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.
{"title":"Popular Music in the Time of J. S. Bach: The Leipzig Mandora Manuscript","authors":"Gary Sampsell","doi":"10.22513/BACH.48.1.0001","DOIUrl":"https://doi.org/10.22513/BACH.48.1.0001","url":null,"abstract":"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.","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":"41373865","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.a808471
Evan Cortens
{"title":"\"Durch die Music gleichsam lebendig vorgestellet\": Graupner, Bach, and \"Mein Herz schwimmt im Blut\"","authors":"Evan Cortens","doi":"10.1353/bach.2015.a808471","DOIUrl":"https://doi.org/10.1353/bach.2015.a808471","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":"43115794","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:Many master's degrees in music require at least one theory course for all students. Variously titled Introduction to Graduate Theory, Analytical Techniques, or Graduate Theory and Analysis, such courses can be challenging to teach due to the varying majors, skills, and interests represented. These students need to synthesize and apply undergraduate-level theoretical concepts while also learning more sophisticated tools and techniques. One way to accomplish this is through a unit on select concepts from Schenkerian analysis. Teaching students to construct harmonic reductions can effectively introduce (or reinforce) tonal hierarchy—the most fundamental concept in Heinrich Schenker's theory. While simplifying a texture to show harmonic rhythm and voice leading is not unique to Schenkerians, such reductions enable discussion of advanced concepts including hierarchical levels, prolongation, and motivic parallelisms. Asking students to embellish a harmonic framework further reinforces these concepts.This article outlines a course module that teaches foundational Schenkerian concepts through the analysis of select chorales, figuration preludes, and unaccompanied solo works by J. S. Bach. While prolongation and voice leading can be taught with nearly any common-practice repertoire, studying these three particular genres in this order helps students transfer principles they know from part writing to music with more complex textures. Starting with the chorales allows for a rapid review of figured bass, dissonance types, and voice leading. Continuing with harmonic reduction of figuration preludes demonstrates the link between part writing and repertoire. Concluding with the reduction and elaboration of compound melodies highlights the intricate connection between melody and harmony in Bach's unaccompanied works. This unit on Bach's music helps students move past individual notes and isolated chords into a deeper, more dynamic understanding of how tonality shapes phrases, sections, and pieces.
{"title":"Introduction to Graduate Theory: Teaching Tonal Hierarchy through Bach","authors":"Samantha M. Inman","doi":"10.22513/bach.49.2.0345","DOIUrl":"https://doi.org/10.22513/bach.49.2.0345","url":null,"abstract":"Abstract:Many master's degrees in music require at least one theory course for all students. Variously titled Introduction to Graduate Theory, Analytical Techniques, or Graduate Theory and Analysis, such courses can be challenging to teach due to the varying majors, skills, and interests represented. These students need to synthesize and apply undergraduate-level theoretical concepts while also learning more sophisticated tools and techniques. One way to accomplish this is through a unit on select concepts from Schenkerian analysis. Teaching students to construct harmonic reductions can effectively introduce (or reinforce) tonal hierarchy—the most fundamental concept in Heinrich Schenker's theory. While simplifying a texture to show harmonic rhythm and voice leading is not unique to Schenkerians, such reductions enable discussion of advanced concepts including hierarchical levels, prolongation, and motivic parallelisms. Asking students to embellish a harmonic framework further reinforces these concepts.This article outlines a course module that teaches foundational Schenkerian concepts through the analysis of select chorales, figuration preludes, and unaccompanied solo works by J. S. Bach. While prolongation and voice leading can be taught with nearly any common-practice repertoire, studying these three particular genres in this order helps students transfer principles they know from part writing to music with more complex textures. Starting with the chorales allows for a rapid review of figured bass, dissonance types, and voice leading. Continuing with harmonic reduction of figuration preludes demonstrates the link between part writing and repertoire. Concluding with the reduction and elaboration of compound melodies highlights the intricate connection between melody and harmony in Bach's unaccompanied works. This unit on Bach's music helps students move past individual notes and isolated chords into a deeper, more dynamic understanding of how tonality shapes phrases, sections, and pieces.","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":"48186284","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":"Carl Philipp Emanuel Bach: The Complete Works (review)","authors":"J. Butt","doi":"10.1353/bach.2020.0008","DOIUrl":"https://doi.org/10.1353/bach.2020.0008","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":"47069401","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: 10.22513/bach.48-49.2-1.0002
C. Wolff
It is a great honor and privilege to dedicate the following remarks to the memory of Gustav Leonhardt, whom I knew since the 1960s and whose passing in 2012 we still deeply mourn. What he and the Leonhardt Consort achieved was nothing short of a radical break with the conventions of Early Music performance. In the nineteenth century, Bach was played romantically and this standard persisted in the early twentieth century. Whether by continuing or curtailing this approach, the factual, “sewing machine” Bach was born. Leonhardt and his followers, however, did not think of Bach from the nineteenth-century perspective, but from that of the seventeenth century, from the overwhelmingly fertile, expressive time of Heinrich Schütz, Dieterich Buxtehude, and Jan Pieterszoon Sweelinck. Leonhardt’s searching and penetrating mind built the foundation for a new and true approach toward understanding the language of music and toward translating their vocabulary, syntax, and style in the act of performance on the appropriate keyboard instruments. The name Leonhardt stands for fighting the widespread amateurism that had prevailed for so long in the Early Music scene. It stands for discovering new sources and also for looking beyond the printed and seemingly reliable “Urtext” of well-known works by examining and learning from the composer’s autographs, original manuscripts, and early prints. It stands for asking new questions. It stands for opening a dialogue between performers and scholars, a dialogue that should never end. Finally, it stands for balancing the repertoire of indisputable giants like Bach against lesser known and less marketable figures. Emphasizing other names like Sweelinck, Johann Jacob Froberger, Ercole Pasquini, or Antoine Forqueray sheds light on important contexts, cross-currents, and in fact much music that was quite new in the business of Early Music
我非常荣幸地向古斯塔夫·莱昂哈特发表以下讲话，以纪念他。我自20世纪60年代以来就认识他，我们至今仍深切哀悼他于2012年去世。他和莱昂哈特王妃所取得的成就无异于彻底打破了早期音乐表演的传统。在十九世纪，巴赫被浪漫地演奏，这种标准一直延续到二十世纪初。无论是通过继续还是减少这种方法，巴赫诞生了事实上的“缝纫机”。然而，莱昂哈特和他的追随者们并不是从19世纪的角度来看待巴赫的，而是从17世纪的角度，从海因里希·舒尔茨、迪特里希·布克斯图德和扬·皮特松·斯韦林克极其丰富和富有表现力的时代来看待巴赫。Leonhardt的探索和敏锐的头脑为理解音乐语言以及在适当的键盘乐器上表演时翻译其词汇、语法和风格的新的、真实的方法奠定了基础。Leonhardt这个名字代表着与早期音乐界长期盛行的广泛业余主义作斗争。它代表着发现新的来源，也代表着通过检查和学习作曲家的签名、原始手稿和早期版画，超越印刷品和看似可靠的知名作品“Urtext”。它代表提出新的问题。它代表着开启表演者和学者之间的对话，这种对话永远不应该结束。最后，它代表着平衡巴赫等无可争辩的巨人与鲜为人知、不太有市场的人物的曲目。强调其他名字，如Sweelinck、Johann Jacob Froberger、Ercole Pasquini或Antoine Forqueray，可以揭示重要的背景、交叉流，事实上，还有许多早期音乐领域的新音乐
{"title":"The Leonhardt Connection From Sweelinck to Bach: Links and Gaps Between Historic “Makers of Organists”","authors":"C. Wolff","doi":"10.22513/bach.48-49.2-1.0002","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0002","url":null,"abstract":"It is a great honor and privilege to dedicate the following remarks to the memory of Gustav Leonhardt, whom I knew since the 1960s and whose passing in 2012 we still deeply mourn. What he and the Leonhardt Consort achieved was nothing short of a radical break with the conventions of Early Music performance. In the nineteenth century, Bach was played romantically and this standard persisted in the early twentieth century. Whether by continuing or curtailing this approach, the factual, “sewing machine” Bach was born. Leonhardt and his followers, however, did not think of Bach from the nineteenth-century perspective, but from that of the seventeenth century, from the overwhelmingly fertile, expressive time of Heinrich Schütz, Dieterich Buxtehude, and Jan Pieterszoon Sweelinck. Leonhardt’s searching and penetrating mind built the foundation for a new and true approach toward understanding the language of music and toward translating their vocabulary, syntax, and style in the act of performance on the appropriate keyboard instruments. The name Leonhardt stands for fighting the widespread amateurism that had prevailed for so long in the Early Music scene. It stands for discovering new sources and also for looking beyond the printed and seemingly reliable “Urtext” of well-known works by examining and learning from the composer’s autographs, original manuscripts, and early prints. It stands for asking new questions. It stands for opening a dialogue between performers and scholars, a dialogue that should never end. Finally, it stands for balancing the repertoire of indisputable giants like Bach against lesser known and less marketable figures. Emphasizing other names like Sweelinck, Johann Jacob Froberger, Ercole Pasquini, or Antoine Forqueray sheds light on important contexts, cross-currents, and in fact much music that was quite new in the business of Early Music","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":"43221880","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}
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.
{"title":"BACH at 50: Some Anniversary Thoughts","authors":"S. Plank","doi":"10.22513/bach.51.2.0177","DOIUrl":"https://doi.org/10.22513/bach.51.2.0177","url":null,"abstract":"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.","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":"49534661","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.a808486
Mary Greer
{"title":"\"Denn er ist unser Friede\" [\"For He is our peace\"]: The Significance of the Marking \"Due Chori in unisono\" in the Autograph Score of J. S. Bach's St. Matthew Passion","authors":"Mary Greer","doi":"10.1353/bach.2014.a808486","DOIUrl":"https://doi.org/10.1353/bach.2014.a808486","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":"42348104","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.a808494
Robin A. Leaver
{"title":"Letter Codes Relating to Pitch and Key for Chorale Melodies and Bach's Contributions to the Schemelli \"Gesangbuch\"","authors":"Robin A. Leaver","doi":"10.1353/bach.2014.a808494","DOIUrl":"https://doi.org/10.1353/bach.2014.a808494","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":"42489253","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":"The Routledge Research Companion to Johann Sebastian Bach ed. by Robin A. Leaver (review)","authors":"Bettina Varwig","doi":"10.1353/bach.2018.0010","DOIUrl":"https://doi.org/10.1353/bach.2018.0010","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":"46644228","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: 10.22513/bach.48-49.2-1.0048
Jed Wentz
Abstract:Keyboardist and conductor Gustav Maria Leonhardt was arguably one of the most influential figures in the late twentieth-century Early Music movement. Through his numerous recordings and extensive teaching he transmitted an aesthetic for the performance of seventeenth-and eighteenth-century music that still influences the reception and production of Early Music today. This article argues that aspects of that aesthetic can be traced to Protestant ideologies of Bach performance prevalent in Germany at the turn of the twentieth century as promoted by certain members of the Neue Bachgesellschaft. The ardent attempts of these theologians and musicologists to return J. S. Bach’s church cantatas to the Evangelical service in Germany (here referred to as the kirchliche Bachbewegung) were linked to ideals of a performance style free from ego and virtuosity. It was believed that by performing the cantatas in a pious spirit, returning them to the service in acts of selfless devotion, the dangerous doctrine of l’art pour l’art could be repudiated. Musicians would then bring spiritual renewal to the German people through Bach’s art. These ideals of performance were taken over and adjusted to the Dutch Calvinist situation by members of the Nederlandse Bachvereniging (Netherlands Bach Society). Leonhardt himself attributed his decision to become a musician to his youthful association with this society. However, rather than ascribing Leonhardt’s absorbtion of key principles of performance to some form of religious indoctrination, it is argued here that his fervent personal Protestant faith formed him to a manner of thinking much in sympathy with the ideals of the Nederlandse Bachvereniging.
{"title":"On the Protestant Roots of Gustav Leonhardt’s Performance Style","authors":"Jed Wentz","doi":"10.22513/bach.48-49.2-1.0048","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0048","url":null,"abstract":"Abstract:Keyboardist and conductor Gustav Maria Leonhardt was arguably one of the most influential figures in the late twentieth-century Early Music movement. Through his numerous recordings and extensive teaching he transmitted an aesthetic for the performance of seventeenth-and eighteenth-century music that still influences the reception and production of Early Music today. This article argues that aspects of that aesthetic can be traced to Protestant ideologies of Bach performance prevalent in Germany at the turn of the twentieth century as promoted by certain members of the Neue Bachgesellschaft. The ardent attempts of these theologians and musicologists to return J. S. Bach’s church cantatas to the Evangelical service in Germany (here referred to as the kirchliche Bachbewegung) were linked to ideals of a performance style free from ego and virtuosity. It was believed that by performing the cantatas in a pious spirit, returning them to the service in acts of selfless devotion, the dangerous doctrine of l’art pour l’art could be repudiated. Musicians would then bring spiritual renewal to the German people through Bach’s art. These ideals of performance were taken over and adjusted to the Dutch Calvinist situation by members of the Nederlandse Bachvereniging (Netherlands Bach Society). Leonhardt himself attributed his decision to become a musician to his youthful association with this society. However, rather than ascribing Leonhardt’s absorbtion of key principles of performance to some form of religious indoctrination, it is argued here that his fervent personal Protestant faith formed him to a manner of thinking much in sympathy with the ideals of the Nederlandse Bachvereniging.","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":"41824516","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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