until 2012. That it would take some fifty years for fruitful intradisciplinary products to emerge is perhaps not surprising, given the siloed workings of musicology (and historical musicology, especially) from the creative branches of musical research.1 A landmark international [End Page 309] workshop in 2015, \"Hearing the City: Musical Experience as Portal to Urban Soundscapes,\" sponsored by the Catalan Institution for Research and Advanced Studies (ICREA) in Barcelona, examined early modern urban soundscapes and brought the study of acoustic ecology to prominence within early modern musicological studies.2 A year earlier, Alexander J. Fisher framed an examination of urban public musical culture in Counter-Reformation Bavaria with some of the analytical tools that Truax and Schafer had first conceived, and it appears to be this study to which Tanya Kevorkian owes the greatest debt in her book on early modern German music and urban life.3 But while Fisher's study is clearly rooted in musicological traditions, exploring sacred processions, bells, song, and the like, Kevorkian brings a social historian's lens to sound study, exploring the sonic signaling—loud, performative, musical, or military—that filled","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135653423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}