IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0004

Olivia Helman

{"title":"The Marchesi Legacy: Selma Riemenschneider and Vocal Pedagogy","authors":"Olivia Helman","doi":"10.1353/bach.2022.0004","DOIUrl":"https://doi.org/10.1353/bach.2022.0004","url":null,"abstract":"C yrilla Barr and Ralph P. Locke emphasize in their Cultivating Music in America: Women Patrons and Activists Since 1860 that throughout music history women have diligently served artistic communities as performers, pedagogues, and patrons. However, many stories of these women remain unnoticed and underexplored due to a phenomenon Barr and Locke describe as the “distortion of omission,” in which women’s voices are silenced and erased from history by the men who write it, as well as the “distortion of substitution,” which credits men for the work of women, “thereby polluting the historical record.” Selma Riemenschneider is no exception. As a voice pedagogue, Selma belongs to this underrepresented portion of Baldwin Wallace University (BW) history, since she is memorialized primarily in the shadow of her husband, Albert. Yet Selma studied music at a high level at BW, as well as in Europe, cultivating her own set of pedagogical and performance philosophies that distinguished her as an expert in her field. While Selma did not employ her experiences predominantly in performance, she at many points employed her experiences as both student and teacher at BW to create a lasting impact on BW students and Conservatory culture. There are limited sources with which to understand the gravity of Selma’s impact, which obscures her place in BW history and her effect on modern BW Conservatory culture. For example, we know little of Selma’s students, excluding her niece, Mary Marting Pendell. We also know little of Selma’s own experience as a performer besides","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44955613","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

Faculty-Student Collaborative: Selma Riemenschneider and the Baldwin Wallace Bach Heritage 师生合作：塞尔玛·里门施奈德和鲍德温·华莱士巴赫遗产

IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0003

Danielle M. Kuntz

引用次数: 0

The Verschneider Piano at the Riemenschneider Bach Institute 巴赫音乐学院的Verschneider钢琴

IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0002

Laurence Libin

引用次数: 0

Selma Riemenschneider and the Berea Women’s Committee Selma Riemenschneider和Berea妇女委员会

IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0006

Ben Webster

{"title":"Selma Riemenschneider and the Berea Women’s Committee","authors":"Ben Webster","doi":"10.1353/bach.2022.0006","DOIUrl":"https://doi.org/10.1353/bach.2022.0006","url":null,"abstract":"I t was on a spring day in mid-April 1936 that Albert Riemenschneider called together a team of roughly twenty-five women dedicated to strengthening the reputation and excellence of the Baldwin Wallace (BW) Bach Festival. From this group arose the Berea Women’s Committee, whom Albert assured during their initial assembly that “if you will do this for me, your names will be in the Library of Congress!” What exactly he meant by this, we do not know, but Lucy S. Berger—a member of the committee—stated that it was “Perhaps an early form of Women’s Lib!” While the names of these women have not been commemorated by the Library of Congress, we cannot forget their accomplishments in shaping the BW Bach Festival into what it is today. Among these women was Selma Riemenschneider, whose steadfast endeavors established her as perhaps the most impactful figure on the committee and, more broadly, the unheralded mastermind behind the Bach Festival. Archival materials related to the Berea Women’s Committee are limited, so their tremendous efforts have been left unacknowledged by researchers. However, the resources that we do possess present clear insight into the accomplishments and significance of the committee. One such item is “The Berea Women’s Committee of the Baldwin-Wallace Bach Festival,” an unpublished assemblage of written materials that illuminates the committee’s affairs. This collection takes the form of a leather-bound notebook whose pages feature the writing (some manuscript, some typed) of the committee’s secretary, Lucy S. Berger. The majority of the information within these pages relates to the meeting’s minutes, some of which Berger has included in their original form; she states that “it was much more","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47050743","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

Selma Riemenschneider’s Lasting Impact Selma Riemenschneider的持久影响

IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0007

Anna-Sophia Burr

引用次数: 0

What Does the Author Mean? The Example of Clavier-Übung III 作者的意思是什么？Clavier-Übung III的例子

IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0001

Tomasz Górny

{"title":"What Does the Author Mean? The Example of Clavier-Übung III","authors":"Tomasz Górny","doi":"10.1353/bach.2022.0001","DOIUrl":"https://doi.org/10.1353/bach.2022.0001","url":null,"abstract":"Abstract:This article is a critical reflection on selected interpretations of Johann Sebastian Bach’s Clavier-Übung III, including the problematic issue of the symbolism of numbers. From those analyses, a theoretical model has been created, inspired by Umberto Eco’s writings and consisting of the following levels of interpretation: (1) intentio auctoris—authorial intentions; (2) intentio operis—interpretations that arise from the semiotic code of the piece; (3) intentio lectoris/intentio auditoris—readings that result from the recipient’s own perception of the written text (intentio lectoris) or an auditory experience (intentio auditoris); and (4) intentio actoris—meanings that are shaped by decisions made by the performer(s). The model was developed in the course of studying the Clavier-Übung III and provides a framework for describing the process of negotiating the meanings of the collection’s constituent pieces. Additionally, it enables a better understanding of the controversial issue of number symbolism within Clavier-Übung III, which—as is argued in the article—is shaped between intentio operis and intentio lectoris. Last but not least, the model presented takes into consideration an often-neglected aspect of construing the meaning in music, namely the part played by the audience and performers.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48223601","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

Some Observations on the Sources for Bach’s Violin Soli and Cello Suites 巴赫的小提琴独奏和大提琴组曲的来源观察

IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0000

Andrew Talle

{"title":"Some Observations on the Sources for Bach’s Violin Soli and Cello Suites","authors":"Andrew Talle","doi":"10.1353/bach.2022.0000","DOIUrl":"https://doi.org/10.1353/bach.2022.0000","url":null,"abstract":"Abstract:The early history of Johann Sebastian Bach’s Violin Sonatas and Partitas and Cello Suites is obscure and has been the subject of much speculation. This article seeks to dispel some widespread misinformation about the sources and to offer new insights into the genesis and reception of this famous music. Disrupting the scholarly consensus of the past several decades, I argue that there are no surviving early versions of either collection: every known copy of the Violin Sonatas and Partitas traces its ancestry to the composer’s 1720 autograph, and every known copy of the Cello Suites traces its ancestry to a lost (autograph?) manuscript known in the literature as Source [F]. Further, I propose identifications of the scribe who copied an influential manuscript of the Violin Sonatas and Partitas in the 1720s (Violin Source C) and the musician who provided Johann Peter Kellner with his models for both collections (Violin Source D and Cello Source B). Finally, I argue that Johann Justus Friedrich Dotzauer’s edition of the Cello Suites (Leipzig, 1826?) is based not on Kellner’s manuscript (Cello Source B), but rather on Kellner’s model, or a different copy thereof. We know little about how Bach’s contemporaries used his unaccompanied works for violin and cello, but knowing the names and biographies of those who came into contact with this music furnishes us with a basis for asking new questions.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47341082","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

Selma Riemenschneider’s Performance Career Selma Riemenschneider的演艺生涯

IF 0.1 4区艺术学

BACH Pub Date : 2022-05-03 DOI: 10.1353/bach.2022.0005

Madeline Mascia

{"title":"Selma Riemenschneider’s Performance Career","authors":"Madeline Mascia","doi":"10.1353/bach.2022.0005","DOIUrl":"https://doi.org/10.1353/bach.2022.0005","url":null,"abstract":"N ancy Reich’s “Women as Musicians: A Question of Class” identifies the distinction between professional and nonprofessional women musicians in the context of nineteenthcentury European music. Professional musicians, or what Reich refers to as the “artist-musician class,” were those who considered their artistry a source of income. For them, music was their livelihood. Conversely, nonprofessional musicians did not primarily participate in musical life publicly. Reich elaborates: “throughout the nineteenth century and well into the twentieth, then, we see women musicians on two tracks . . . on the one hand women who sang and played only in the privacy of their own homes, on the other hand women who appeared on concert and opera stages.” Selma Riemenschneider falls somewhere in between; she performed publicly only for a brief period in her early career, and primarily within the confines of church services and local organ recitals, which often were held at Baldwin Wallace (BW), where Selma was a member of the faculty. Ultimately, she refrained from a performance career and chose to focus on other musical activities, particularly related to the BW Bach Festival. Selma’s upper-class status certainly correlates with her professional life. Reich explains that “those from upper-class families used their skills and education at home, often to enhance a husband’s social position: a wife who could sing or play was a valuable asset. Other women searched out ways to perform, establish, and support music in their homes, churches, and communities, but always on a nonprofessional basis.” Selma’s father was John C. Marting, treasurer of BW, which meant that she came from a family of high status and therefore was not reliant upon her musical training to make a living for herself. Selma’s husband, Albert, was of a similar social class; the Riemenschneiders were well known in the community,","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44741951","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

In Memoriam: Martin Petzoldt (13 April 1946-13 March 2015) 纪念:马丁·佩佐特(1946年4月13日- 2015年3月13日)

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2015.a808480

Don O. Franklin

引用次数: 0

Leipzig after Bach: Church & Concert Life in a German City by Jeffrey S. Sposato (review) 《巴赫之后的莱比锡：德国城市的教堂与音乐会生活》，杰弗里·斯波萨托著（评论）

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2019.0008

R. Larry Todd

引用次数: 0

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