DOCSLIB.ORG

Bachi Matteuse Passiooni Esmaesitustest Tallinnas Ja Peterburis 19

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

„Uut ülestõusmist saksa vaimule ...”: Bachi Matteuse passiooni esmaesitustest Tallinnas ja Peterburis 19. sajandi ühiskondlike muutuste taustal Kristel Pappel, Toomas Siitan 18. sajandi lõpul ja 19. sajandil toimusid Euroopa sikaellu. Seetõttu võime seda sündmust lugeda muusikaelus sügavad muudatused, mis panid tänapäevast kontserdielu määrava „mineviku aluse muusika veel tänapäevalgi levinud tarbi- muusikateoste „kujuteldava muuseumi” nurga- misviisidele. Kujunes avalik kontserdielu, asutati kiviks” („the foundation stone for the „imaginary muusikaühinguid ja kooriseltse, tekkisid kontser- museum” of musical works of the past”; Applega- diorganisatsioonid oma orkestritega. Muusika ei te 2005: 2). Bachi nimi polnud sel ajal küll enam olnud enam üksnes funktsionaalne kunst juma- tundmatu, juba 1802. aastal oli ilmunud Göttin- lateenistusel ega meelelahutus, taust vestlusel geni ülikooli muusikadirektori ja aumagistri3 Jo- või pidusöögil, vaid oma esteetilise väärtusega hann Nikolaus Forkeli (1749–1818) kirjutatud J. S. – muusikat tuli kuulata, sellest sai keskendumist Bachi biograafi a (teostest on seal esiplaanil küll nõudev ja vääriv tegevus, pikaajaliselt, järjest, instrumentaallooming). Selle väikese raamatuga vaikuses. Alates vararomantikutest 18.–19. sa- oli Forkel äratanud helilooja pikast unustusest, jandi vahetusel tõsteti (instrumentaal)muusika kuid õigupoolest tegi ta palju enamat: mõistmaks võrdseks „ajatute” kunstidega, nagu skulptuur selle Napoleoni-vastase vabastusliikumise kõrg- või kirjandus, ning veelgi enam, just muusika võis ajal ilmunud teksti avaramat tähendust sakslaste tungida haaramatute saladusteni mikro- ja mak- tärkavale rahvusteadvusele, piisab raamatu pat- rotasandil – inimese sisemaailmas ja kõiksuses. riootlikust paatosest nõretava lõpulõigu (Forkel Ent muusika ajalisus tähendas ühtlasi, et kuni 19. 2013 (1802): 127) ülelugemisest. Raamatu eessõ- sajandini oli kombeks esitada ainult uut muusikat. nas mainib Forkel muu hulgas, et Bachi teosed Kui vanade meistrite käsikirjad olidki säilinud, siis on „hindamatu rahvuslik pärand”, „millele vastast suhtuti sellesse kui materjali õppimiseks ja teo- pole ühelgi teisel rahval”4 (Forkel 2013 (1802): 3). reetiliseks teadmiseks. Bach ja tema muusika on siin pandud kandma Kui 20-aastase Felix Mendelssohn-Bartholdy kõike iseloomulikult saksalikku helikunstis ning (1809–1847) juhatusel kanti 11. märtsil 1829. aas- vähemalt kogu 19. sajandil seostub Bachi muusika tal Berliinis ette Johann Sebastian Bachi Matteuse taaselustamine otseselt ka rahvuslike, ent samuti passioon, oli see jõuline ilmutus uutest arusaa- ka kujuneva Saksa riikluse poliitiliste allhoovuste- madest. Lauluakadeemia (Singakademie)1 saalis ga. esitati üle saja aasta vana teost,2 mis oli loodud Kuid Forkeli tekst on ka 19. sajandi muusi- kiriklikuks tarbemuusikaks, nüüd aga kõlas kuu- kaesteetikas aset leidnud historistliku pöörde lamiseks, avaliku kontserdi tingimustes, millesse ainulaadne dokument. Kui 18. sajandil otsustas tuldi süvenema nagu Beethoveni sümfooniasse. heliteose väärtuse tema uudsus, kaasaegsus, siis Ettekanne oli nii edukas, et teost esitati samal 19. sajand leiab esteetiliselt väärtuslikku ennekõi- kevadel veel kaks korda. Piirid kontserdisaali ja ke vanas, klassikalises: „suure”, kõrgeid väärtusi sakraalse ruumi vahel segunesid, kontserdisaal kandva kunsti puhul rõhutati selle ajaloolisi juuri, muutus järjest enam ise pühapaigaks ja religioon samuti võis „väärikust” (Würde), mis oli tõusnud omakorda kunstireligiooniks. Üllatusega tõdeti, romantilise esteetika üheks esmaseks väärtus- et vana heliteos võib kuuluda kaasaegsesse muu- kriteeriumiks, kinnitada esmajoones ajaproov. Uurimus on valminud SA Eesti Teadusagentuuri toetusel (projekt „Muusika Eesti linnakultuuris 17. ja 18. sajandil Põhja- Euroopa kontekstis”; ETF 9469; „Muusika performatiivsed aspektid”; UIT 12-1). 1 Berliini muusikaharrastajate ühendustel oli oluline roll koorimuusika levikul ja seltside asutamisel. Juba 1791 asutas Carl Friedrich Christian Fasch segakoori ja nimetas selle Lauluakadeemiaks (Singakademie), kus õpiti tundma ka varasema aja teoseid, ent ilma eesmärgita neid avalikult esitada. 19. sajandil ülipopulaarseks muutunud meeskooriliikumisele andis tõuke 1809 Carl Friedrich Zelteri rajatud Liedertafel. Zelterist sai mõne aja pärast Mendelssohni õpetaja. 2 Matteuse passiooni esmaettekanne toimus 1727, mitte 1729, nagu varem arvati. Mendelssohni ettekanne tähistas siiski teose 100. aastapäeva. 3 Aumagistri kraad oli võrdsustatud professori positsiooniga (Hinrichsen 1997: 193). 4 „unschätzbares National-Erbgut”, „dem kein anderes Volk ähnliches entgegen setzen kann”. 76 Kristel Pappel · Toomas Siitan Esteetilise mõtte seesugust historistlikku suundu- Matteuse passiooni ettekande edu polnud must toetas Bachi muusika hiilgavalt. 19. sajandi 1829. aastal Berliinis siiski mingilgi moel prog- algul loodud Bachi-kuvand vastandub ka kujut- noositav. Tänapäeva kontserdikuulajal on raske lusele muusikust-virtuoosist, kes pälvib laia pub- tajuda Matteuse passiooni ajaloolist ja esteetilist likumenu: suletus ja intellektuaalne eksklusiivsus distantsi omaaegse publiku jaoks. Mineviku heli- on õpetatud helilooja voorused, mida samas ku- teos oli „võõras”, „teistsugune”, selle kuulamiseks jutati ka ehtsaksaliku sättumusena kunstis (Heine- polnud kogemusi ega hindamiseks mõõdupuud. mann 2010: 11). Paljude Euroopa linnade muusikalises püsire- Bachi muusika sidumine saksa rahvusliku ideo- pertuaaris oli sel ajal küll ka ajaloolisi vaimulikke loogiaga sai kandvaks ideeks 19. sajandi rahvus- suurteoseid, mis seostusid peamiselt kannatusnä- liku liikumise tingimustes ja nii muutus Bachi dalaga – eelkõige Carl Heinrich Grauni oratoorium Matteuse passioon (mida Forkel mainib ainult „Der Tod Jesu” (1755), aga ka Giovanni Battista vokaalteoste nimekirjas) pärast 1829. aasta esi- Pergolesi palju väiksemamahulisem Stabat mater tust saksa rahvusliku kultuuri ja saksa identiteedi (1736) – kuid nende nagu ka Händeli oratooriu- üheks tugisambaks. Liiatigi vajas saksa rahvuslik mide puhul ei olnud muusikaesteetiline distants programm tollal suurmeest ja suurteost, muu- tolleaegse publiku ootushorisondist siiski mitte sikaajakirjandus vajas kedagi, kelle abil Rossini nii suur kui Bachi kirikumuusikal. Näiteks kirjutas reputatsiooni kõigutada. Olid ju ajavahemikus Mendelssohni mõttekaaslane Eduard Devrient 1826–1828 surnud Weber 39-aastasena, Beet- oma mälestustes Matteuse passiooni esiettekan- hoven 56-selt ja Schubert 31-selt. Viimane suur dest: „Lõpuks oli siiski väga küsitav, kas publik võ- rahvuslik sündmus Berliinis oli Weberi „Nõidküti” tab nii eluvõõra teose omaks, [---] kui neil nüüd esietendus 1821 Schauspielhaus’is. Kristlasest juut tuli tervel õhtul ei midagi muud kui Sebastian Mendelssohn oli küll noor geenius, kes aga enda Bachi kuulata, keda publik tundis ainult ebame- teostega poleks saavutanud tollal sellist edu. Et- loodilise, kalkuleeriva, kuiva ja arusaamatuna”5 tekande eel korraldas muusikateoreetik Adolph (Danuser 2009: 170). Samuti alustab Carl Friedrich Bernhard Marx oma väljaandes Berliner Allgemei- Zelter oma eessõna esiettekande kavaraamatule ne Musikalische Zeitung enneolematu pressiagi- tõdemusega, et ta „ühe nii aegunud kunstiteo- tatsiooni, milles ta kuulutas Matteuse passiooni se puhul kerget mõistmist loota ei söandaks ...”6 esituse „uue ajastu märgutuleks” (Geck 2007: 35), (Passionsmusik … 1981 (1829)). 19. sajandi alguse samuti moodustavad omaette mahuka teksti- ratsionalistliku teoloogia ja väga sõnakeskseks korpuse esituse vastukajad. Kõik selle ettekande kujunenud protestantliku liturgia keskkonnas kas- ümber toimuv muutis ja mõjutas massiivselt kogu vanud publiku jaoks tegi teose vastuvõtu raskeks saksa vaimukultuuri: vaimustus oma ajaloolistest ka Christian Friedrich Henrici (Picanderi) libreto, meistritest toetas rahvusteadvuse tõusu, Bachis mis tollasele maitsele pidi tunduma liiga pietistlik. hakati nägema saksa muusikavaimu arhetüüpi Vastavalt tolle aja tavadele oli endastmõiste- ning tema kirikumu usika avastamine aitas jõuli- tav, et Mendelssohn tegi passioonist oma redakt- selt kaasa nii protestantlikule restauratsiooniliiku- siooni – ta kohandas orkestratsiooni ning lühen- misele kui ka üldisele religioossele äratusliikumi- das teost eelkõige aariate arvu kärpides, nii et sele Saksamaal (Ahrens 2001: 76). ettekanne kestis pisut üle kahe tunni.7 Retsitatiive 5 „Schließlich wurde es sehr in Frage gestellt: ob das Publikum auf ein so weltfremdes Werk eingehen werde? [---] jetzt aber sollte man einen ganzen Abend nichts als Sebastian Bach hören, der nur als unmelodisch, berechnend, trocken und unverständlich im Publikum bekannt war!” Danuseri tsitaat: Devrient, Eduard 1891. Meine Erinnerungen an Felix Mendelssohn-Bartholdy und seine Briefe an mich. 3. Aufl ., Leipzig: Weber, S. 42. 6 „Von einem so bejahrten Kunstwerke möchte ich kaum ein leichtes Verständnis hoff en lassen ...” 7 Tegemist oli teose 22 numbri võrra lühendatud variandiga Mendelssohni poolt vastavalt kaasaegsetele võimalustele kohandatud orkestratsioonis, kus ajaloolised oboed (d’amore, da caccia) olid asendatud klarnetite ja bassettsarvedega. Seda esitasid koori ja solistidena 158 Lauluakadeemia liiget ning orkester, mis koosnes osalt kuningliku kapelli liikmetest, suuremas osas aga asjaarmastajatest. Publiku hulgas olid esindatud kuningaperekond, diplomaatiline korpus ja kultuuritegelaste kõrgkiht. Märtsis-aprillis toimus ka kaks kordusettekannet, neist viimast juhatas Carl Friedrich Zelter ning see asendas suurel
Recommended publications
  • BACH IS BACK in BERLIN: the Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics

    BACH IS BACK in BERLIN: the Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics

    BACH IS BACK IN BERLIN: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics Patricia Kennedy Grimsted Harvard Ukrainian Research Institute The National Council for Eurasian and East European Research 910 17th Street, N.W. Suite 300 Washington, D.C. 20006 TITLE VIII PROGRAM Project Information* Contractor: Harvard University Principal Investigator: Patricia Kennedy Grimsted Council Contract Number: 816-03g Date: June 9, 2003 Copyright Information Individual researchers retain the copyright on their work products derived from research funded through a contract or grant from the National Council for Eurasian and East European Research (NCEEER). However, the NCEEER and the United States Government have the right to duplicate and disseminate, in written and electronic form, reports submitted to NCEEER to fulfill Contract or Grant Agreements either (a) for NCEEER’s own internal use, or (b) for use by the United States Government, and as follows: (1) for further dissemination to domestic, international, and foreign governments, entities and/or individuals to serve official United States Government purposes or (2) for dissemination in accordance with the Freedom of Information Act or other law or policy of the United States Government granting the public access to documents held by the United States Government. Neither NCEEER nor the United States Government nor any recipient of this Report may use it for commercial sale. * The work leading to this report was supported in part by contract or grant funds provided by the National Council for Eurasian and East European Research, funds which were made available by the U.S.
  • Suffering and Social Conscience in the Passion Genre from JS Bach's

    Suffering and Social Conscience in the Passion Genre from JS Bach's

    Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike.
  • Russian Art Hôtel Metropole Monaco 27/28/29 October

    Russian Art Hôtel Metropole Monaco 27/28/29 October

    RUSSIAN ART HÔTEL METROPOLE MONACO 27/28/29 OCTOBER ABOVE: LEVASSOR (MICHEL), THE HISTORY OF LOUIS XIII (LOT 115) FRONT COVER: FOLLOWER OF JOHANN HEINRICH WEDEKIND. PORTRAIT OF EMPRESS CATHERINE I (LOT 68) BACK COVER: SOUVENIR TABLE WITH MEDALLIONS BASED ON ORIGINALS BY V.V. VERESHCHAGIN (LOT 21) Sans titre-1 1 26/09/2017 11:33:03 PAR LE MINISTERE DE MAITRE CLAIRE NOTARI HUISSIER DE JUSTICE A MONACO RUSSIAN PAINTINGS, ENGRAVINGS, MINIATURES, SCULPTURES, MAPS, BOOKS, MANUSCRIPTS, And WORKS OF ART SESSION 1 (lot 1 to 203) FRIDAY OCTOBER 27, 2017 - 18:00 SESSION 2 (lot 204 to 413) SATURDAY OCTOBER 28, 2017 - 14:00 SESSION 3 (lot 414 to 528) SUNDAY OCTOBER 29, 2017 - 14:00 Hotel Metropole - 4 avenue de la Madone - 98000 MONACO GRAND OPENING: THURSDAY OCTOBER 26, 2017 AT 18:00 EXHIBITION FRIDAY OCTOBER 27 11:00 - 17:00 SATURDAY OCTOBER 28 11:00 - 14:00 SUNDAY OCTOBER 29 - 11:00 - 14:00 Inquiries - tel: +377 97773980 - Email: [email protected] 25, Avenue de la Costa - 98000 Monaco Tel: +377 97773980 www.hermitagefineart.com 03 SPECIALISTS AND AUCTION ENQUIRIES Alessandro Conelli Ivan Terny Elena Efremova President C.E.O. Director Contact : Tel: +377 97773980 Fax: +377 97971205 [email protected] Ekaterina Tendil Alexandra Gamaliy Julia Karpova Head of European Head of Business Client Manager Departement Development Design and Research Arthur Gamaliy Nicolas Tchernetsky Viktoria Lapteva Federico Pastrone Jerome Cortade Senior Expert Expert Expert Expert Expert Russian Art Western European Art Numismatics Manuscripts Books Russian Art, Manuscripts XVIII-mid-XX century TRANSPOTATION PHOTOGRAPH Maxime Melnikov LIVE AUCTION WITH 04 We dedicate our first auction to the legacy of Nikolay Nikolayevich Turoverov, the great poet, Cossack officer, man of culture and bibliophile.
  • Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's

    Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's

    Arnold Schering on “Who sang the soprano and alto parts in Bach’s cantatas?” Translation by Thomas Braatz © 2009 [The following is a translation of pages 43 to 48 from Arnold Schering’s book, Johann Sebastian Bachs Leipziger Kirchenmusik, published in 1936 in Leipzig and presented in facsimile after the translation. To distinguish between Schering’s original footnotes and mine, his are highlighted in red while mine are left in black.] The paragraph leading into this passage describes Georg PhilippTelemann’s (1681- 1767) sacred music activities in the Neukirche (New Church) in Leipzig. These cantata performances were accomplished by Telemann with the help of university students only and without any assistance from the Thomaner1 choir(s) which were under Johann Kuhnau’s (1660-1722 - Bach’s immediate predecessor) direction. Jealous of the success that Telemann was having with his performances, Kuhnau commented that the young people there [Neukirche] had no real idea about what the proper style of singing in a church was all about and that their goal was “directed toward a so- called cantata-like manner of singing”. By this he evidently meant the elegant, modern way that male falsettists2 sang their solos [compared to the soprano and alto voices of young boys before their mutation]. What was Bach’s way of treating this matter in his sacred music? A cantor’s constant concern, as we have seen, is the ability to obtain and train good sopranos and basses. Kuhnau’s experience, that among his young scholars strong bass singers were a rarity,3 was an experience that his cantor predecessors in Leipzig had already had.
  • Rethinking J.S. Bach's Musical Offering

    Rethinking J.S. Bach's Musical Offering

    Rethinking J.S. Bach’s Musical Offering Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Anatoly Milka All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3706-4 ISBN (13): 978-1-5275-3706-4 TABLE OF CONTENTS List of Figures........................................................................................... vii List of Schemes ....................................................................................... viii List of Music Examples .............................................................................. x List of Tables ............................................................................................ xii List of Abbreviations ............................................................................... xiii Preface ...................................................................................................... xv Introduction ...............................................................................................
  • The Influence of the Unaccompanied Bach Suites

    The Influence of the Unaccompanied Bach Suites

    Cedarville University DigitalCommons@Cedarville Music and Worship Student Publications Student Scholarly Activity 2012 The nflueI nce of the Unaccompanied Bach Suites Meredith Lawrence Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ music_and_worship_student_publications Part of the Composition Commons Recommended Citation Lawrence, Meredith, "The nflueI nce of the Unaccompanied Bach Suites" (2012). Music and Worship Student Publications. 5. http://digitalcommons.cedarville.edu/music_and_worship_student_publications/5 This Conference Proceeding is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Music and Worship Student Publications by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Proceedings of the National Conference On Undergraduate Research (NCUR) 2012 Weber State University, Ogden Utah March 29, 31, 2012 The Influence of the Unaccompanied Bach Suites Meredith Lawrence Music and Worship Department Cedarville University 251 N. Main St. Cedarville, Ohio 45314 USA Faculty Advisor: Dr. Sandra Yang Abstract Bach was very influential in changing the function of the violoncello from an accompanying instrument to a solo instrument, showing the cello’s potential in his writing of the unaccompanied cello suites. Throughout the cello’s history, the instrument was considered to be primarily an accompanying instrument, playing the basso continuo line of most music. Through research of primary and secondary sources, it was found that during Bach’s time in Cöthen, he was given freedom and the resources to compose what he wished. These resources included excellent musicians such as the gambist, played by Abel and the cellist, Linigke.
  • Baroque and Classical Style in Selected Organ Works of The

    Baroque and Classical Style in Selected Organ Works of The

    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
  • A Polonaise Duet for a Professor, a King and a Merchant: on Cantatas BWV 205, 205A, 216 and 216A by Johann Sebastian Bach 1

    A Polonaise Duet for a Professor, a King and a Merchant: on Cantatas BWV 205, 205A, 216 and 216A by Johann Sebastian Bach 1

    Understanding Bach , 2, 19-36 © Bach Network UK 2007 A Polonaise Duet for a Professor, a King and a Merchant: on Cantatas BWV 205, 205a, 216 and 216a by Johann Sebastian Bach 1 SZYMON PACZKOWSKI Bach’s cantata Zerreißet, zersprenget, zertrümmert die Gruft ( Der zufriedengestellte Aeolus or Aeolus Pacified , BWV 205) was composed in 1725 for the name-day of August Friedrich Müller, a professor of philosophy at the University of Leipzig. 2 Bach’s Collegium Musicum performed the piece on the evening of 3 August 1725 in front of the professor’s house at 2 Katharinenstraße in Leipzig. Christian Friedrich Henrici (Picander) wrote the libretto 3 with its allegorical allusions to the professor’s philosophical ideas. The libretto has attracted its fair share of scholarly criticism, and indeed derision. 4 However, the circumstances of its 1 This article is part of Szymon Paczkowski’s research project, ‘The Polish Style in German Music of the Eighteenth Century: Functions and Meaning on the Example of the Work of Johann Sebastian Bach (2004–2007)’, sponsored by the State Committee for Scientific Research of the Republic of Poland. It has been prepared for publication as part of a book entitled Polish Studies on Baroque Music (in preparation) which brings together the papers presented by Polish speakers at the 12th Biennial International Conference on Baroque Music in Warsaw (26–30 July 2006), and appears in ‘Understanding Bach’ courtesy of the book’s publishers, the Institute of Musicology at Warsaw University. 2 Hans-Joachim Schulze, Christoph Wolff, Bach-Compendium . Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs , Vokalwerke: Teil IV (further abbreviated to Bach- Compendium IV) (edn Peters, Leipzig: 1989), p.
  • J. S. Bach's Keyboard Fingering

    J. S. Bach's Keyboard Fingering

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of April 1980 J. S. Bach’s Keyboard Fingering: New Evidence Quentin Faulkner University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Faulkner, Quentin, "J. S. Bach’s Keyboard Fingering: New Evidence" (1980). Faculty Publications: School of Music. 22. https://digitalcommons.unl.edu/musicfacpub/22 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Essay originally published in The Diapason 7:4 , # 845 (April 980), pp. 4–5. Copyright © 980 Quentin Faulkner. J. S. Bach’s Keyboard Fingering: New Evidence by Quentin Faulkner There is presently considerable interest among scholars and performers of early music in early keyboard fingering practices and their effect on the music’s articulation and phrasing. This is no- where more evident than in the current reconsideration of J. S. Bach’s keyboard music in the light of primary source material on his keyboard fingering. The primary sources available to us up to now are three in number: . Applicatio (BWV 994) 2. Praeambulum (BWV 928) Both of these works are found in the Clavier-Büchlein vor Wilhelm Friedemann Bach. They both offer some insight info Bach’s fingering practices, but neither tells us all we might wish. The “Applicatio” is a simple piece (aside from the trills specified for the fourth and fifth fingers), obviously composed to show normal fingering practice without presenting difficulties which would necessitate creative or unusual solutions.
  • On the Circumstantial Context of J. S. Bach's Canon Super

    On the Circumstantial Context of J. S. Bach's Canon Super

    UDC 781.42 Вестник СПбГУ. Искусствоведение. 2019. Т. 9. Вып. 2 On the Circumstantial Context of J. S. Bach’s Canon super Fa Mi BWV 10781 A. P. Milka 1, 2 1 Saint Petersburg Rimsky-Korsakov State Conservatory, 3, Teatralnaya sq., St. Petersburg, 190000, Russian Federation 2 St. Petersburg State University, 7–9, Universitetskaya nab., St. Petersburg, 199034, Russian Federation For citation: Milka, Anatoly. “On the Circumstantial Context of J. S. Bach’s Canon super Fa Mi BWV 1078”. Vestnik of Saint Petersburg University. Arts 9, no. 2 (2019): 238–255. https://doi.org/10.21638/spbu15.2019.202 As tentatively accepted by most twentieth-century J. S. Bach scholars, the dedicatee of Canon BWV 1078 might be Benjamin Gottlieb Faber, a physician with a musical background and a friend of Bach’s student, copyist, and son-in-law, Johann Christoph Altnickol. The transpar- ent encryption of Faber’s name in the text of the canon is reflected in the sole correspond- ing reference in Bach’s biography: B. G. Faber was the representative of the absent godfather (J. S. Bach) at the baptism of Johann Sebastian Jr., the son of Bach’s daughter Juliane Friederica and her husband Johann Altnickol. This article substantiates the probability that B. G. Faber was indeed the dedicatee of Canon BWV 1078. I hypothesize that Bach’s deteriorating health in the early autumn of 1748, reflected in the sudden cancellation of his trip to Berlin to be god- father at the baptism of Carl Philipp Emanuel’s son Johann Sebastian Jr., along with sudden changes in Bach’s handwriting, indicate that he had most probably suffered a minor stroke that prevented him from traveling.
  • Choral Conducting in Baroque Germany

    Choral Conducting in Baroque Germany

    KENNETH E. MILLER Assoc. Professor of Vocal Music Northeast Missouri State College A Discussion of Kirksville, Missouri Choral Conducting eighteenth centuries. F rom the second quarter of the eighteenth century on. it was no longer common practice for the In Baroque Germany conductor to stand and beat time. It be­ came more and more the practice to con­ duct from the keyboard instrument. beat­ Conducting as it appeared in Ger- rules for general acceptance deserves to ing time only as necessary to keep the many during the baroque era was of two be laughed at.3 performers together. The older method types: (1) the conductor who gave all While it is clear that no uniform was retained only for large performances his time .to that task. and (2) the con- method of direction existed. a conductor which employed a great many partici­ ductor who functioned from his place at was always in charge. Spitta continues by pants. the keyboard. The first type was pre- saying that all styles mentioned by Bahr There were many complaints against dominant during the seventeenth century. .. ... have this in common with the mod­ those who kept their singers together by Such authorities as Praetorius. Scheibe ern practice that throughout the piece the noisy time beating; such criticism was and Mattheson discussed the conductor's time is visibly marked by a person who so widespread as to be found almost any­ plac~ from this point of view; Junker too leads or conducts the rest. "4 This type where. Wolfgang Printz described the ---consldered-the--role-of-the-··eonduetor-and-of-visible-eondueting--was---most--eommon practice of loud tim~b~ati~gbY-;';::Ying clearly labeled him a conductor.
  • Forschungen Zur Baltischen Geschichte

    Forschungen Zur Baltischen Geschichte

    FORSCHUNGEN ZUR BALTISCHEN GESCHICHTE 7 2012 Herausgegeben von Mati Laur und Karsten Brüggemann unter Mitwirkung von Anti Selart, Andris Levans und Konrad Maier in Verbindung mit Detlef Henning (Lüneburg), Carsten Jahnke (Kopenhagen), Juhan Kreem (Tallinn), Enn Küng (Tartu), Ilgvars Misāns (Riga), Evgenija Nazarova (Moskau), David J. Smith (Glasgow), Gvido Straube (Riga), Tõnu Tannberg (Tartu), Ülle Tarkiainen (Tartu), Matthias Thumser (Berlin), Ralph Tuchtenhagen (Berlin), Horst Wernicke (Greifswald), Seppo Zetterberg (Jyväskylä) Akadeemiline Ajalooselts Forschungen zur baltischen Geschichte - Bd. 7 hrsg. von Mati Laur und Karsten Brüggemann Tartu: Akadeemiline Ajalooselts, 2012 Redaktion und Drucklegung wurden gefördert durch die Wissenschaftsförderung der Republik Estland SF0180006s11 und SF0130038s09 die Akademische Historische Gesellschaft (Tartu) die Baltische Historische Kommission e.V. das Institut für Kultur und Geschichte der Deutschen in Nordosteuropa (Lüneburg) die Fakultät für Geschichte und Philosophie der Lettischen Universität in Riga und das Institut für Geschichte und Archäologie der Universität Tartu Redaktion: Institut für Geschichte und Archäologie der Universität Tartu Ülikooli 18, Tartu, Estland, EE-50090 [email protected] Manuskripte werden durch die Redaktion erbeten. Bestellungen können an die Redaktion oder an Dr. Konrad Maier, Nordost-Institut, Conventstraße 1, 21335 Lüneburg ([email protected]) gerichtet werden. Articles appearing in this journal are abstracted and indexed in Historical Abstracts and America: History