IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2020.0005

Markus Rathey

{"title":"Memory, Morals, and Contemplation in Leipzig Passion Texts from the 1720s: J. S. Bach's St. John Passion from 1724","authors":"Markus Rathey","doi":"10.1353/bach.2020.0005","DOIUrl":"https://doi.org/10.1353/bach.2020.0005","url":null,"abstract":"Abstract:Johann Sebastian Bach's settings of the passion originated in a cultural context that was rich with numerous forms of devotion to the Passion of Christ. The Good Friday Vespers, during which Bach's passions were originally performed, were only one occasion when Leipzigers commemorated the suffering and death of Christ. Devotional texts encouraged early modern Lutherans to meditate on the passion throughout their daily lives. The multifaceted and multisensory forms of passion devotion can be seen in a number of texts that were published in the years surrounding the first performance of the St. John Passion in 1724. After a short exploration of the circumstances of the endowment of the Good Friday Vespers at the Leipzig St. Nicholas Church and an analysis of a multisensory passion manual by Abraham Wiegner (Nöthige Freytags-Arbeit), the essay focuses on an anonymous text (Christliche und Moralische Reflexiones), published in 1724, that interprets the passion narrative from the perspective of practical morality. The text was prefaced by Leipzig Superintendent Salomon Deyling, who also preached the sermons during Bach's passion performances. Both the anonymous text and Deyling's preface bring into sharper relief the multifaceted forms of passion devotion in Leipzig during the time of the creation and first performance of Bach's major passions. The texts shed new light on the image-rich language of Bach's passions as well as on the focus on the individual in the libretti for his passions. But the analysis also shows significant differences. While Bach's passions emphasize personal devotion and a more internalized form of piety, the Christliche und Moralische Reflexiones are informed by Enlightenment philosophy and theology and view religion (and the passion in particular) as a model for a moral life. In spite of these differences, the texts also show that these divergent views coexisted peacefully in Bach's Leipzig. In fact, in the final version of Bach's St. John Passion from 1749, some of the texts were changed in a way that brought them in line with the views of Enlightenment theology.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"44 - 69"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44753377","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

"Durch die Music gleichsam lebendig vorgestellet": Graupner, Bach, and "Mein Herz schwimmt im Blut" “卡普纳，溪流，我的心在血里游”

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2015.a808471

Evan Cortens

引用次数: 0

The Leonhardt Connection From Sweelinck to Bach: Links and Gaps Between Historic “Makers of Organists” 从Sweelinck到Bach的Leonhardt联系：历史上“有机体创造者”之间的联系和差距

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/bach.48-49.2-1.0002

C. Wolff

{"title":"The Leonhardt Connection From Sweelinck to Bach: Links and Gaps Between Historic “Makers of Organists”","authors":"C. Wolff","doi":"10.22513/bach.48-49.2-1.0002","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0002","url":null,"abstract":"It is a great honor and privilege to dedicate the following remarks to the memory of Gustav Leonhardt, whom I knew since the 1960s and whose passing in 2012 we still deeply mourn. What he and the Leonhardt Consort achieved was nothing short of a radical break with the conventions of Early Music performance. In the nineteenth century, Bach was played romantically and this standard persisted in the early twentieth century. Whether by continuing or curtailing this approach, the factual, “sewing machine” Bach was born. Leonhardt and his followers, however, did not think of Bach from the nineteenth-century perspective, but from that of the seventeenth century, from the overwhelmingly fertile, expressive time of Heinrich Schütz, Dieterich Buxtehude, and Jan Pieterszoon Sweelinck. Leonhardt’s searching and penetrating mind built the foundation for a new and true approach toward understanding the language of music and toward translating their vocabulary, syntax, and style in the act of performance on the appropriate keyboard instruments. The name Leonhardt stands for fighting the widespread amateurism that had prevailed for so long in the Early Music scene. It stands for discovering new sources and also for looking beyond the printed and seemingly reliable “Urtext” of well-known works by examining and learning from the composer’s autographs, original manuscripts, and early prints. It stands for asking new questions. It stands for opening a dialogue between performers and scholars, a dialogue that should never end. Finally, it stands for balancing the repertoire of indisputable giants like Bach against lesser known and less marketable figures. Emphasizing other names like Sweelinck, Johann Jacob Froberger, Ercole Pasquini, or Antoine Forqueray sheds light on important contexts, cross-currents, and in fact much music that was quite new in the business of Early Music","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"2 - 8"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43221880","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

The Royal Theme's Hidden Symmetry: In Defense of the Concise Solution to the Augmentation Canon in J. S. Bach's "Musical Offering" 皇家主题的隐性对称:为巴赫“音乐奉献”中增强型佳能的简洁解辩

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2010.a820314

Timothy Edwards

引用次数: 0

Martha Arnold Fellowship at the Riemenschneider Bach Institute 里门施奈德巴赫研究所玛莎·阿诺德奖学金

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/bach.48.1.0136

Daniel Zager, Markus Rathey, Mary Greer

引用次数: 0

Introduction to Graduate Theory: Teaching Tonal Hierarchy through Bach 研究生理论导论:通过巴赫教授调性层次

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/bach.49.2.0345

Samantha M. Inman

{"title":"Introduction to Graduate Theory: Teaching Tonal Hierarchy through Bach","authors":"Samantha M. Inman","doi":"10.22513/bach.49.2.0345","DOIUrl":"https://doi.org/10.22513/bach.49.2.0345","url":null,"abstract":"Abstract:Many master's degrees in music require at least one theory course for all students. Variously titled Introduction to Graduate Theory, Analytical Techniques, or Graduate Theory and Analysis, such courses can be challenging to teach due to the varying majors, skills, and interests represented. These students need to synthesize and apply undergraduate-level theoretical concepts while also learning more sophisticated tools and techniques. One way to accomplish this is through a unit on select concepts from Schenkerian analysis. Teaching students to construct harmonic reductions can effectively introduce (or reinforce) tonal hierarchy—the most fundamental concept in Heinrich Schenker's theory. While simplifying a texture to show harmonic rhythm and voice leading is not unique to Schenkerians, such reductions enable discussion of advanced concepts including hierarchical levels, prolongation, and motivic parallelisms. Asking students to embellish a harmonic framework further reinforces these concepts.This article outlines a course module that teaches foundational Schenkerian concepts through the analysis of select chorales, figuration preludes, and unaccompanied solo works by J. S. Bach. While prolongation and voice leading can be taught with nearly any common-practice repertoire, studying these three particular genres in this order helps students transfer principles they know from part writing to music with more complex textures. Starting with the chorales allows for a rapid review of figured bass, dissonance types, and voice leading. Continuing with harmonic reduction of figuration preludes demonstrates the link between part writing and repertoire. Concluding with the reduction and elaboration of compound melodies highlights the intricate connection between melody and harmony in Bach's unaccompanied works. This unit on Bach's music helps students move past individual notes and isolated chords into a deeper, more dynamic understanding of how tonality shapes phrases, sections, and pieces.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"345 - 364"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48186284","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

On the Protestant Roots of Gustav Leonhardt’s Performance Style 论列昂哈特表演风格的新教根源

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/bach.48-49.2-1.0048

Jed Wentz

{"title":"On the Protestant Roots of Gustav Leonhardt’s Performance Style","authors":"Jed Wentz","doi":"10.22513/bach.48-49.2-1.0048","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0048","url":null,"abstract":"Abstract:Keyboardist and conductor Gustav Maria Leonhardt was arguably one of the most influential figures in the late twentieth-century Early Music movement. Through his numerous recordings and extensive teaching he transmitted an aesthetic for the performance of seventeenth-and eighteenth-century music that still influences the reception and production of Early Music today. This article argues that aspects of that aesthetic can be traced to Protestant ideologies of Bach performance prevalent in Germany at the turn of the twentieth century as promoted by certain members of the Neue Bachgesellschaft. The ardent attempts of these theologians and musicologists to return J. S. Bach’s church cantatas to the Evangelical service in Germany (here referred to as the kirchliche Bachbewegung) were linked to ideals of a performance style free from ego and virtuosity. It was believed that by performing the cantatas in a pious spirit, returning them to the service in acts of selfless devotion, the dangerous doctrine of l’art pour l’art could be repudiated. Musicians would then bring spiritual renewal to the German people through Bach’s art. These ideals of performance were taken over and adjusted to the Dutch Calvinist situation by members of the Nederlandse Bachvereniging (Netherlands Bach Society). Leonhardt himself attributed his decision to become a musician to his youthful association with this society. However, rather than ascribing Leonhardt’s absorbtion of key principles of performance to some form of religious indoctrination, it is argued here that his fervent personal Protestant faith formed him to a manner of thinking much in sympathy with the ideals of the Nederlandse Bachvereniging.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"48 - 92"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41824516","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

The Routledge Research Companion to Johann Sebastian Bach ed. by Robin A. Leaver (review) 《约翰·塞巴斯蒂安·巴赫的劳特利奇研究伙伴》，罗宾·a·利弗主编(评论)

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.1353/bach.2018.0010

Bettina Varwig

引用次数: 0

Bach Cantatas: in Print and Recordings 巴赫康塔塔:印刷和录音

IF 0.1 4区艺术学

BACH Pub Date : 2022-01-01 DOI: 10.22513/BACH.48.1.0093

R. Leaver

引用次数: 0

A History of Western Choral Music by Chester L. Alwes (review) 切斯特·l·阿尔维斯《西方合唱音乐史》(书评)