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摘要
摘要
In the history of Western music, J. S. Bach is unsurpassed in mastery of technique and profundity of thought. He was also a devout Lutheran with a broad knowledge of Scripture and theology. Given Bach's combination of musical prowess, personal devotion, and theological depth, it is not surprising that his music stands unexcelled among artistic expressions of the Christian faith. With the passage of time, however, many of the essential keys to understanding Bach's music have been lost. My Only Comfort uniquely reconnects modern listeners with Bach's music, enabling them to listen to Bach with renewed understanding and appreciation.
After an introduction to Bach, his theological knowledge, his musical language, and the various genres of sacred music in his output, Calvin Stapert leads readers through specific works by Bach that express, interpret, and vivify some of the principal doctrines of the Christian faith. For each work discussed, Stapert provides relevant quotations from the Heidelberg Catechism (a novel and provocative approach to the study of Bach), a literal translation of the text set beside the German original, and textual and musical commentary meant to contribute to a more perceptive and devotional listening to the work.
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After a formulaic introduction to Bach's life, his theology, his musical language, and 18th-century sacred genres, Stapert (Calvin College) applies the Calvinist Heidelberg Catechism to Bach's work as a framework to demonstrate that the orthodox Lutheranism of Bach is not in conflict with basic tenets of Calvinism. Jaroslav Pelikan's Bach among the Theologians (CH, Apr'87) considered Bach's texts and interpretations as they relate to 18th-century Lutheranism, but Bach's own library, with its copy of August Pfeiffer's Anti-Calvinismus has generally been taken as a statement of his bias against Calvinism. Bach has frequently been called "the fifth evangelist" and his commitment to Christian spirituality has never been questioned. But Stapert's purpose is commendable: he believes that the "sacred" Bach should be studied with the relevant scriptural and interpretative material at hand, rather than listened to in concert halls with no context outside of the music itself. All that needs to be added to Stapert's comments and references on several cantatas, the passions, the Mass, and some other shorter compositions are the scores themselves. One can only agree that Bach, of all composers, deserves consideration and study at this depth. All music collections. ; University of Vermont
目录
Preface | p. xi |
Introduction | |
"Essential" and "Canonical" Bach | p. 3 |
Bach the Theologian | p. 7 |
Bach's Musical Language | p. 12 |
Cantatas | p. 20 |
Motets | p. 29 |
Chorale Preludes | p. 31 |
Passions and Oratorios | p. 33 |
Mass in B Minor | p. 42 |
The Catechism in Bach's Works | |
Prologue: My Only Comfort | p. 51 |
Motet: Furchte dich nicht | |
Part I Death | p. 62 |
Chorale Prelude: "Durch Adams Fall" | |
Cantata 199: Mein Herz schwimmt in Blut | |
Part II Deliverance | p. 74 |
What Kind of Deliverer? | p. 75 |
Cantata 61: Nun komm, der Heiden Heiland | |
What Must a Christian Believe? | p. 87 |
Credo from Mass in B Minor | |
Birth of Jesus | p. 101 |
Christmas Oratorio, Part II | |
Death of Jesus | p. 112 |
The Passions | |
Resurrection of Jesus | p. 148 |
Cantata 4: Christ lag in Todes Banden | |
Part III Discipleship | p. 165 |
Coming-to-Life of the New Self | p. 166 |
Three Chorale Preludes on "Dies sind die heiligen zehn Gebot" | |
Cantata 77: Du sollst Gott, deinen Herren, lieben | |
Anointed to Confess His Name | p. 178 |
Cantata 147: Herz und Mund und Tat und Leben | |
Anointed to Be a Living Sacrifice | p. 192 |
Cantata 56: Ich will den Kreuzstab gerne tragen | |
Anointed to Reign with Him Eternally | p. 204 |
Cantata 140: Wachet auf, ruft uns die Stimme | |
"Gloria" from Mass in B Minor | |
"Sanctus" from Mass in B Minor | |
"Dona nobis pacem" from Mass in B Minor | |
Glossary | p. 227 |
Works Cited | p. 231 |
Index | p. 235 |