{"title":"Leipzig after Bach: Church & Concert Life in a German City by Jeffrey S. Sposato (review)","authors":"R. Larry Todd","doi":"10.1353/bach.2019.0008","DOIUrl":"https://doi.org/10.1353/bach.2019.0008","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"50 1","pages":"308 - 313"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48823174","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.2013.a808500
M. Serebrennikov
{"title":"Once Again on the Authorship of BWV 907 and BWV 908","authors":"M. Serebrennikov","doi":"10.1353/bach.2013.a808500","DOIUrl":"https://doi.org/10.1353/bach.2013.a808500","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"44 1","pages":"52 - 66"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42503965","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:During his twenty-year tenure as music director of the five principal churches in Hamburg (1768–1788), Carl Philipp Emanuel Bach prepared twenty-one Passions, five each on the Gospels of Mark, Luke, and John, and six on the Gospel of Matthew. The longest setting also happens to be the first, the St. Matthew Passion of 1769, the music of which was later incorporated into his Passions-Cantate Wq 233. Even this first Passion uses chorales from Johann Sebastian Bach’s St. Matthew Passion, and all twenty-one Passions are pasticcios to a greater or lesser extent. The earlier settings mostly incorporate music by other composers, including Georg Philipp Telemann, Gottfried Heinrich Stölzel, Georg Anton Benda, and Gottfried August Homilius, often using parody texts for the arias. But in his second decade, Bach more frequently adapted his own songs as choruses or arias, and in his last settings he wrote almost entirely new music. This article traces the evolution of his St. John Passion settings from his first setting in 1772 through his last in 1788.
摘要:卡尔·菲利普·伊曼纽尔·巴赫(Carl Philipp Emanuel Bach)在担任汉堡五大教堂音乐总监的20年间(1768-1788)创作了21首《受难曲》，其中马可福音、路加福音和约翰福音各5首，马太福音6首。最长的背景恰好也是第一段，1769年的《马太受难曲》(St. Matthew受难曲)，它的音乐后来被收录到他的《受难曲》中。即使是这首受难曲也使用了约翰·塞巴斯蒂安·巴赫的《马太受难曲》的赞美诗，所有21首受难曲或多或少都是模仿的。早期的场景主要是由其他作曲家作曲，包括乔治·菲利普·泰勒曼，戈特弗里德·海因里希Stölzel，乔治·安东·本达和戈特弗里德·奥古斯特·霍米利厄斯，经常使用模仿文本的咏叹调。但在他生命的第二个十年里，巴赫更频繁地将自己的歌曲改编为合唱或咏叹调，在他生命的最后阶段，他创作了几乎全新的音乐。这篇文章追溯了他从1772年的第一个场景到1788年的最后一个场景的演变。
{"title":"The Evolution of C. P. E. Bach’s St. John Passions","authors":"Paul E. Corneilson","doi":"10.22513/BACH.52.1.0046","DOIUrl":"https://doi.org/10.22513/BACH.52.1.0046","url":null,"abstract":"Abstract:During his twenty-year tenure as music director of the five principal churches in Hamburg (1768–1788), Carl Philipp Emanuel Bach prepared twenty-one Passions, five each on the Gospels of Mark, Luke, and John, and six on the Gospel of Matthew. The longest setting also happens to be the first, the St. Matthew Passion of 1769, the music of which was later incorporated into his Passions-Cantate Wq 233. Even this first Passion uses chorales from Johann Sebastian Bach’s St. Matthew Passion, and all twenty-one Passions are pasticcios to a greater or lesser extent. The earlier settings mostly incorporate music by other composers, including Georg Philipp Telemann, Gottfried Heinrich Stölzel, Georg Anton Benda, and Gottfried August Homilius, often using parody texts for the arias. But in his second decade, Bach more frequently adapted his own songs as choruses or arias, and in his last settings he wrote almost entirely new music. This article traces the evolution of his St. John Passion settings from his first setting in 1772 through his last in 1788.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"33 4","pages":"46 - 61"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41269753","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.2013.a808492
Kayoung Lee
{"title":"The Reception of Bach's Music in Korea from 1900 to 1945","authors":"Kayoung Lee","doi":"10.1353/bach.2013.a808492","DOIUrl":"https://doi.org/10.1353/bach.2013.a808492","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"44 1","pages":"25 - 51"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46064217","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":"C. P. E. Bach ed. by David Schulenberg (review)","authors":"R. Sanders","doi":"10.1353/bach.2018.0028","DOIUrl":"https://doi.org/10.1353/bach.2018.0028","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"432 - 441"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43832296","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.2015.a808480
Don O. Franklin
{"title":"In Memoriam: Martin Petzoldt (13 April 1946-13 March 2015)","authors":"Don O. Franklin","doi":"10.1353/bach.2015.a808480","DOIUrl":"https://doi.org/10.1353/bach.2015.a808480","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"46 1","pages":"1 - 1"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45069920","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}
Period instrumentalist and early music scholar Geoffrey Burgess breathes new life into an ambitious book project titled The Pathetick Musician, preserved in outlines, rough drafts, and loose notes by the early music specialist Bruce Haynes (1942–2011). Positioning The Pathetick Musician (2016) between contemporary meta-treatises, such as Judith Tarling’s Weapons of Rhetoric (2004) and Nikolaus Harnoncourt’s Baroque Music Today ([1982] 1988), and historical tutors by Johann Joachim Quantz (1752) and C. P. E. Bach ([1753] 1787), Haynes recorded “his own ideas of what is good musicking, based on a healthy respect for the performing traditions described in [the above] books as well as [his] ... experience as a professional performing musician” (xxiv).1 Haynes’s recent death left the manuscript only partially realized, making the (re) construction of The Pathetick Musician by Burgess as much a revival as it is a study for Bach revivalists. The Pathetick Musician fills two gaps in early music performance studies. It provides a practical method for identifying and employing specific seventeenthand eighteenth-century rhetorical devices, as heard in selected recordings of the vocal works of J. S. Bach (as well as other composers). At the same time, it grants readers a tantalizing glimpse of the inner musicality of a compelling early music pioneer—whose intellectual prowess, distinct style, and rebellious attitude embodied the efforts of a once groundbreaking but now mainstream movement. As more early music pioneers like Haynes pass away and the so-called oldschool elements of the movement supposedly fade, books such as this one
{"title":"A Revival for Bach Revivalists","authors":"David N. Kjar","doi":"10.22513/BACH.49.2.0425","DOIUrl":"https://doi.org/10.22513/BACH.49.2.0425","url":null,"abstract":"Period instrumentalist and early music scholar Geoffrey Burgess breathes new life into an ambitious book project titled The Pathetick Musician, preserved in outlines, rough drafts, and loose notes by the early music specialist Bruce Haynes (1942–2011). Positioning The Pathetick Musician (2016) between contemporary meta-treatises, such as Judith Tarling’s Weapons of Rhetoric (2004) and Nikolaus Harnoncourt’s Baroque Music Today ([1982] 1988), and historical tutors by Johann Joachim Quantz (1752) and C. P. E. Bach ([1753] 1787), Haynes recorded “his own ideas of what is good musicking, based on a healthy respect for the performing traditions described in [the above] books as well as [his] ... experience as a professional performing musician” (xxiv).1 Haynes’s recent death left the manuscript only partially realized, making the (re) construction of The Pathetick Musician by Burgess as much a revival as it is a study for Bach revivalists. The Pathetick Musician fills two gaps in early music performance studies. It provides a practical method for identifying and employing specific seventeenthand eighteenth-century rhetorical devices, as heard in selected recordings of the vocal works of J. S. Bach (as well as other composers). At the same time, it grants readers a tantalizing glimpse of the inner musicality of a compelling early music pioneer—whose intellectual prowess, distinct style, and rebellious attitude embodied the efforts of a once groundbreaking but now mainstream movement. As more early music pioneers like Haynes pass away and the so-called oldschool elements of the movement supposedly fade, books such as this one","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"425 - 428"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49440585","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}
Bach’s unfinished Air with Variations in C Minor BWV 991, from the 1722 Clavierbüchlein für Anna Magdalena Bach, may have been designed as a set of compositional exercises for students to complete. This essay uses the first variation, which consists of a single melodic line with no other voices, as a cantus firmus for a progressive series of projects in composition or improvisation, suitable for an undergraduate course in eighteenth-century counterpoint. The first two projects provide a transition from previous work students may have done in strict species counterpoint in the Fux tradition. In project 1 they add a counterpoint entirely in eighth notes below the cantus firmus, while in project 2 they add a counterpoint in sixteenth notes. Project 3 is intended to sound more like “real” music, requiring students to add two voices in free rhythms beneath the given melody. This encourages them to maximize the expressive use of dissonance while achieving rhythmic fluency and melodic independence in a three-part texture. Since much of the pedagogy of counterpoint in Western music has depended on an oral tradition, this approach tries to fill in gaps in the oral record by guiding students and teachers through all the steps of planning and execution involved in completing these projects. Example 1. J. S. Bach, Air with Variations in C Minor BWV 991, mm. 17–32, renumbered here as mm. 1–16 (hereafter “J. S. Bach, cantus firmus”) { { TM TM TM TM 5 TM TM TM TM TM TM TM TM 10 15 2 4 2 4 & b b b Example 1: J.S. Bach, Aria with Variations in C minor, BWV 991, mm. 17 32, renumbered here as mm. 1 16; hereafter called "Bach, cantus firmus"
{"title":"Composition Lessons with Bach","authors":"K. Korsyn","doi":"10.22513/bach.49.2.0227","DOIUrl":"https://doi.org/10.22513/bach.49.2.0227","url":null,"abstract":"Bach’s unfinished Air with Variations in C Minor BWV 991, from the 1722 Clavierbüchlein für Anna Magdalena Bach, may have been designed as a set of compositional exercises for students to complete. This essay uses the first variation, which consists of a single melodic line with no other voices, as a cantus firmus for a progressive series of projects in composition or improvisation, suitable for an undergraduate course in eighteenth-century counterpoint. The first two projects provide a transition from previous work students may have done in strict species counterpoint in the Fux tradition. In project 1 they add a counterpoint entirely in eighth notes below the cantus firmus, while in project 2 they add a counterpoint in sixteenth notes. Project 3 is intended to sound more like “real” music, requiring students to add two voices in free rhythms beneath the given melody. This encourages them to maximize the expressive use of dissonance while achieving rhythmic fluency and melodic independence in a three-part texture. Since much of the pedagogy of counterpoint in Western music has depended on an oral tradition, this approach tries to fill in gaps in the oral record by guiding students and teachers through all the steps of planning and execution involved in completing these projects. Example 1. J. S. Bach, Air with Variations in C Minor BWV 991, mm. 17–32, renumbered here as mm. 1–16 (hereafter “J. S. Bach, cantus firmus”) { { TM TM TM TM 5 TM TM TM TM TM TM TM TM 10 15 2 4 2 4 & b b b Example 1: J.S. Bach, Aria with Variations in C minor, BWV 991, mm. 17 32, renumbered here as mm. 1 16; hereafter called \"Bach, cantus firmus\"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"227 - 247"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49306429","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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