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J.S. Bachs Chaconne CG1009 Examensarbete, kandidat, klassisk musik, 15 hp 2020 Konstnärlig kandidatexamen 180 hp Institutionen för klassisk musik Handledare: David Thyrén Examinator: Peter Berlind Carlson André Kaufman J.S. Bachs Chaconne Teknik, Analys och Interpretation Skriftlig reflektion inom självständigt arbete Sammanfattning J.S. Bachs Chaconne är den sista satsen från Partita nr. 2 i d-moll för Soloviolin och är med sina 257 takter längre än svitens alla andra satser tillsammans. Den är idag betraktad som ett av de mest tekniskt och musikaliskt utmanande stycken som någonsin har skrivits för violin, och innehåller samtliga för tiden kända aspekter av violinteknik. Föreliggande studie behandlar först en musikteoretisk analys av Chaconne, följt av en kartläggning av styckets underliggande koraler och avslutningsvis en undersökning av anknytningen till Bachs hustru Maria Barbara Bachs plötsliga frånfälle. Studiens resultat påvisar att det inte bara förekommer totalt elva av Bachs egna koraler inkorporerade i stycket, utan även en numerologisk och musikvetenskaplig anknytning till M.B. Bach. Dessa upptäckter åskådliggör att närmare analys berikar framförarens interpretation av Chaconne i synnerhet, och övrig musik i allmänhet. Nyckelord: J.S. Bach, Partita, Chaconne, BWV 1004, Violin, Tombeau ii Innehållsförteckning 1 Inledning ............................................................................................................................ 1 1.1 Bakgrund ..................................................................................................................... 1 1.1.1 J.S. Bachs liv från 1650–1720 och chaconnen som genre ................................... 1 1.1.2 Sei Solo a Violino senza Basso accompagnato ur historisk kontext .................... 3 1.1.3 Chaconne som genre mot bakgrund av passacaglia och ostinato ......................... 5 1.2 Syfte ............................................................................................................................. 6 2 Metod ................................................................................................................................. 6 2.1 Källor och referenser ................................................................................................... 6 2.2 Instudering ................................................................................................................... 6 2.3 Analysmetodik ............................................................................................................. 7 3 Musikanalys och kontrapunkt ............................................................................................ 8 3.1 Tema, baslinje och variationer ..................................................................................... 8 3.1.1 Tema ..................................................................................................................... 8 3.1.2 Baslinje ................................................................................................................. 9 3.1.3 Variationer .......................................................................................................... 10 3.2 Förtäckta koraler och symbolism .............................................................................. 15 3.2.1 Cantus firmus genom koraler ............................................................................. 15 3.2.2 Maria Barbara Bach i relation till Tombeau ....................................................... 18 4 Slutord .............................................................................................................................. 20 Referenser ................................................................................................................................. 21 iii 1 Inledning Här presenteras inledningsvis min ingång till studien. Jag heter André Kaufman och föddes 1998 i Göteborg. Jag påbörjade mina musikstudier i piano vid fyra års ålder för min mamma, Eva Kaufman. 2007 började jag studera violin vid Backas kommunala musikskola för Louise Grönberg, anställd vid Göteborgsoperan. År 2009 tilldelades jag hennes kollega, Max Wulfson, som vikarie. Wulfson förblev dock min huvudlärare ända till 2017. Efter grundskoleåren i musikklass följde spetsstudier på Hvitfeldtska Gymnasiet i Göteborg 2013–2016. Jag går för närvarande mitt sista år på kandidatprogrammet Klassisk Violin vid Kungl. Musikhögskolan i Stockholm. Under 2019 tillbringade jag höstterminen på Royal College of Music i London och studerade för prof. Itzhak Rashkovsky. Hösten 2020 påbörjar jag mina studier på Masterprogrammet vid Edsbergs Slott med prof. Per Enoksson som tilltänkt lärare. Vid min examenskonsert på Kungl. Musikhögskolan i Stockholm framförs bl.a. J.S. Bachs Chaconne i d-moll. 1.1 Bakgrund Denna bakgrundsdel innefattar först en introduktion till J.S. Bachs liv fram till dess att Chaconne skrevs. Därefter följer en redogörelse för Bachs samlade Sonater och Partitor för Violin ur historisk kontext. Sist undersöks chaconnen som genre mot bakgrund av passacaglian och ostinato-tekniken. 1.1.1 J.S. Bachs liv från 1650–1720 och chaconnen som genre Den tyske kompositören Johann Sebastian Bach föddes den 21 mars 1685 i Eisenach i centrala Tyskland och var det åttonde barnet i sin syskonskara. J.S. Bachs fader, Johann Ambrosius Bach (1645–1695), försörjde familjen som stadsmusikant i staden med violin som huvudinstrument. Musikertraditionen var mycket stor i Bachs familj och sträckte sig tillbaka flera generationer. J.S. Bachs släkt, i synnerhet farbröderna som alla var professionella musiker, bidrog till Bachs musikaliska uppfostran. Den äldsta kusinen, Johann Ludwig Bach, var exempelvis sedan länge en skicklig organist och kompositör. Johann Christoph Bach (1645–1693), organist i staden Arnstadt, blev först med att introducera J.S. Bach till instrumentet orgel. (Wolff et al. 1998, Lawrence 1964/2014) 1 När J.S. Bach var omkring 10 år gammal dog båda föräldrarna och den äldsta brodern, Johann Christoph Bach (1671–1731), organist i Ohrdruf några mil ifrån Eisenach, tog emot den unge J.S. Bach. J.S. undervisades troligen i grundläggande musikteori och violin av sin far före ankomsten till Ohrdruf, men enligt C.P.E. hade J.S. Bach ingen praktisk erfarenhet av klaviaturinstrument före föräldrarnas död. Under tiden i Ohrdruf studerade J.S. det tidstypiska instrumentet klavikord för sin broder och fick snart tillgång till en högtstående utbildning som var grundad på idéer av den tjeckiske pedagogen, biskopen och författaren Johan Amos Comenius (1592–1670). Skolan var en av de mest ansedda i landet vid den tiden och innefattande bl.a. undervisning i läs- och skrivkunskaper, religion, sång, historia och naturkunskap (Wolff, 2001). J.S. Bach visade sig vara särskilt begåvad, i synnerhet i latin, grekiska och teologi, och blev snabbt en av de mest framstående i åldersklassen. Lärarna på skolan var engagerade i stadens kloster och kantorn, Elias Herda (1674–1728), kom snabbt att upptäcka J.S. talang som gossopran. (Lawrence, 1964/2014). Enligt skolregistret lämnade J.S. Bach år 1700 skolan av anledningen ”ob defectum hospitorium”, kan tydas som ’platsbrist’ - detta efter 5 år i Ohrdruf. Det kan ha berott på att husen i Ohrdruf ofta var små till storleken och att broderns familj på samma gång expanderande. J.S. Bach sökte sig därför på Herdas rekommendation till Lüneburg där J.S. med hjälp av densamme fick plats i det välbärgade Michaelis-klostret, vilket var känt för att tillhandahålla plats för fattiga men musikaliskt talangfulla pojkar. J.S. Bach ovanligt vackra sopranröst blev snabbt uppmärksammad och han blev därför antagen till en handplockad skara gossopraner som utgjorde kyrkans mässkör, som ofta deltog i kör- och orkesterframträdanden. J.S. Bach fick även tillgång till det omfattande biblioteket i kyrkan som innehöll samlingar av landets bästa sakrala musik för tiden. Den allt äldre J.S. Bach förlorade med tiden sin sopranröst men kunde istället tjänstgöra som violinist i kyrkans orkester och som ackompanjatör under körrepetitionerna. (Wolff, 2001; Lawrence, 1964/2014) Efter tiden i Lüneburg anställdes J.S. Bach som hovmusiker hos Hertig Johann Ernst III i Weimar 1703, där hans roll förmodligen innefattade i huvudsak enklare, icke-musikaliska förpliktelser. Efter ytterligare en tid blev han inbjuden till att bevittna invigningen av den nya orgeln i Nya Kyrkan i Arnstadt, ungefär 3 mil sydväst om Weimar. Utmärkande för denna orgel var en ny temperering vilken tillät fler tonarter att spelas än tidigare. Orgeln väckte stor beundran hos J.S. Bach som genast accepterade erbjudandet om tjänsten som organist, men blev efter en tid missnöjd med den musikaliska nivån på kyrkans kör. Höga musikaliska krav på kollegor och utebliven närvaro från tjänsten gjorde att J.S. snart föll i onåd hos auktoriteter inom kyrkan, vilket fick honom att istället acceptera en tjänst som organist i Mühlhausen, belägen ungefär sju mil från Arnstadt. Bach åtnjöt nu högre lön, förbättrade villkor och en bättre kör. J.S. gifte sig så småningom i Mühlhausen med den första hustrun och tillika sysslingen, Maria Barbara Bach (1684–1720) (Wolff, 2001). 2 1708 återvände J.S. Bach till Weimar, nu med en tydligare roll som organist och musikdirektör i Ernst III:s hertigdöme, och denna gång med en större skara professionella musiker till sitt förfogande. J.S. fick nu det första barnet med Maria: Catharina Dorothea (1708–1774), och sedan ytterligare tre söner. Tillsammans fick J.S. Bach och Maria Barbara totalt sju barn
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