Pub Date : 2022-01-01DOI: 10.1353/bach.2014.a808486
Mary Greer
{"title":"\"Denn er ist unser Friede\" [\"For He is our peace\"]: The Significance of the Marking \"Due Chori in unisono\" in the Autograph Score of J. S. Bach's St. Matthew Passion","authors":"Mary Greer","doi":"10.1353/bach.2014.a808486","DOIUrl":"https://doi.org/10.1353/bach.2014.a808486","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"45 1","pages":"44 - 89"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42348104","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":"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}
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":"41 1","pages":"24 - 60"},"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}
Pub Date : 2022-01-01DOI: 10.1353/bach.2014.a808494
Robin A. Leaver
{"title":"Letter Codes Relating to Pitch and Key for Chorale Melodies and Bach's Contributions to the Schemelli \"Gesangbuch\"","authors":"Robin A. Leaver","doi":"10.1353/bach.2014.a808494","DOIUrl":"https://doi.org/10.1353/bach.2014.a808494","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"45 1","pages":"15 - 33"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42489253","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":"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}
Pub Date : 2022-01-01DOI: 10.22513/bach.48-49.2-1.0009
J. Butt
{"title":"Leonhardt’s Role in the Invention of Historically Informed Performance","authors":"J. Butt","doi":"10.22513/bach.48-49.2-1.0009","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0009","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"12 - 9"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47057531","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":"45 1","pages":"105 - 94"},"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}
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
约翰·塞巴斯蒂安·巴赫与他的祖先和同时代人的作品的接触，从一开始就一次又一次地占据了巴赫的研究激励的原因和动力一直是渴望更深入地了解巴赫自己作品的起源，并通过揭示传记，历史和风格以及纯粹的音乐联系，更好地理解托马斯康托尔的如此“独特”[“弗雷登”]和“与其他作曲家相似”[“keinem anderen Componisten”ähnlich]2音乐。可以肯定的是，与早期的学术研究相比，今天巴赫对实际或假想模型的艺术参与以一种更复杂的方式进行了评估。然而，确定各种“影响巴赫生活和工作的历史和艺术/音乐现象”仍然是巴赫研究最紧迫的任务之一。克尔斯滕·贝ß温格在对约翰·塞巴斯蒂安·巴赫1990年出版的音乐库的研究中，系统地调查了150年来的学术研究结果，并在此基础上
{"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}
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":"49 1","pages":"266 - 280"},"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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