{"title":"Editorial: Tribute to Dr. Elinore L. Barber","authors":"Christina Fuhrmann","doi":"10.22513/bach.51.1.0001","DOIUrl":"https://doi.org/10.22513/bach.51.1.0001","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":"49437376","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":"Wendy Carlos: A Biography by Amanda Sewell (review)","authors":"Bradley M. Spiers","doi":"10.1353/bach.2021.0016","DOIUrl":"https://doi.org/10.1353/bach.2021.0016","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":"41684724","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 Material and Spiritual Treasures: A Theological Perspective by Noelle M. Heber (review)","authors":"Mark A. Peters","doi":"10.1353/bach.2021.0014","DOIUrl":"https://doi.org/10.1353/bach.2021.0014","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":"42016100","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:The Kantate auf die 300-Jahr-Feyer der Edlen Buchdruckerkunst (the Cantata for the 300th anniversary of the art of book printing, hereafter the Gutenberg Cantata) is an unattributed manuscript from Die Sammlung Gorke in the Bach-Archiv Leipzig. This large, double-choir cantata has long been a subject of interest to scholars, but the circumstances of its composition and first performance have never been known. Now, however, a document has come to light that can answer these questions. My research has connected the Gutenberg Cantata with a performance in the Barfüßerkirche in Frankfurt am Main on 24 June 1740. I have determined that the music was composed by Heinrich Valentin Beck (1698–1758), then Frankfurt's Vice-Kapelldirector of Music. Beck is virtually forgotten, save for a dissertation by Bodo Wolf from 1911 and an article by Werner Menke from 1942. Only one other work, the early cantata Ich schicke mich zu meinem Ende, is currently firmly attributed to Beck. Wolf argued that six works attributed to Telemann were actually written by Beck, a testament to the similarities between Beck's and Telemann's compositional styles. Wolf's thesis, however, was discredited by Menke, and the Gutenberg Cantata thus offers one of two rare instances of a verifiable, original composition by Beck. It also reveals the importance that contemporaries accorded Gutenberg's invention of the printing press three centuries earlier, an event that was celebrated with elaborate ceremonies across Germany. This article illuminates the sources and context for this unusual cantata, whose origins have to this point been shrouded in mystery, and allows us to reassess Beck's role in the musical life of Frankfurt.
摘要：《300 Jahr Feyer der Edlen Buchdruckerkunst大合唱》（书籍印刷艺术300周年大合唱，以下简称《古腾堡大合唱》）是莱比锡巴赫档案馆的die Sammlung Gorke的一份未经致敬的手稿。长期以来，这首大型双唱诗班康塔塔一直是学者们感兴趣的主题，但其创作和首次表演的情况却一直未知。然而，现在，一份能够回答这些问题的文件曝光了。我的研究将古腾堡大合唱与1740年6月24日在美因河畔法兰克福Barfüßerkirche的一场演出联系起来。我已经确定这首音乐是由海因里希·瓦伦丁·贝克（1698-1758）创作的，他当时是法兰克福音乐副总监。贝克几乎被遗忘了，除了博多·沃尔夫1911年的一篇论文和沃纳·门克1942年的一文章。只有另一部作品，早期的康塔塔《Ich schicke mich zu meinem Ende》，目前被认为是贝克的作品。Wolf认为，泰勒曼的六部作品实际上是贝克写的，这证明了贝克和泰勒曼作曲风格的相似之处。然而，Wolf的论文遭到了Menke的质疑，因此《古腾堡大合唱》提供了贝克可验证的原创作品的两个罕见例子之一。它还揭示了三个世纪前同时代人对古腾堡发明印刷机的重视，德国各地都举行了精心策划的仪式来庆祝这一事件。这篇文章阐明了这首不同寻常的康塔塔的来源和背景，其起源至今仍笼罩在神秘之中，并使我们能够重新评估贝克在法兰克福音乐生活中的作用。
{"title":"A Mystery Unraveled: Who Composed the Gutenberg 300th Anniversary Cantata?","authors":"Mick Lim Bing Nan","doi":"10.1353/bach.2018.0024","DOIUrl":"https://doi.org/10.1353/bach.2018.0024","url":null,"abstract":"Abstract:The Kantate auf die 300-Jahr-Feyer der Edlen Buchdruckerkunst (the Cantata for the 300th anniversary of the art of book printing, hereafter the Gutenberg Cantata) is an unattributed manuscript from Die Sammlung Gorke in the Bach-Archiv Leipzig. This large, double-choir cantata has long been a subject of interest to scholars, but the circumstances of its composition and first performance have never been known. Now, however, a document has come to light that can answer these questions. My research has connected the Gutenberg Cantata with a performance in the Barfüßerkirche in Frankfurt am Main on 24 June 1740. I have determined that the music was composed by Heinrich Valentin Beck (1698–1758), then Frankfurt's Vice-Kapelldirector of Music. Beck is virtually forgotten, save for a dissertation by Bodo Wolf from 1911 and an article by Werner Menke from 1942. Only one other work, the early cantata Ich schicke mich zu meinem Ende, is currently firmly attributed to Beck. Wolf argued that six works attributed to Telemann were actually written by Beck, a testament to the similarities between Beck's and Telemann's compositional styles. Wolf's thesis, however, was discredited by Menke, and the Gutenberg Cantata thus offers one of two rare instances of a verifiable, original composition by Beck. It also reveals the importance that contemporaries accorded Gutenberg's invention of the printing press three centuries earlier, an event that was celebrated with elaborate ceremonies across Germany. This article illuminates the sources and context for this unusual cantata, whose origins have to this point been shrouded in mystery, and allows us to reassess Beck's role in the musical life of Frankfurt.","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":"43734242","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.a808508
P. Williams
{"title":"What is it to Write a Biography of J.S. Bach?","authors":"P. Williams","doi":"10.1353/bach.2014.a808508","DOIUrl":"https://doi.org/10.1353/bach.2014.a808508","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":"48628806","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.a808473
Don O. Franklin
{"title":"\"Recht Glauben, Christlig Leben, Seelig Sterben\": Johann Olearius and the Libretto of Cantata 67","authors":"Don O. Franklin","doi":"10.1353/bach.2015.a808473","DOIUrl":"https://doi.org/10.1353/bach.2015.a808473","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":"42105413","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: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.
{"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":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":"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}
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.
{"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":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":"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}
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