IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2014.a808486

Mary Greer

引用次数: 0

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/bach.52.2.0212

Alfred Dürr, Traute M. Marshall

{"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}

引用次数: 0

An Enigmatic Legacy: Two Instrumental Works Attributed to Wilhelm Friedemann Bach 神秘的遗产：巴赫的两部器乐作品

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2010.a820313

D. Schulenberg

引用次数: 0

Letter Codes Relating to Pitch and Key for Chorale Melodies and Bach's Contributions to the Schemelli "Gesangbuch" 赞美诗旋律的音高键码及巴赫对《Gesangbuch》谱曲的贡献

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2014.a808494

Robin A. Leaver

引用次数: 0

J. S. Bach, Jean-Luc Godard, and the Reimagining of the Immaculate Conception in Hail Mary (1985) 巴赫、让-吕克·戈达尔和《圣母玛利亚》中无原罪受孕的重新想象（1985）

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/bach.50.2.0175

Michael Baumgartner

{"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}

引用次数: 1

The Organs of J. S. Bach: A Handbook by Christoph Wolff, Markus Zepf, Lynn Edwards Butler (review) 巴赫的器官：Christoph Wolff、Markus Zepf、Lynn Edwards Butler的手册（综述）

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2012.a820287

Daniel Zager

引用次数: 0

"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 “Bekennen Will Ich Seinen Namen”:咏叹调bwv200的真实性、目的和背景。观察约翰·塞巴斯蒂安·巴赫对戈特弗里德·海因里希作品的接受Stölzel

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/BACH.48.1.0036

Peter Wollny, James T. Brokaw

{"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}

引用次数: 0

J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas for the Spring 1725 by Eric Chafe (review) J.S.巴赫的《约翰尼斯神学：1725年春天的圣约翰受难曲和圣歌》，埃里克·查夫（评论）

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2014.a808506

Mark A. Peters

引用次数: 0

Hearing the "Töne eines Passionsliedes" in J. S. Bach's "Christmas Oratorio": The Nineteenth-Century Critical Reception of BWV 248 听巴赫“圣诞清唱剧”中的“Töne eines passionslides”:19世纪对BWV 248的批评

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2014.a808488

Carolyn Carrier-McClimon

引用次数: 0

The Consecration of the Marginalized: Pasolini's Use of J. S. Bach in Accattone (1961) and Il Vangelo Secondo Matteo (1964) 对边缘化者的亵渎：帕索里尼在《Accattone》（1961）和《Il Vangelo Secondo Matteo》（1964）中对巴赫的使用

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/bach.50.2.0220

Mark Brill

{"title":"The Consecration of the Marginalized: Pasolini's Use of J. S. Bach in Accattone (1961) and Il Vangelo Secondo Matteo (1964)","authors":"Mark Brill","doi":"10.22513/bach.50.2.0220","DOIUrl":"https://doi.org/10.22513/bach.50.2.0220","url":null,"abstract":"Abstract:In the early 1960s, Pier Paolo Pasolini, already one of the leading intellectuals of postwar Italy, embarked on a remarkable career as a film director that included Accattone (1961) and Il Vangelo Secondo Matteo (The Gospel According to St. Matthew, 1964). Like other Pasolini works, these two films portray gritty underclass worlds, one set in contemporary postwar Italy, the other in biblical times. Since the subject of these two films is a marginalized society, the temptation is to view them as political and cultural commentaries. Like Fellini's La Strada (1954), Pasolini's films outwardly adopt a Neo-Realist ethos. But in fact they quickly reveal an impressionistic ethos, one that places their characters and stories in a timeless world. The characters of both Accattone and Vangelo seem isolated from the world at large, and are thus infused with a sense of epic myth. Violence and poverty are primal elements, far removed from the economic and social \"progress\" that embodied postwar Italy.This article explores Pasolini's use of the works of J. S. Bach as aesthetic, structural, and transformative devices. In both films, Pasolini relied on Bach's music to sublimate the marginalized worlds and their characters, enabling them to transcend their gritty outward nature. In particular, Pasolini's use of Bach's St. Matthew Passion invites an interpretation that often contradicts the profane visual and narrative elements of the films. But Pasolini's use of music goes beyond aesthetic enhancement. Bach's St. Matthew Passion, as a religious object, transforms his characters (straightforwardly in the case of Christ, but counterintuitively in the case of Vittorio/Accattone) into mythological, spiritual figures who become both sacrificed and sacrosanct.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"50 1","pages":"220 - 253"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45238508","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}

引用次数: 1

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