BACH最新文献

{"title":"\"Denn er ist unser Friede\" [\"For He is our peace\"]: The Significance of the Marking \"Due Chori in unisono\" in the Autograph Score of J. S. Bach's St. Matthew Passion","authors":"Mary Greer","doi":"10.1353/bach.2014.a808486","DOIUrl":"https://doi.org/10.1353/bach.2014.a808486","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"45 1","pages":"44 - 89"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42348104","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":"De vita cum imperfectis","authors":"Alfred Dürr, Traute M. Marshall","doi":"10.22513/bach.52.2.0212","DOIUrl":"https://doi.org/10.22513/bach.52.2.0212","url":null,"abstract":"T he creation of new editions of old music, an important area of musicology, usually has two goals: to enrich our understanding of history and, at the same time, to provide present musical practice with new material—a goal to which the overused notion of the “unjustly forgotten master” bears eloquent (and dubious) witness. The editorial method employed assumes the incontrovertible high quality of the work to be edited; the original, as conceived by the master, is deemed flawless. From this it follows that all the errors contained in the work as it has come down to us are due to flawed transmission and therefore have to be emended in the new edition. Similarly, all additions made to the work by another hand in the course of transmission do not measure up to the level of the master; therefore, they too have to go. This attitude leads to the ideal of the Urtextausgabe, the edition of the original text. And even though the term in recent decades has been interpreted in a considerable number of different ways, it still implies that the new edition must focus as much as possible on the evidence of the composer, and that foreign interpretation of any kind is to be excluded. There is no need to challenge the general validity of these principles. Whoever follows them, however (in the conviction that clarification of the composer’s intent is demanded by the commitment to truth, without which our discipline makes no sense), must also become aware of the method’s limits in order to use it effectively. The following observations will consider some of those limits. A work like Johann Sebastian Bach’s St. Matthew Passion, which the author is currently [1971] editing, is well suited to clarify the problems, since there is no question about the quality of the work or the capabilities of the composer. Therefore, we will be able to focus exclusively on editorial problems.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"52 1","pages":"212 - 225"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48304225","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":"An Enigmatic Legacy: Two Instrumental Works Attributed to Wilhelm Friedemann Bach","authors":"D. Schulenberg","doi":"10.1353/bach.2010.a820313","DOIUrl":"https://doi.org/10.1353/bach.2010.a820313","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"41 1","pages":"24 - 60"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48614283","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":"Letter Codes Relating to Pitch and Key for Chorale Melodies and Bach's Contributions to the Schemelli \"Gesangbuch\"","authors":"Robin A. Leaver","doi":"10.1353/bach.2014.a808494","DOIUrl":"https://doi.org/10.1353/bach.2014.a808494","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"45 1","pages":"15 - 33"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42489253","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":"J. S. Bach, Jean-Luc Godard, and the Reimagining of the Immaculate Conception in Hail Mary (1985)","authors":"Michael Baumgartner","doi":"10.22513/bach.50.2.0175","DOIUrl":"https://doi.org/10.22513/bach.50.2.0175","url":null,"abstract":"Abstract:In his 1985 film Je vous salue, Marie (Hail Mary), Jean-Luc Godard integrated preexisting music by J. S. Bach. The choice is a surprise, as Godard hardly ever used the music of the German baroque master in his sixty-year film career. Since this use of Bach marks a singular instance in Godard's oeuvre, the objective of this essay is to explore the process of Godard's cinematic reappropriation of Bach's music and how the music infuses the filmic narrative with a Lutheran message.Je vous salue, Marie is an intimate, modern-day adaptation of the story of Mary, from the Annunciation to Christ's birth. Mary is a basketball-playing high school student and Joseph a taxi driver in contemporary Geneva. In Je vous salue, Marie, Godard examines the inexplicable idea of conception without corporeal contact in a contemporary world that has lost its unchallenged acceptance of incomprehensible occurrences. The mystical and intangible aura of the film is evoked through numerous short musical fragments, excerpted from the best-known highlights of Bach's oeuvre. Godard exploits the nineteenth- and twentieth-century notion of Bach as both the quintessential composer of sacred music and the unrivaled master of the most sublime of all late baroque music. The use of Bach's music allows us to interpret, on the one hand, Mary in a Catholic theological understanding as an enigmatic, mysterious, and transcendental figure and, on the other hand, Christ through Luther's concept of the theologia crucis. Godard integrates Bach's music into Je vous salue, Marie in a thoughtful and profound manner. He seeks to reinterpret Mary's immaculate conception, her biblical role, and her relationship to her son within a critical contemplation of the historical, religious, and social foundations of Western society.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"50 1","pages":"175 - 219"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49115473","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":"Leonhardt’s Role in the Invention of Historically Informed Performance","authors":"J. Butt","doi":"10.22513/bach.48-49.2-1.0009","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0009","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"12 - 9"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47057531","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":"J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas for the Spring 1725 by Eric Chafe (review)","authors":"Mark A. Peters","doi":"10.1353/bach.2014.a808506","DOIUrl":"https://doi.org/10.1353/bach.2014.a808506","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"45 1","pages":"105 - 94"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41554186","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 in Italy, 22–28 November 2020","authors":"C. Bertoglio","doi":"10.22513/BACH.52.1.0072","DOIUrl":"https://doi.org/10.22513/BACH.52.1.0072","url":null,"abstract":"T he international conference “Bach and Italy” took place in a digital format from 22 to 28 November 2020. It was coorganized by the Association JSBach.it, founded by Maria Borghesi and myself, by the Conservatory “G. Verdi” of Turin, and by the Istituto per i Beni Musicali in Piemonte, a research institution for the promotion of the musical heritage of Piedmont. The conference committee included Kenneth L. Hamilton (Cardiff University), Michael Heinemann (Hochschule für Musik Carl Maria von Weber, Dresden), Stefano Leoni (Conservatory “G. Verdi” of Turin), Michael Maul (Bach Festival and Bach-Archiv Leipzig), Ruth Tatlow (Uppsala University and Bach Network), and Yo Tomita (Queen’s University Belfast and Bach Network), along with Maria Borghesi and myself, representing JSBach.it. The Covid-19 situation led us to consider various options for restructuring an event that had originally been planned in a traditional form. After much pondering, we decided to broadcast the conference on our social media channels, to make it available at no charge, and to maintain an archive of all videos, which will constitute a repository of research, knowledge, and music for all those interested in Bach. Moreover, we decided to extend the conference’s duration from the initial three days to an entire week, in order for the sessions and other events to be more temporally distanced, and thus to allow the audience more time to enjoy the rich program. The result exceeded our expectations in many respects. The artistic and scholarly level of the presentations, roundtables, keynotes, and concerts was very high. Moreover, following the presentations in each session, debate was encouraged by the chairs, and it involved both the session’s speakers (who were virtually gathered in a “room” provided by a videoconference platform) and the audience following the session on social media. Listeners were invited to interact by writing their questions and comments in the social media chat, and this resulted in long and fruitful discussions, frequently longer than one hour. Thus, one of the most important aspects of scholarly gatherings, that is, the discussion and interaction, was not sacrificed due to the need for social distancing. Another unexpected result was that speakers, audience, and BACH: Journal of the Riemenschneider Bach Institute, Vol. 52, No. 1, 2021 Copyright © 2021 Baldwin Wallace University, Berea, OH","PeriodicalId":42367,"journal":{"name":"BACH","volume":"52 1","pages":"72 - 79"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47186538","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":"\"Bekennen Will Ich Seinen Namen\": Authenticity, Purpose and Context for the Aria BWV 200. Observations on Johann Sebastian Bach's Reception of Works by Gottfried Heinrich Stölzel","authors":"Peter Wollny, James T. Brokaw","doi":"10.22513/BACH.48.1.0036","DOIUrl":"https://doi.org/10.22513/BACH.48.1.0036","url":null,"abstract":"Johann Sebastian Bach’s engagement with the works of his forebears and contemporaries has occupied Bach research time and again from the very beginning.1 The motivating cause and impetus has always has been the desire to gain deeper insight into the genesis of Bach’s own compositions and, by uncovering biographical, historical and stylistic as well as purely musical lines of connection, to approach a better understanding of the so “idiosyncratic” [“fremden”] and “similar to no other composer” [“keinem anderen Componisten” ähnlich]2 music of the Thomascantor. To be sure, today Bach’s artistic involvement with actual or supposed models is assessed in a more sophisticated fashion than was the case with earlier scholarship. Nevertheless, determining the various “historical and artistic/musical phenomena that had an influence on Bach’s life and work”3 still numbers among the most urgent tasks of Bach scholarship. In her study of Johann Sebastian Bach’s music library published in 1990, Kirsten Beißwenger systematically surveyed the findings of 150 years of scholarship and, on the basis of this","PeriodicalId":42367,"journal":{"name":"BACH","volume":"48 1","pages":"36 - 75"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48606732","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":"Teaching Bach's Aria Forms: Expanding Students' Analytical Horizons","authors":"Mark Anson-Cartwright","doi":"10.22513/bach.49.2.0266","DOIUrl":"https://doi.org/10.22513/bach.49.2.0266","url":null,"abstract":"Abstract:Detailed study of Bach's aria forms offers undergraduate students—especially vocal majors—a refreshing and rewarding change from the usual analytical focus on instrumental music in the theory curriculum. Two arias from well-known Bach cantatas composed in 1714, \"Öffne dich, mein ganzes Herze,\" from Nun komm, der Heiden Heiland BWV 61, and \"Erfreue dich, Seele,\" from Ich hatte viel Bekümmernis BWV 21, provide an excellent introduction to strict da capo form. To complement their study of strict da capo form, students may also analyze a relatively straightforward example of modified da capo form: \"Erfüllet, ihr himmlischen, göttlichen Flammen,\" from Wie schön leuchtet der Morgenstern BWV 1, composed in 1725. The similarities among these arias allow students to acquire a sense of Bach's melodic style when writing for solo voice, while their differences reveal just how varied his treatment of da capo form can be. Careful attention to the sound and meaning of the German text set by Bach should precede the study of each aria's form. Students should learn to devise charts that show essential formal features, including the alternation between instrumental ritornelli and vocal phrases, the articulation of phrases through cadences, and the allocation of specific lines of poetry to each phrase or section.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"266 - 280"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44741020","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}