BACH最新文献

{"title":"Bach and Mozart: Essays on the Enigma of Genius by Robert L. Marshall (review)","authors":"Marshall Brown","doi":"10.1353/bach.2020.0007","DOIUrl":"https://doi.org/10.1353/bach.2020.0007","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"306 - 309"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48540038","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 Bach-Scheibe Controversy: New Documentation","authors":"B. Jerold","doi":"10.1353/bach.2011.a820309","DOIUrl":"https://doi.org/10.1353/bach.2011.a820309","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"42 1","pages":"1 - 45"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49606928","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":"Terminal Bach: Technology, Media, and the Goldberg Variations in Postwar American Culture","authors":"Kristi Brown-Montesano","doi":"10.22513/BACH.50.1.0081","DOIUrl":"https://doi.org/10.22513/BACH.50.1.0081","url":null,"abstract":"Abstract:The curious link between Bach’s music and psychopaths in English-language film can be traced back to at least Dr. Jekyll and Mr. Hyde (1931) and The Black Cat (1934), but this cinematic trope regained horror credibility in the late twentieth century with Dr. Hannibal Lecter in The Silence of the Lambs (1991). Lecter’s creator, author Thomas Harris, gave his cannibalistic serial killer preternatural intelligence and a taste for fine culture, including the keyboard works of Bach, most notably the Goldberg Variations. Scholars and fans alike have investigated almost every aspect of Lecter’s persona, including his musical preferences, yet a broader question arises: how exactly did we get to Lecter’s Bach? What cultural factors—musical and otherwise—might have influenced Harris to fix on Bach, Gould, and the Goldberg Variations specifically for his supervillain?This investigation considers significant events of the postwar period that likely played a role in the evolution of the Lecterian Bach: 1) the modernist turn in Bach reception, performance practice, and recording in the United States between 1945 and 1968, especially as evidenced in the sensational albums of Glenn Gould and Wendy Carlos; 2) the twentieth-century cinematic association between Bach’s music and destructive drives, particularly as redefined from the early 1970s via the use of Variation 25 in Slaughterhouse-Five (1972) and The Terminal Man (1974); and 3) the postwar boom in computer science and the significance of Bach’s music to related discourses such as the development of artificial intelligence. All of these threads intersect with a phenomenon of modern, industrialized American culture that Mark Seltzer describes in his Serial Killers: Death and Life in America’s Wound Culture (1998) as “techno-primitive.” The life process and machine process are integrated “such that the call of the wild represents not the antidote to machine culture but its realization.” As a superhuman genius who kills like a machine, Lecter undeniably represents the techno-primitive. Yet, his cultured intellectualism (including his love of Bach’s music) taps into postwar popular understanding of the composer’s work as the highest expression of musical logic, ideally suited to the technological age.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"50 1","pages":"117 - 81"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49299756","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":"Notational and Performance Issues in J. S. Bach’s Preludes and Fugues for Organ","authors":"Don O. Franklin","doi":"10.22513/bach.51.2.0241","DOIUrl":"https://doi.org/10.22513/bach.51.2.0241","url":null,"abstract":"Abstract:This article presents the results of a notational study of J. S. Bach’s use of time signatures in his free preludes and fugues for organ. Although studies of these works have focused on stylistic and formal issues, along with descriptions of the organs available to Bach, little attention has been given to Bach’s use of time signatures. The primary purpose of the study is to identify and describe the notational means by which Bach indicates the tempo relationship between the two movements, as well as how the notational markings can serve as a guide to the performer. Beginning with the earliest pairs (1700–1708), I chart Bach’s changing use of the time signature through the Weimar (1708–1717) and Leipzig (1723–1750) periods. This progression proceeds from multisectional forms, through pairs in which prelude and fugue each comprise a separate movement, and finally to Bach’s creation of what I describe as “temporal units,” in which a common beat unites prelude and fugue, each notated with a different time signature. A series of tables illustrates these changes, with the pairs in each group arranged according to their use of a common time signature rather than in the usual BWV order. A secondary purpose of the study is to identify Bach’s use of a single schema as the basis for composing two or more pairs. A procedure commonly seen in the cantatas, it has not previously been recognized in reference to the free preludes and fugues.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"241 - 258"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44502797","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’s Major Vocal Works: Music, Drama, Liturgy by Markus Rathey (review)","authors":"Alannah Rebekah Franklin","doi":"10.1353/bach.2018.0003","DOIUrl":"https://doi.org/10.1353/bach.2018.0003","url":null,"abstract":"When approaching Bach’s choral works, listeners, students, theologians, performers, and musicologists who are new to Bach studies may be unsure of where to begin. The scale and complexity of these pieces render them daunting, but their beauty ensures that people will continue to explore them. Markus Rathey’s Bach’s Major Vocal Works: Music, Drama, Liturgy provides a starting point for any study of Bach’s choral works. Rathey discusses Bach’s largest and arguably most famous vocal pieces: the two Magnificat settings, the Christmas Oratorio, the two Passions, the Easter Oratorio and Ascension Oratorio, and the Mass in B Minor. While discussions of theology and musical expression are central to each chapter, Rathey skillfully investigates the philosophical underpinnings and gendered implications of Bach’s character portrayals. He guides the listener not only through the overarching structure and analytical details of these works but also through their relative cultural context. The book focuses on three themes: the musical works themselves, the life of Christ, and the theme of Christ’s love for the Believer as portrayed through the text and music. Since Rathey intended his book to reach a broad audience, the tone is conversational and approachable. He acknowledges the fact that some readers may simply wish to know more about Bach’s music before going to a concert, yet invites them to examine the visual elements of the scores (i.e., phrase contour and groupings of notes) even if they cannot read music. In its amiable tone and use of personal pronouns, this book is reminiscent of John Eliot Gardiner’s Bach: Music in the Castle of Heaven, though Gardiner’s approach is intentionally more anecdotal.1 Rathey encourages the reader to explore Bach’s choral works with him, rather than simply presenting factual statements or analyses. It is clear that one of the book’s main purposes is to cultivate an informed audience of listeners for Bach’s music. While Rathey focuses on the amateur music lover, the book also holds appeal for more specialized readers. For the general reader, the book will help orient them to Bach’s style and context. For the musicologist, it will potentially provide new details and angles for research or serve as an excellent resource for a collegiate-level Bach seminar. Performers will obtain insight into each work’s historical context, which can help them to make historically informed performance","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"158 - 163"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43599541","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":"Musical Authorship from Schütz to Bach by Stephen Rose (review)","authors":"Daniel R. Melamed","doi":"10.1353/bach.2020.0013","DOIUrl":"https://doi.org/10.1353/bach.2020.0013","url":null,"abstract":"Stephen Rose has contributed a fine new volume to Cambridge University Press’s series Musical Performance and Reception. Rose presents the book as treating the term and concept “musical author” and “attitudes towards authorship” in the seventeenth and early eighteenth centuries. Each of its six chapters engages with “authorship,” examining it from various points of view (models of creativity, dialogues between individuality and authority, signs of the author’s presence in printed music, ownership of music, the regulation of Lutheran church music, and the experience of music in performance). From my perspective, though, the book’s most valuable contribution is to use authorship to frame many central questions in the study of seventeenth-century German music: What changed so strikingly around 1650? Why did the publication of printed music decline so steeply? How did musicians conceptualize the creation of music? What is communicated by portraits of famous musicians? Rose provides both an investigation of authorship in the period and—even more usefully—an innovative and fruitful starting point for understanding the musical culture of the time. The book’s approach is nicely encapsulated in the introduction: “The present study complements previous work by probing the discourses and economic practices surrounding musical authorship in the seventeenth century” (7). First, the book does complement other scholarship explicitly; Rose frequently positions his work alongside or sometimes as a corrective to older research. This is helpful in understanding the work’s context, but also occasionally risks burying the study’s own truly original insights and its rethinking of old problems. Second, “discourses” are central—the principal materials of the book are writings from the period, and here Rose is in impressive control. His use and command of primary sources shows his deep immersion in contemporary writings; every reference one might anticipate is there, alongside a trove that even experts might not know. This puts the book’s arguments on a convincing footing. Third, this is very much a book about “economic practices.” Rose puts a high value on musical creation as commerce, and on the functioning of the market BACH: Journal of the Riemenschneider Bach Institute, Vol. 51, No. 2, 2020 Copyright © 2020 Baldwin Wallace University, Berea, OH","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"295 - 305"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42846390","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":"Georg Riedel (1676–1738), the \"East Prussian Bach\": New Findings in St. Petersburg","authors":"T. Shabalina","doi":"10.22513/bach.52.2.0159","DOIUrl":"https://doi.org/10.22513/bach.52.2.0159","url":null,"abstract":"Abstract:The older contemporary of Johann Sebastian Bach, the Königsberg composer Georg Riedel (1676–1738), belongs to those baroque masters whose works have to date been considered almost completely lost. The biographical articles on this composer in Die Musik in Geschichte und Gegenwart (2005) and The New Grove Dictionary of Music and Musicians (2001) only contain references to his one surviving piece, the funeral cantata Harmonische Freude frommer Seelen (1706). However, starting with the research of Hermann Güttler (in the 1920s), Riedel has been regarded as one of the most significant composers of Eastern Prussia and even named the \"Ostpreußischer Bach\" (\"East Prussian Bach\") or the \"Königsberger Bach.\" Recent discoveries at the National Library of Russia (St. Petersburg) have revealed many hitherto unknown sources for German music of the seventeenth and eighteenth centuries. Among them are original editions of librettos of cantatas and arias by Riedel, as well as prints of scores and parts for his works. The article analyzes the newly found sources and discusses their significance for our knowledge of the work of this Königsberg master. A number of findings put forward in this article radically change previous postulations regarding Riedel's strict adherence to the old forms of German music and the absence of influences of modern trends in his work. Riedel's role in the history of music is examined in light of these new findings. It is shown that, on the one hand, he ended the great line of the old school of compositional writing. But, on the other hand, he remained open to new trends and adapted new forms of modern musical practice, thus not standing apart from the general trends of German musical culture of that time.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"52 1","pages":"159 - 195"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42247934","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":"Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman by Alexis Luko (review)","authors":"Elsie Walker","doi":"10.1353/bach.2019.0009","DOIUrl":"https://doi.org/10.1353/bach.2019.0009","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"50 1","pages":"303 - 307"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42397428","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":"Recently Identified Borrowings in the Hamburg Vocal Music of C. P. E. Bach","authors":"J. Grant","doi":"10.22513/BACH.52.1.0021","DOIUrl":"https://doi.org/10.22513/BACH.52.1.0021","url":null,"abstract":"Abstract:This article discusses the identification, made by the author between 2013 and 2019, of six borrowed movements in the Hamburg vocal works of Carl Philipp Emanuel Bach. Four of these borrowings are from works by other composers: an aria from a Passion by Gottfried Heinrich Stölzel, which Bach had already used in his 1772 St. John Passion, then reworked for his 1779 St. Luke Passion; an aria from a New Year’s cantata by Georg Benda, also adapted for the 1779 St. Luke Passion; a duet from a cantata attributed to Johann Gottlieb Graun, which Bach reworked for the 1773 pastoral installation cantata Einführungsmusik Winkler; and an aria from the oratorio La passione di Gesù Cristo by J. G. Graun, which Bach adapted for the 1782 Einführungsmusik Jänisch. (This borrowing raises some questions, since La passione does not appear in either of the catalogues associated with the disposition of Bach’s library after his death.) The remaining two borrowings were derived from one of Bach’s own works, the Trauungs-Cantate: an aria, adapted for the 1769 Einführungsmusik Palm; and an accompanied recitative–chorus, adapted for the 1772 Michaelmas cantata Ich will den Namen des Herrn preisen.After an overview of Bach’s borrowing practices, the article summarizes the discovery of each borrowed movement in chronological order of identification. The conclusion is twofold. On one level, it can now be shown that Bach used all but one movement of his Trauungs-Cantate for his Hamburg vocal music. That work thus joins the Magnificat as a trove of movements ripe for adaptation, almost none of which Bach left untouched. On a broader level, the continued discovery of borrowings is central to understanding Bach’s working procedures, the type of repertoire that he borrowed, how he altered that repertoire, and the importance of pastiche to the life of a professional musician in eighteenth-century Germany.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"52 1","pages":"21 - 45"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42587066","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 Chorale-Based Pedagogy: Origins and Continuity","authors":"R. Leaver, Derek Remeš","doi":"10.22513/bach.48-49.2-1.0116","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0116","url":null,"abstract":"Abstract:Recently discovered chorale books from J. S. Bach’s circle of pupils have prompted a re-evaluation of long-held assumptions regarding the function of the chorale in Bach’s pedagogy. These sources, together with documents from Bach’s pupils and grand-pupils, show that the keyboard chorale, not the vocal chorale, played the central role. This keyboard chorale tradition, which often included multiple basslines for each chorale melody, is witnessed by Bach’s pupils, Marpurg, Kirnberger, and Kittel, and was carried into the nineteenth century by Kittel’s students Häßler, Umbreit, and Rinck.Potentially the earliest known source with multiple-bass chorales is Hamburg 2366, but its provenance is uncertain. Analysis of the basses in this source reveals similarities with Georg Bronner’s Musicalische-Choral-Buch (Hamburg, 1715). This suggests Siegert Rampe was correct in tracing Hamburg 2366 to Vincent Lübeck and the Nikolaikirche in Hamburg c.1700, because Lübeck became organist there in 1702, replacing Bronner. Thus, Bach may have been introduced to multiple-bass keyboard chorale pedagogy on visits to Hamburg between 1700 and 1705. The earliest firmly datable source with multiple basses is Johann Philipp Treiber’s Der accurate Organist (Arnstadt, 1704). Bach became organist at Arnstadt in 1704, meaning Treiber is another possible origin for Bach’s introduction to keyboard chorale pedagogy.New evidence implies that C. P. E. Bach continued this teaching tradition. His publisher, Johann Heinrich Herold, appended C. P. E. Bach’s Neue Melodien (Hamburg, 1787) to David Kellner’s Treulicher Unterricht around 1789. Herold’s preface says that “experts” (likely C. P. E. Bach) hold chorales to be the best practice pieces for beginners of thoroughbass. Kellner’s enormously popular figured bass treatise, originally published in Hamburg in 1732, is shown to have multiple connections with both J. S. and C. P. E. Bach, and may well have influenced Herold’s decision to link the treatise with C. P. E. Bach’s Neue Melodien.The longevity of this century-long keyboard chorale tradition indicates its effectiveness and suggests that historically informed teaching today should align itself more closely with Bach’s actual pedagogy.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"116 - 150"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43801007","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}