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Bach: Music in the Castle of Heaven by John Eliot Gardiner (review) 巴赫：约翰·艾略特·加德纳的《天堂城堡里的音乐》（评论）

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.1353/bach.2014.a808502

R. L. Marshall

引用次数: 0

Another Woody: J. S. Bach in Dixieland 另一个伍迪：迪克西兰的巴赫

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.22513/bach.50.2.0254

P. Broman

Abstract:

no matter what the season was,

this was still a town

that existed in black and white

and pulsated to the great tunes

of 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》。

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引用次数: 1

Passion as History, History as Passion 激情即历史，历史即激情

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.22513/bach.52.2.0125

A. Moore

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。

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引用次数: 0

On Relevance and Repertoire in the Eighteenth-Century Counterpoint Classroom 论18世纪对位课堂中的关联与保留曲目

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.22513/BACH.49.2.0388

Melissa Hoag

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.

摘要：本文是音调对位法研究的教育学和倡导者，它论证了18世纪对位法的相关性，不仅对音乐专业的培养，而且对当今的音乐景观。我概述了我在18世纪的对位法课上的教学方法，重点是：1）我如何向学生展示和解释为什么学习对位法与他们的音乐训练有关；2）我的目标是在课程中加入尽可能多的曲目，这隐含地表明了对位法与所有音调音乐结构的相关性。最后，本文阐述了18世纪音调对位法的研究所赋予的物种对位法所没有的东西，并提供了一些具体的方法来向学生解释这一点。列举了所涵盖的剧目，并详细介绍了评估剧目知识和对位技术知识的机制。

引用次数: 0

Beyond Bach: Music and Everyday Life in the Eighteenth Century by Andrew Talle (review) 《超越巴赫:18世纪的音乐与日常生活》作者:安德鲁·塔勒

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.1353/bach.2018.0008

B. Reul

引用次数: 0

A Previously Unknown Source for the "Orgelbüchlein": Yale Misc. Ms. 545 “Orgelbüchlein”的一个以前未知的来源：耶鲁杂项。545女士

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.1353/bach.2011.a820291

Emerson Morgan

引用次数: 0

The Orthodox Lutheranism of Mattheson and Bach 马特森与巴赫的正统路德主义

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.1353/bach.2011.a820306

Joyce L. Irwin

引用次数: 0

Popular Music in the Time of J. S. Bach: The Leipzig Mandora Manuscript 巴赫时代的流行音乐:莱比锡曼多拉手稿

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.22513/BACH.48.1.0001

Gary Sampsell

Research on music-making in Leipzig in the first part of the eighteenth century has traditionally focused on composers such as Johann Kuhnau, Georg Philipp Telemann, and Johann Sebastian Bach, all of whom were associated with institutions. However, the great majority of music-making in Leipzig and other cities occurred in informal settings and seldom found its way into the historical record. This was particularly true when there was no demonstrable connection to a famous composer; as a result, this area has remained relatively unexplored.

对18世纪上半叶莱比锡音乐创作的研究传统上集中在约翰·库诺、格奥尔格·菲利普·泰勒曼和约翰·塞巴斯蒂安·巴赫等作曲家身上，他们都与机构有联系。然而，莱比锡和其他城市的绝大多数音乐创作都发生在非正式的环境中，很少进入历史记录。当与一位著名作曲家没有明显联系时，情况尤其如此；因此，这一地区仍然相对未被开发。

引用次数: 0

BACH at 50: Some Anniversary Thoughts BACH 50周年纪念

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.22513/bach.51.2.0177

S. Plank

B ACH: Journal of the Riemenschneider Bach Institute made a modest first appearance in the winter of 1970, although as the founding editor, Elinore L. Barber, expressed at the time, “we of the Riemenschneider Bach Institute and Library find ourselves in a chronic state of feverish excitement.” In that first issue, readers would find an enthusiastic editorial asserting Bach’s relevance in the “year of the moon”—Barber arrived at Baldwin-Wallace College in 1969, the time of the Apollo 11 moon landing—a previously unpublished paper and analytical charts by Barber’s mentor, Hans T. David, and a descriptive account of some of the holdings in the Riemenschneider Bach Institute (RBI). A number of things in the first issue foreshadow prominent elements in the years ahead, such as the promotion of the cause of Bach, a mindfulness of elder voices in the field, the reprising of earlier writings, the promotion of the RBI, and source studies. If these are familiar throughout the half century, a look at the span of the journal’s first fifty years nevertheless reveals significant change along the way, as well.

巴赫：《里门施奈德巴赫研究所杂志》于1970年冬天首次适度亮相，尽管正如创始编辑Elinore L.Barber当时所说，“我们里门施纳德巴赫研究所和图书馆发现自己长期处于狂热兴奋的状态。”，读者会发现一篇热情的社论断言巴赫与“月球年”的相关性——1969年，阿波罗11号登月时，巴伯来到鲍德温·华莱士学院——巴伯的导师汉斯·T·大卫的一篇先前未发表的论文和分析图表，以及对里门施奈德巴赫研究所（RBI）部分资产的描述。第一期中的许多内容预示着未来几年的突出因素，如巴赫事业的推广、对该领域中老年人声音的关注、早期作品的重演、RBI的推广和来源研究。如果这些在半个世纪里都很熟悉的话，那么看看该杂志前五十年的跨度，就会发现这一过程中也发生了重大变化。

引用次数: 0

Carl Philipp Emanuel Bach: The Complete Works (review) 巴赫全集（综述）

IF 0.1 4区艺术学 0 MUSIC

BACH

Pub Date : 2022-01-01 DOI: 10.1353/bach.2020.0008

J. Butt

引用次数: 0

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