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E-grāmata: J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725

(Victor and Gwendolyn Beinfield Professor of Music, Brandeis University, Waltham, MA)
  • Formāts: 624 pages
  • Izdošanas datums: 03-Mar-2014
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199773473
  • Formāts - PDF+DRM
  • Cena: 83,28 €*
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    • Oxford Scholarship Online e-books
  • Formāts: 624 pages
  • Izdošanas datums: 03-Mar-2014
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199773473

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Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725 is a fertile examination of this group of fourteen surviving liturgical works. Renowned Bach scholar Eric Chafe begins his investigation into Bach's theology with the composer's St. John Passion, concentrating on its first and last versions. Beyond providing a uniquely detailed assessment of the passion, Bach's Johannine Theology is the first work to take the work beyond the scope of an isolated study, considering its meaning from a variety of musical and historical standpoints. Chafe thereby uncovers a range of theological implications underlying Bach's creative approach itself.

Building considerably on his previous work, Chafe here expands his methodological approach to Bach's vocal music by arguing for a multi-layered approach to religion in Bach's compositional process. Chafe bases this approach primarily on two aspects of Bach's theology: first, the specific features of Johannine theology, which contrast with the more narrative approach found in the Synoptic Gospels (Matthew, Mark, Luke); and second, contemporary homiletic and devotional writings - material that is not otherwise easily accessible, and less so in English translation. Bach's Johannine Theology provides an unprecedented, enlightening exploration of the theological and liturgical contexts within which this music was first heard.

Recenzijas

"Chafe's interpretation of the St. John detects theology in almost every bar. He notes that over the two parts of the Passion--the first centered on Peter's denial of Jesus, the second on Jesus' trial before Pontius Pilate--Bach shifts from flat key signatures to sharp ones and back again. The very look of the notation on the page might be symbolic: sharp signs resemble crosses (# or x). At each transition, Jesus' seeming defeat becomes an emblem of his power. After all, he had predicted that Peter would deny knowing him, and so that humiliation only leads to his victory. Before Pilate, Jesus exposes the emptiness of earthly authority. ('You would have no power over Me, if it were not given to you from above.') As this exchange takes place, the tonality is yanked from D minor, with one flat, to C-sharp minor, with four sharps."--The New Yorker

Acknowledgments v
A Note on Translations, Spelling, Orthography, and Pitch designations xi
Introduction: Bach and John 3(22)
PART I Introductory Themes
1 Spring 1724 and 1725
25(28)
2 The Ordering of Salvation: Aspects of Scripture and the Liturgical Year
53(42)
3 Johannine Themes
95(24)
PART II The St. John Passion
4 The St. John Passion: Introduction and Part One
119(62)
5 The Concept of Ambitus in the St. John Passion
181(49)
6 Jesus's Trial: John, Francke, Bach
230(49)
7 Jesus's Death and Burial
279(45)
8 The Theologia Crucis and the Passion's Symbolic Structure
324(55)
PART III The Cantatas for Spring 1725
9 Easter through Misericordias: Cantatas 249, 6, 42, and 85
379(54)
10 Jubilate to Ascension Day: Cantatas 103, 108, 87, and 128
433(50)
11 Instrumental Characteristics
483(26)
12 Exaudi and Pentecost: Cantatas 183, 74, 68, and 175
509(39)
13 Trinity Sunday: Cantata 176, Es ist ein trotzig und verzagt Ding
548(23)
14 Spring 1725: The Cantatas and the Shape of the Liturgy
571(14)
Bibliography 585(14)
Index 599
Eric T. Chafe is Victor and Gwendolyn Beinfield Professor of Music at Brandeis University, where he has taught since 1982. His primary research areas are the music of J. S. Bach, on which he has published several books and numerous articles, Wagner (a book on Tristan und Isolde), and Monteverdi. His books have won the AMS Kinkeldey Award and the ASCAP Deems Taylor Award.