no matter what the season was,this was still a townthat existed in black and whiteand pulsated to the great tunesof George Gershwin.
This statement by Woody Allen's character Isaac Davis from the beginning of Manhattan (1979) reads like a poem and encapsulates the public perception of Allen's works as set in New York to soundtracks drawing upon the Great American Songbook and Dixieland jazz. Functioning as non-diegetic music—mood-setting background and transitional music connecting scenes—and as diegetic music for social gatherings, the repertoire reflects Allen's own interest in Dixieland music. But just as many of Allen's films are shot outside Manhattan, a large number of his close to fifty auteur films feature western art music, and often prominently so. In these films, classical music often functions as an upper-social-class marker, as characters attend the opera or the symphony, but this repertoire also provides dramatic emphasis or even comic relief. While Allen's classical sound world is dominated by opera and by the classical and Romantic orchestral repertoire, seven of his films feature music by J. S. Bach.
In this article, I analyze the Bach excerpts—in Alice (1990), Another Woman (1988), Crimes and Misdemeanors (1989), Hannah and Her Sisters (1986), Irrational Man (2015), Melinda and Melinda (2004), and Small Time Crooks (2000)—and show how several of the cues differ from what is perceived to be typical of Allen's soundtracks. Bach's works are used in a wide variety of contexts. For example, they constitute a poignant social commentary, as in their use in the film of Mother Teresa in Alice, and show intertextual relationships with the works of Ingmar Bergman—the filmmaker admired by Allen—in Hannah and Her Sisters. In Irrational Man, the use of Bach is an important aspect of the film: several of the main voice-over narrations, including the film's philosophical underpinnings, occur during Bach's music. Most often, however, Bach cues provide an instant mode change. But there is a paradox in that the jazz repertoire has been carefully chosen, while Bach appears as an afterthought left to a music editor, even for on-the-camera performances, and often in bland, non-significant recordings. But it does not follow that the lack of intention during the production stages diminishes the end result. While for a documentary on Mother Teresa, Mozart's Requiem could have worked as well, the intellectual aspect associated with Bach works particularly well in several films, especially Another Woman and Irrational Man.
摘要：无论季节如何，这仍然是一座黑白相间的城市，随着乔治·格什温（George Gershwin）的伟大曲调而跳动。伍迪·艾伦（Woody Allen）饰演的艾萨克·戴维斯（Isaac Davis）在《曼哈顿之初》（1979）中的这句话读起来像一首诗，概括了公众对艾伦作品的看法，这些作品以纽约为背景，配乐借鉴了伟大的美国歌曲集和Dixieland爵士乐。作为一种非传统音乐——情绪背景和连接场景的过渡音乐——以及社交聚会的传统音乐，这些曲目反映了艾伦自己对Dixieland音乐的兴趣。但是，正如艾伦的许多电影都是在曼哈顿以外拍摄的一样，他近50部导演电影中的许多都以西方艺术音乐为特色，而且往往是突出的。在这些电影中，古典音乐通常是上流社会的标志，角色们会去看歌剧或交响乐，但这些曲目也提供了戏剧性的强调，甚至是喜剧性的缓解。虽然艾伦的古典音乐世界以歌剧、古典和浪漫管弦乐曲目为主，但他的七部电影都以J·s·巴赫的音乐为特色。在这篇文章中，我分析了巴赫的节选——《爱丽丝》（1990）、《另一个女人》（1988）、《犯罪与不端行为》（1989）、《汉娜和她的姐妹》（1986）、《非理性的男人》（2015）、《梅琳达和梅琳达》（2004），和Small Time Crooks（2000），并展示了一些线索与艾伦的典型配乐有何不同。巴赫的作品被广泛用于各种各样的场合。例如，它们构成了一种辛酸的社会评论，就像在电影《爱丽丝梦游仙境》中的特蕾莎修女一样，并在《汉娜和她的姐妹》中与艾伦钦佩的电影制作人英格玛·伯格曼的作品呈现出互文关系。在《非理性的人》中，巴赫的使用是电影的一个重要方面：一些主要的配音叙事，包括电影的哲学基础，都发生在巴赫的音乐中。然而，大多数情况下，巴赫的提示提供了一个即时的模式变化。但有一个悖论是，爵士乐曲目是经过精心挑选的，而巴赫则是留给音乐编辑的事后想法，即使是在镜头前的表演中，而且往往是在平淡、不重要的录音中。但这并不意味着在生产阶段缺乏意图会减少最终结果。虽然对于一部关于特蕾莎修女的纪录片来说，莫扎特的安魂曲也可以发挥作用，但与巴赫相关的智力方面在几部电影中表现得特别好，尤其是《另一个女人》和《非理性的男人》。
{"title":"Another Woody: J. S. Bach in Dixieland","authors":"P. Broman","doi":"10.22513/bach.50.2.0254","DOIUrl":"https://doi.org/10.22513/bach.50.2.0254","url":null,"abstract":"<p>Abstract:</p><disp-quote><verse-group><verse-line><i>no matter what the season was</i>,</verse-line><verse-line><i>this was still a town</i></verse-line><verse-line><i>that existed in black and white</i></verse-line><verse-line><i>and pulsated to the great tunes</i></verse-line><verse-line><i>of George Gershwin</i>.</verse-line></verse-group></disp-quote><p>This statement by Woody Allen's character Isaac Davis from the beginning of <i>Manhattan</i> (1979) reads like a poem and encapsulates the public perception of Allen's works as set in New York to soundtracks drawing upon the <i>Great American Songbook</i> and Dixieland jazz. Functioning as non-diegetic music—mood-setting background and transitional music connecting scenes—and as diegetic music for social gatherings, the repertoire reflects Allen's own interest in Dixieland music. But just as many of Allen's films are shot outside Manhattan, a large number of his close to fifty auteur films feature western art music, and often prominently so. In these films, classical music often functions as an upper-social-class marker, as characters attend the opera or the symphony, but this repertoire also provides dramatic emphasis or even comic relief. While Allen's classical sound world is dominated by opera and by the classical and Romantic orchestral repertoire, seven of his films feature music by J. S. Bach.</p><p>In this article, I analyze the Bach excerpts—in <i>Alice</i> (1990), <i>Another Woman</i> (1988), <i>Crimes and Misdemeanors</i> (1989), <i>Hannah and Her Sisters</i> (1986), <i>Irrational Man</i> (2015), <i>Melinda and Melinda</i> (2004), and <i>Small Time Crooks</i> (2000)—and show how several of the cues differ from what is perceived to be typical of Allen's soundtracks. Bach's works are used in a wide variety of contexts. For example, they constitute a poignant social commentary, as in their use in the film of Mother Teresa in <i>Alice</i>, and show intertextual relationships with the works of Ingmar Bergman—the filmmaker admired by Allen—in <i>Hannah and Her Sisters</i>. In <i>Irrational Man</i>, the use of Bach is an important aspect of the film: several of the main voice-over narrations, including the film's philosophical underpinnings, occur during Bach's music. Most often, however, Bach cues provide an instant mode change. But there is a paradox in that the jazz repertoire has been carefully chosen, while Bach appears as an afterthought left to a music editor, even for on-the-camera performances, and often in bland, non-significant recordings. But it does not follow that the lack of intention during the production stages diminishes the end result. While for a documentary on Mother Teresa, Mozart's <i>Requiem</i> could have worked as well, the intellectual aspect associated with Bach works particularly well in several films, especially <i>Another Woman</i> and <i>Irrational Man</i>.</p>","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":"41311340","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.a820306
Joyce L. Irwin
{"title":"The Orthodox Lutheranism of Mattheson and Bach","authors":"Joyce L. Irwin","doi":"10.1353/bach.2011.a820306","DOIUrl":"https://doi.org/10.1353/bach.2011.a820306","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":"44061979","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.a808502
R. L. Marshall
{"title":"Bach: Music in the Castle of Heaven by John Eliot Gardiner (review)","authors":"R. L. Marshall","doi":"10.1353/bach.2014.a808502","DOIUrl":"https://doi.org/10.1353/bach.2014.a808502","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":"45725100","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":"Beyond Bach: Music and Everyday Life in the Eighteenth Century by Andrew Talle (review)","authors":"B. Reul","doi":"10.1353/bach.2018.0008","DOIUrl":"https://doi.org/10.1353/bach.2018.0008","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":"47419191","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 essay, which is equal parts pedagogy and advocacy piece for the study of tonal counterpoint, argues for the relevance of eighteenth-century counterpoint, not only for the training of music majors, but also for today's musical landscape. I outline the method by which I teach my eighteenth-century counterpoint class, with dual emphases on: 1) how I demonstrate and explain to students why studying counterpoint is relevant to their musical training; and 2) my goal of incorporating as much repertoire as possible into the course, which implicitly demonstrates counterpoint's relevance to the construction of all tonal music. Finally, this essay delineates what the study of tonal eighteenth-century counterpoint imparts that species counterpoint does not, and offers some concrete ways to explain this to students. Repertoire covered is enumerated, and the mechanics of assessing both repertoire knowledge and technical knowledge of counterpoint are detailed.
{"title":"On Relevance and Repertoire in the Eighteenth-Century Counterpoint Classroom","authors":"Melissa Hoag","doi":"10.22513/BACH.49.2.0388","DOIUrl":"https://doi.org/10.22513/BACH.49.2.0388","url":null,"abstract":"Abstract:This essay, which is equal parts pedagogy and advocacy piece for the study of tonal counterpoint, argues for the relevance of eighteenth-century counterpoint, not only for the training of music majors, but also for today's musical landscape. I outline the method by which I teach my eighteenth-century counterpoint class, with dual emphases on: 1) how I demonstrate and explain to students why studying counterpoint is relevant to their musical training; and 2) my goal of incorporating as much repertoire as possible into the course, which implicitly demonstrates counterpoint's relevance to the construction of all tonal music. Finally, this essay delineates what the study of tonal eighteenth-century counterpoint imparts that species counterpoint does not, and offers some concrete ways to explain this to students. Repertoire covered is enumerated, and the mechanics of assessing both repertoire knowledge and technical knowledge of counterpoint are detailed.","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":"47978647","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 late summer 2000, the International Bachakademie Stuttgart presented four new settings of the Passion of Christ to honor the 250th anniversary of Bach's death. Commissioned from a quartet of internationally respected composers, the terms of the project, titled "Passion 2000," called for each composer to select one of the canonic Gospels, and write a setting in his or her language of origin. The composers were Sofia Gubaidulina, Tan Dun, Osvaldo Golijov, and Wolfgang Rihm. Given the coincidence of the Bach anniversary with the millennium, the four Passion 2000 pieces each dealt with Bach's legacy, but also with the historical weight and expectations of the turn of the millennium and the violence of the receding twentieth century. In this article, I focus on Rihm's setting, Deus Passus: Passions-Stücke nach Lukas, which carried a particular burden as Rihm was constructed as the representative of the German Passion tradition. I argue that Rihm's numerous Bach references, embedded throughout the piece, are not merely allusive, but narrative. Through a close reading of some of the piece's most important movements, I argue that Rihm's Passion joins a long tradition of rethinking the figure of "Bach," who in this piece becomes a symbol of the unresolved past.
摘要：2000年夏末，斯图加特国际音乐节为纪念巴赫逝世250周年，推出了四个新的《基督受难记》场景。受国际知名作曲家四重奏的委托，该项目名为“激情2000”，要求每位作曲家选择一本经典福音书，并用自己的母语创作一个场景。作曲家有索菲亚·古拜杜利娜、谭盾、奥斯瓦尔多·戈利约夫和沃尔夫冈·里姆。考虑到巴赫周年纪念日与千禧年的巧合，《激情2000》的四首作品都涉及巴赫的遗产，但也涉及千禧年之交的历史分量和期望，以及正在消退的二十世纪的暴力。在这篇文章中，我关注的是里姆的背景，《Deus Passus:Passions Stücke nach Lukas》，它承载着一种特殊的负担，因为里姆是德国激情传统的代表。我认为，里姆在整首作品中对巴赫的大量引用不仅是暗示，而且是叙事。通过仔细阅读这首作品的一些最重要的动作，我认为里姆的《激情》加入了重新思考“巴赫”形象的悠久传统，在这首作品中，巴赫成为了未解决的过去的象征。
{"title":"Passion as History, History as Passion","authors":"A. Moore","doi":"10.22513/bach.52.2.0125","DOIUrl":"https://doi.org/10.22513/bach.52.2.0125","url":null,"abstract":"Abstract:In late summer 2000, the International Bachakademie Stuttgart presented four new settings of the Passion of Christ to honor the 250th anniversary of Bach's death. Commissioned from a quartet of internationally respected composers, the terms of the project, titled \"Passion 2000,\" called for each composer to select one of the canonic Gospels, and write a setting in his or her language of origin. The composers were Sofia Gubaidulina, Tan Dun, Osvaldo Golijov, and Wolfgang Rihm. Given the coincidence of the Bach anniversary with the millennium, the four Passion 2000 pieces each dealt with Bach's legacy, but also with the historical weight and expectations of the turn of the millennium and the violence of the receding twentieth century. In this article, I focus on Rihm's setting, Deus Passus: Passions-Stücke nach Lukas, which carried a particular burden as Rihm was constructed as the representative of the German Passion tradition. I argue that Rihm's numerous Bach references, embedded throughout the piece, are not merely allusive, but narrative. Through a close reading of some of the piece's most important movements, I argue that Rihm's Passion joins a long tradition of rethinking the figure of \"Bach,\" who in this piece becomes a symbol of the unresolved past.","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":"44399286","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":"Martha Arnold Fellowship at the Riemenschneider Bach Institute","authors":"Daniel Zager, Markus Rathey, Mary Greer","doi":"10.22513/bach.48.1.0136","DOIUrl":"https://doi.org/10.22513/bach.48.1.0136","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":"45896708","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:Johann Sebastian Bach's settings of the passion originated in a cultural context that was rich with numerous forms of devotion to the Passion of Christ. The Good Friday Vespers, during which Bach's passions were originally performed, were only one occasion when Leipzigers commemorated the suffering and death of Christ. Devotional texts encouraged early modern Lutherans to meditate on the passion throughout their daily lives. The multifaceted and multisensory forms of passion devotion can be seen in a number of texts that were published in the years surrounding the first performance of the St. John Passion in 1724. After a short exploration of the circumstances of the endowment of the Good Friday Vespers at the Leipzig St. Nicholas Church and an analysis of a multisensory passion manual by Abraham Wiegner (Nöthige Freytags-Arbeit), the essay focuses on an anonymous text (Christliche und Moralische Reflexiones), published in 1724, that interprets the passion narrative from the perspective of practical morality. The text was prefaced by Leipzig Superintendent Salomon Deyling, who also preached the sermons during Bach's passion performances. Both the anonymous text and Deyling's preface bring into sharper relief the multifaceted forms of passion devotion in Leipzig during the time of the creation and first performance of Bach's major passions. The texts shed new light on the image-rich language of Bach's passions as well as on the focus on the individual in the libretti for his passions. But the analysis also shows significant differences. While Bach's passions emphasize personal devotion and a more internalized form of piety, the Christliche und Moralische Reflexiones are informed by Enlightenment philosophy and theology and view religion (and the passion in particular) as a model for a moral life. In spite of these differences, the texts also show that these divergent views coexisted peacefully in Bach's Leipzig. In fact, in the final version of Bach's St. John Passion from 1749, some of the texts were changed in a way that brought them in line with the views of Enlightenment theology.
{"title":"Memory, Morals, and Contemplation in Leipzig Passion Texts from the 1720s: J. S. Bach's St. John Passion from 1724","authors":"Markus Rathey","doi":"10.1353/bach.2020.0005","DOIUrl":"https://doi.org/10.1353/bach.2020.0005","url":null,"abstract":"Abstract:Johann Sebastian Bach's settings of the passion originated in a cultural context that was rich with numerous forms of devotion to the Passion of Christ. The Good Friday Vespers, during which Bach's passions were originally performed, were only one occasion when Leipzigers commemorated the suffering and death of Christ. Devotional texts encouraged early modern Lutherans to meditate on the passion throughout their daily lives. The multifaceted and multisensory forms of passion devotion can be seen in a number of texts that were published in the years surrounding the first performance of the St. John Passion in 1724. After a short exploration of the circumstances of the endowment of the Good Friday Vespers at the Leipzig St. Nicholas Church and an analysis of a multisensory passion manual by Abraham Wiegner (Nöthige Freytags-Arbeit), the essay focuses on an anonymous text (Christliche und Moralische Reflexiones), published in 1724, that interprets the passion narrative from the perspective of practical morality. The text was prefaced by Leipzig Superintendent Salomon Deyling, who also preached the sermons during Bach's passion performances. Both the anonymous text and Deyling's preface bring into sharper relief the multifaceted forms of passion devotion in Leipzig during the time of the creation and first performance of Bach's major passions. The texts shed new light on the image-rich language of Bach's passions as well as on the focus on the individual in the libretti for his passions. But the analysis also shows significant differences. While Bach's passions emphasize personal devotion and a more internalized form of piety, the Christliche und Moralische Reflexiones are informed by Enlightenment philosophy and theology and view religion (and the passion in particular) as a model for a moral life. In spite of these differences, the texts also show that these divergent views coexisted peacefully in Bach's Leipzig. In fact, in the final version of Bach's St. John Passion from 1749, some of the texts were changed in a way that brought them in line with the views of Enlightenment theology.","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":"44753377","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.a820314
Timothy Edwards
{"title":"The Royal Theme's Hidden Symmetry: In Defense of the Concise Solution to the Augmentation Canon in J. S. Bach's \"Musical Offering\"","authors":"Timothy Edwards","doi":"10.1353/bach.2010.a820314","DOIUrl":"https://doi.org/10.1353/bach.2010.a820314","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":"43297892","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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