In Tears into Wine, renowned Bach scholar Eric Chafe challenges the scholarly consensus, arguing that Cantata 21 is an exceptionally carefully designed work, and that it displays a convergence of musical structure and theological purpose that is paradigmatic of Bach's sacred work as a whole.
In Tears into Wine, renowned Bach scholar Eric Chafe challenges the scholarly consensus, arguing that Cantata 21 is an exceptionally carefully designed work, and that it displays a convergence of musical structure and theological purpose that is paradigmatic of Bach's sacred work as a whole.
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.
Inhaltsangabe
* Acknowledgments * A note on translations, spelling, orthography, and pitch designations * Abbreviations and musical symbols * List of figures and illustrations * Introduction: Ich hatte viel Bekümmernis: Stages of Revelation * Part One: The Theological Context * 1. Tears into Wine: Liturgical and Related Questions * 2. Per ogni tempo: Text interrelatedness in Cantata 21 * 3. Inner and Outer Revelation: Johann Arndt and Philip Nicolai * 4. "Arndtian Pietism" and "Spiritual Orthodoxy": Joachim Lütkemann, Heinrich Müller, Christian Scriver * Part Two: Music and the Foretaste of Eternity * 5. Music and the Praise of God * 6. Christoph Raupach and Johann Mattheson * 7. Breakthrough and Foretaste: The Way to Heaven * Part Three: Ich hatte viel Bekümmernis * 8. Spiritual Sorrow: Part 1 * 9. Ascent of the Soul: Part 2 * Part Four: Cantatas for Weimar 1714 * 10. Perspectives on the Incarnation: Cantatas 61, 63, 152 * 11. The Way of the Cross: Cantatas 182 and 12 * 12. Descent and Indwelling: Cantata 172 * Appendix A. Ich hatte viel Bekümmernis: text and translation * Appendix B. Gospel and Epistle readings for the third Sunday after Trinity * Appendix C. Gospel and Epistle readings for the second Sunday after Epiphany * Bibliography * Index
* Acknowledgments * A note on translations, spelling, orthography, and pitch designations * Abbreviations and musical symbols * List of figures and illustrations * Introduction: Ich hatte viel Bekümmernis: Stages of Revelation * Part One: The Theological Context * 1. Tears into Wine: Liturgical and Related Questions * 2. Per ogni tempo: Text interrelatedness in Cantata 21 * 3. Inner and Outer Revelation: Johann Arndt and Philip Nicolai * 4. "Arndtian Pietism" and "Spiritual Orthodoxy": Joachim Lütkemann, Heinrich Müller, Christian Scriver * Part Two: Music and the Foretaste of Eternity * 5. Music and the Praise of God * 6. Christoph Raupach and Johann Mattheson * 7. Breakthrough and Foretaste: The Way to Heaven * Part Three: Ich hatte viel Bekümmernis * 8. Spiritual Sorrow: Part 1 * 9. Ascent of the Soul: Part 2 * Part Four: Cantatas for Weimar 1714 * 10. Perspectives on the Incarnation: Cantatas 61, 63, 152 * 11. The Way of the Cross: Cantatas 182 and 12 * 12. Descent and Indwelling: Cantata 172 * Appendix A. Ich hatte viel Bekümmernis: text and translation * Appendix B. Gospel and Epistle readings for the third Sunday after Trinity * Appendix C. Gospel and Epistle readings for the second Sunday after Epiphany * Bibliography * Index
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