[This work] represents the content of courses on the history of choral literature taught to hundreds of upper-level undergraduate and graduate students during my tenure at the University of Illinois at Urbana-Champaign . . . . The classes were always multisemester units . . . . The emphasis was on covering representative composers and genres to establish paradigms that would serve these students throughout their careers . . . . I am constantly, often painfully, aware of how much is left unsaid, despite the genuine desire to be as thorough as possible . . . . In my classes, such gaps were routinely filled by individual research projects, and I expect the same result to ensue here.1
{"title":"A History of Western Choral Music by Chester L. Alwes (review)","authors":"M. Unger","doi":"10.1353/bach.2017.0006","DOIUrl":"https://doi.org/10.1353/bach.2017.0006","url":null,"abstract":"[This work] represents the content of courses on the history of choral literature taught to hundreds of upper-level undergraduate and graduate students during my tenure at the University of Illinois at Urbana-Champaign . . . . The classes were always multisemester units . . . . The emphasis was on covering representative composers and genres to establish paradigms that would serve these students throughout their careers . . . . I am constantly, often painfully, aware of how much is left unsaid, despite the genuine desire to be as thorough as possible . . . . In my classes, such gaps were routinely filled by individual research projects, and I expect the same result to ensue here.1","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43172665","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}
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.
作为音乐学的一个重要领域，创作旧音乐的新版本通常有两个目标：丰富我们对历史的理解，同时为当前的音乐实践提供新的材料——这一目标得到了过度使用的“被不公正地遗忘的大师”的概念的有力（和可疑）证明。所采用的编辑方法假定要编辑的作品具有无可争议的高质量；大师认为原作是完美无瑕的。由此可知，这部作品中的所有错误都是由于有缺陷的传播，因此必须在新版中进行修订。同样，在传播过程中，另一只手对作品所做的所有添加都达不到大师的水平；因此，他们也不得不离开。这种态度导致了对原文进行编辑的《乌尔都语》的理想。尽管近几十年来，这个词有很多不同的解释，但它仍然意味着新版必须尽可能关注作曲家的证据，任何形式的外国解释都将被排除在外。没有必要对这些原则的普遍有效性提出质疑。然而，无论谁遵循它们（坚信对真理的承诺要求澄清作曲家的意图，否则我们的学科就没有意义），都必须意识到这种方法的局限性，才能有效地使用它。以下意见将考虑其中一些限制。像约翰·塞巴斯蒂安·巴赫（Johann Sebastian Bach）的《马太受难记》（St.Matthew Passion）这样的作品非常适合澄清这些问题，因为作品的质量或作曲家的能力是毋庸置疑的。因此，我们将能够专注于编辑问题。
{"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":null,"pages":null},"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}
In February 2013 the Bach Collegium Japan, under the direction of Masaaki Suzuki, came to the end of their project of performing and recording all the sacred cantatas of Bach with concerts in Kobe and Tokyo of three cantatas: Freue dich, erlöste Schar (BWV 30), Lobe den Herrn, meine Seele (BWV 69), and Gloria in excelsis Deo (BWV 191).1 This was a significant milestone and I was invited to give pre-concert lectures before the two performances. Since a video disk charting the progress of the whole series, focusing on these final concerts, has recently been issued, it seems like the right time to make these lectures accessible.2 The first pre-concert lecture was given in Kobe Shoin Women’s University Chapel on 23 February, and the second at Tokyo Opera City Concert Hall on the following day. They are given here in lightly edited versions.
2013年2月，日本巴赫学院在铃木雅明的指导下，结束了他们在神户和东京举行的三场音乐会，演奏和录制了巴赫所有神圣的康塔塔:Freue dich, erlöste Schar (BWV 30)， Lobe den Herrn, meine Seele (BWV 69)和Gloria In excelsis Deo (BWV 191)这是一个重要的里程碑，我被邀请在两场演出之前做音乐会前的讲座。由于最近发行了一个记录整个系列的进展情况的光盘，重点是这些最后的音乐会，现在似乎是时候把这些讲座提供给大家了第一次音乐会前讲座于2月23日在神户Shoin女子大学教堂举行，第二次于第二天在东京歌剧城音乐厅举行。这里给出的是经过轻微编辑的版本。
{"title":"Bach Cantatas: in Print and Recordings","authors":"R. Leaver","doi":"10.22513/BACH.48.1.0093","DOIUrl":"https://doi.org/10.22513/BACH.48.1.0093","url":null,"abstract":"In February 2013 the Bach Collegium Japan, under the direction of Masaaki Suzuki, came to the end of their project of performing and recording all the sacred cantatas of Bach with concerts in Kobe and Tokyo of three cantatas: Freue dich, erlöste Schar (BWV 30), Lobe den Herrn, meine Seele (BWV 69), and Gloria in excelsis Deo (BWV 191).1 This was a significant milestone and I was invited to give pre-concert lectures before the two performances. Since a video disk charting the progress of the whole series, focusing on these final concerts, has recently been issued, it seems like the right time to make these lectures accessible.2 The first pre-concert lecture was given in Kobe Shoin Women’s University Chapel on 23 February, and the second at Tokyo Opera City Concert Hall on the following day. They are given here in lightly edited versions.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48003178","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}
Pub Date : 2022-01-01DOI: 10.1353/bach.2010.a820313
D. Schulenberg
{"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":null,"pages":null},"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}
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.
{"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":null,"pages":null},"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}
Pub Date : 2022-01-01DOI: 10.1353/bach.2014.a808506
Mark A. Peters
{"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":null,"pages":null},"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}
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.
摘要:20世纪60年代初，作为战后意大利知识分子的领军人物之一，帕索里尼开始了他非凡的电影导演生涯，代表作有《Accattone》(1961)和《Il Vangelo Secondo Matteo》(《St. Matthew的福音》，1964)。和帕索里尼的其他作品一样，这两部电影描绘了坚韧不拔的底层社会，一部发生在当代战后的意大利，另一部发生在圣经时代。由于这两部电影的主题是一个被边缘化的社会，人们很容易将它们视为政治和文化评论。和费里尼的《大街》(1954)一样，帕索里尼的电影在表面上采用了一种新现实主义的气质。但事实上，他们很快就显露出一种印象派的气质，把他们的人物和故事放在一个永恒的世界里。Accattone和Vangelo的角色似乎与整个世界隔绝，因此充满了史诗神话的感觉。暴力和贫穷是最基本的因素，与战后意大利的经济和社会“进步”相去甚远。本文探讨了帕索里尼将巴赫的作品作为美学、结构和变革手段的运用。在这两部电影中，帕索里尼都依靠巴赫的音乐来升华边缘化的世界和他们的角色，使他们超越了他们坚韧不拔的外在本性。特别是，帕索里尼对巴赫的《马太受难曲》的使用，引起了一种经常与电影中世俗的视觉和叙事元素相矛盾的解释。但帕索里尼对音乐的运用超越了审美的提升。巴赫的《马太受难曲》，作为一种宗教对象，将他的人物(在基督的例子中是直接的，但在维托里奥/Accattone的例子中却与直觉相反)转变为神话般的精神人物，他们既被牺牲又神圣不可侵犯。
{"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":null,"pages":null},"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}
Pub Date : 2022-01-01DOI: 10.22513/BACH.48-49.2-1.0021
Peter Wolf
{"title":"Reminiscences of Three Performers and an Instrument Maker","authors":"Peter Wolf","doi":"10.22513/BACH.48-49.2-1.0021","DOIUrl":"https://doi.org/10.22513/BACH.48-49.2-1.0021","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45534595","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}
Abstract:Charles-Marie Widor was a detail-oriented composer and an even more meticulous editor of his own works, returning to his pieces time after time to make slight alterations and sometimes replace entire sections. This habit is especially true of the second movement of his Symphonie I, Allegretto. Widor produced numerous versions, three of which were published over a span of almost fifty years. Each version differs in various respects, from slight alterations of voicing to replacing entire passages.A newly discovered manuscript in the Riemenschneider Bach Institute (RBI) of Baldwin Wallace University may represent a possible middle point among the three published versions. The manuscript, which includes only the central portion of the Allegretto, was found in the collection of Dr. Albert Riemenschneider, Widor's student and close friend. A thorough comparison of this manuscript to the three published versions (edited by John Near and also held in the RBI) reveals that it is not identical to any one published version. While sections of each published version are comparable to the manuscript, it includes additional, new material that does not appear in any modern edition.Correspondence between Widor and Riemenschneider indicates that Widor often requested Riemenschneider's advice when composing and that Riemenschneider would play and make revisions of Widor's works in front of the composer. The manuscript appears to be in the hand of Riemenschneider or his copyist and exhibits a snapshot of the process of revision, which may represent either Widor's ideas, Riemenschneider's, or a collaboration between the two. This unique and previously unknown manuscript represents an important addition to our understanding of the numerous revisions of Widor's Allegretto.
摘要:查尔斯-玛丽·维多是一位注重细节的作曲家，对自己的作品更是一丝不苟的编辑，他会一次又一次地回到自己的作品中做一些细微的修改，有时甚至会替换整个部分。这种习惯在他的第一交响曲《快板》的第二乐章中表现得尤为明显。维多制作了许多版本，其中三个版本在近50年的时间里出版。每个版本在许多方面都有所不同，从声音的轻微改变到替换整个段落。鲍德温华莱士大学Riemenschneider Bach Institute (RBI)的一份新发现的手稿可能代表了三个已出版版本中的一个中间点。这份手稿，只包括快板的中心部分，是在阿尔伯特·莱门施奈德博士的收藏中发现的，他是维多的学生和密友。将这份手稿与三个出版版本(由约翰·尼尔编辑，也在印度储备银行持有)进行彻底比较，发现它与任何一个出版版本都不相同。虽然每个出版版本的部分都与手稿相当，但它包括了在任何现代版本中都没有出现的额外新材料。Widor与Riemenschneider的通信表明，Widor在创作时经常征求Riemenschneider的意见，Riemenschneider会在作曲家面前演奏和修改Widor的作品。手稿似乎在Riemenschneider或他的抄写员手中，并展示了修改过程的快照，这可能代表了Widor的想法，Riemenschneider的，或者是两人之间的合作。这个独特的，以前不为人知的手稿代表了我们对威多快板的无数修订版的理解的重要补充。
{"title":"Striving for Perfection: A New Widor Source","authors":"Matthew Wachtman","doi":"10.22513/bach.52.2.0196","DOIUrl":"https://doi.org/10.22513/bach.52.2.0196","url":null,"abstract":"Abstract:Charles-Marie Widor was a detail-oriented composer and an even more meticulous editor of his own works, returning to his pieces time after time to make slight alterations and sometimes replace entire sections. This habit is especially true of the second movement of his Symphonie I, Allegretto. Widor produced numerous versions, three of which were published over a span of almost fifty years. Each version differs in various respects, from slight alterations of voicing to replacing entire passages.A newly discovered manuscript in the Riemenschneider Bach Institute (RBI) of Baldwin Wallace University may represent a possible middle point among the three published versions. The manuscript, which includes only the central portion of the Allegretto, was found in the collection of Dr. Albert Riemenschneider, Widor's student and close friend. A thorough comparison of this manuscript to the three published versions (edited by John Near and also held in the RBI) reveals that it is not identical to any one published version. While sections of each published version are comparable to the manuscript, it includes additional, new material that does not appear in any modern edition.Correspondence between Widor and Riemenschneider indicates that Widor often requested Riemenschneider's advice when composing and that Riemenschneider would play and make revisions of Widor's works in front of the composer. The manuscript appears to be in the hand of Riemenschneider or his copyist and exhibits a snapshot of the process of revision, which may represent either Widor's ideas, Riemenschneider's, or a collaboration between the two. This unique and previously unknown manuscript represents an important addition to our understanding of the numerous revisions of Widor's Allegretto.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43377122","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}
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.
摘要：对巴赫咏叹调形式的详细研究为本科生——尤其是声乐专业的学生——提供了一个令人耳目一新的、有益的改变，而不是在理论课程中通常以器乐为分析重点。1714年创作的著名巴赫康塔塔的两首咏叹调，来自Nun komm，der Heiden Heiland BWV 61的“Öffne dich，mein ganzes Herze”和来自Ich hatte viel Bekümmernis BWV 21的“Erfreue dich，Seele”，为严格的达卡波形式提供了极好的介绍，学生们还可以分析一个相对简单的修改da capo形式的例子：“Erfüllet，ihr himlischen，göttlichen Flammen”，出自1725年创作的Wie schön leuchet der Morgenstern BWV 1。这些咏叹调之间的相似之处使学生在为独奏声音写作时能够感受到巴赫的旋律风格，而它们的差异则揭示了他对达卡波形式的处理方式是多么的多样化。在研究每个咏叹调的形式之前，应该仔细注意巴赫设定的德语文本的声音和含义。学生应该学会设计显示基本形式特征的图表，包括器乐里托内利和声乐短语之间的交替，通过韵律表达短语，以及为每个短语或小节分配特定的诗行。
{"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":null,"pages":null},"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}
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