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":"45 1","pages":"1 - 14"},"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}
{"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":"51 1","pages":"1 - 4"},"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":"52 1","pages":"226 - 232"},"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}
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":"49 1","pages":"402 - 424"},"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}
{"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":"52 1","pages":"233 - 236"},"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}
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":"46 1","pages":"2 - 28"},"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, which began life as a lecture at the Bethlehem Bach Festival in 2018, was mainly intended as a celebration of Greg Funfgeld's thirty-five years as the conductor and artistic director of the Bach Choir of Bethlehem—significantly longer than any other conductor of the Choir. But it was necessary to put this achievement into the context of the origins of the Bethlehem Bach Festival—how the concern to hear the major works of the Leipzig Kantor led to this annual tradition of performing not only the vocal works of Bach but also his orchestral and chamber music, as well as his keyboard and organ music. When Funfgeld became the conductor of the Choir, its performances were concentrated in two weeks in early May each year. Under his leadership, spring and Christmas concerts were soon added; then there were performances in schools, then lunchtime concerts, recordings, tours, and other opportunities for performing Bach. A subplot of the Funfgeld years in Bethlehem continues to be the influence of Westminster Choir College, where Funfgeld studied, and where others of his collaborators were either faculty or students, including myself, who in 2018 brought to an end thirty-four years of writing program notes for concerts and liner notes for recordings of the Bethlehem Bach Choir. It seems appropriate that such milestones should be recorded in BACH: Journal of the Riemenschneider Bach Institute, which celebrates its half century this year.
{"title":"History Past and Present: Celebrating Two Milestones of the Bach Choir of Bethlehem","authors":"Robin A. Leaver","doi":"10.22513/bach.51.1.0122","DOIUrl":"https://doi.org/10.22513/bach.51.1.0122","url":null,"abstract":"Abstract:This article, which began life as a lecture at the Bethlehem Bach Festival in 2018, was mainly intended as a celebration of Greg Funfgeld's thirty-five years as the conductor and artistic director of the Bach Choir of Bethlehem—significantly longer than any other conductor of the Choir. But it was necessary to put this achievement into the context of the origins of the Bethlehem Bach Festival—how the concern to hear the major works of the Leipzig Kantor led to this annual tradition of performing not only the vocal works of Bach but also his orchestral and chamber music, as well as his keyboard and organ music. When Funfgeld became the conductor of the Choir, its performances were concentrated in two weeks in early May each year. Under his leadership, spring and Christmas concerts were soon added; then there were performances in schools, then lunchtime concerts, recordings, tours, and other opportunities for performing Bach. A subplot of the Funfgeld years in Bethlehem continues to be the influence of Westminster Choir College, where Funfgeld studied, and where others of his collaborators were either faculty or students, including myself, who in 2018 brought to an end thirty-four years of writing program notes for concerts and liner notes for recordings of the Bethlehem Bach Choir. It seems appropriate that such milestones should be recorded in BACH: Journal of the Riemenschneider Bach Institute, which celebrates its half century this year.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"122 - 138"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47506320","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 last decade of his life, C. P. E. Bach was much concerned with his place in music history. In various letters he talks about his “swan song” (the oratorio Die Auferstehung und Himmelfahrt Jesu), about plans to complete his oeuvre, and about destroying his juvenile pieces. Parallel to this, he must have worked intensively on a new comprehensive catalogue of his own works, which replaced older inventories and eventually served as the basis for the Nachlaß Verzeichnis published by his heirs in 1790. Bach designed a chronological numbering system for his contributions to various genres of instrumental music, while the vocal works were registered in a less systematic fashion. The numbers and references to the place and date of composition found in the Nachlaß Verzeichnis correspond with entries on the title pages of his autograph manuscripts, the so-called house copies. An analysis of these entries shows that Bach’s work was guided not only by the principle of bibliographic correctness, but also by his aim to shape the recognition of his identity and public persona as well as his accomplishments as a composer for posterity.
摘要:在巴赫生命的最后十年里，他非常关注自己在音乐史上的地位。在不同的信件中，他谈到了他的“绝唱”(清唱剧《Auferstehung und Himmelfahrt jesus》)，完成他的全部作品的计划，以及毁掉他年轻的作品。与此同时，他必须集中精力为自己的作品制作一个新的综合目录，以取代旧的目录，并最终成为1790年由他的继承人出版的Nachlaß Verzeichnis的基础。巴赫为他对各种类型的器乐的贡献设计了一个时间顺序编号系统，而声乐作品则以一种不那么系统的方式进行了登记。在Nachlaß Verzeichnis中发现的编号和对写作地点和日期的参考与他的亲笔手稿的标题页上的条目一致，即所谓的家庭副本。对这些条目的分析表明，巴赫的作品不仅遵循书目正确的原则，而且还遵循他的目标，即塑造对他的身份和公众形象的认可，以及他作为后代作曲家的成就。
{"title":"“they can bring me much honor even after my death”: C. P. E. Bach as Compiler of His Estate Catalogue","authors":"Peter Wollny","doi":"10.22513/BACH.52.1.0062","DOIUrl":"https://doi.org/10.22513/BACH.52.1.0062","url":null,"abstract":"Abstract:In the last decade of his life, C. P. E. Bach was much concerned with his place in music history. In various letters he talks about his “swan song” (the oratorio Die Auferstehung und Himmelfahrt Jesu), about plans to complete his oeuvre, and about destroying his juvenile pieces. Parallel to this, he must have worked intensively on a new comprehensive catalogue of his own works, which replaced older inventories and eventually served as the basis for the Nachlaß Verzeichnis published by his heirs in 1790. Bach designed a chronological numbering system for his contributions to various genres of instrumental music, while the vocal works were registered in a less systematic fashion. The numbers and references to the place and date of composition found in the Nachlaß Verzeichnis correspond with entries on the title pages of his autograph manuscripts, the so-called house copies. An analysis of these entries shows that Bach’s work was guided not only by the principle of bibliographic correctness, but also by his aim to shape the recognition of his identity and public persona as well as his accomplishments as a composer for posterity.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"52 1","pages":"62 - 71"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46851171","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.2011.a820294
Robin A. Leaver
{"title":"Suggestions for Future Research into Bach and the Chorale: Aspects of Repertoire, Pedagogy, Theory, and Practice","authors":"Robin A. Leaver","doi":"10.1353/bach.2011.a820294","DOIUrl":"https://doi.org/10.1353/bach.2011.a820294","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"42 1","pages":"40 - 63"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48448282","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：