Motif BACH
Dalam bidang muzik, motif Bach adalah motif, turutan not muzik penting atau ciri-ciri untuk gubahan lagu, B flat, A, C, B natural. Dalam tatanama muzik Jerman, di mana nota B naturamditulis sebagai H dan B flat sebagai B, ia membentuk nama keluarga Johann Sebastian Bach. Salah satu contoh yang paling kerap berlaku bagi kriptogram muzik, motif yang digunakan oleh pengubah yang tidak terkira banyaknya, terutamanya selepas Kebangkitan semula Bach pada separuh pertama abad ke-19.
Sejarah sunting
"Angka ini berlaku begitu kerap dalam baris bas Bach sehinggakan tidak mungkin ia tidak sengaja."[1] Hans-Heinrich Eggebrecht pergi lebih jauh untuk membentuk kembali tanggapan matlamat Bach sebagai gambaran pemikiran Lutheran, membayangkan Bach sebagai berkata, "Saya berkait dengan tonik dan adalah keinginan saya untuk mencapainya....Sebagaimana anda saya juga manusia. Saya perlu diselamatkan; Saya pasti harapan diselamatkan, dan telah diselamatkan dengan ihsan."melalui penggunaan mitifnya berbanding bayang tone berubah piwaian (B♭-A-C-B♭) pada discant clausula berganda pada fugue keempat pada Seni Fugue.[2]
Karya terpilih menonjolkan motif tersebut sunting
Dalam kajian menyeluruh yang diterbitkan bagi katalog bagi pameran 1985 "300 Jahre Johann Sebastian Bach" ("300 years of Johann Sebastian Bach") in Stuttgart, Germany, Ulrich Prinz lists 409 works by 330 composers from the 17th to the 20th century using the BACH motif (ISBN 3-7952-0459-3). A similar list is available in Malcolm Boyd's volume on Bach; it also contains some 400 works. Some of the more famous works that feature the motif prominently are:
Play (bantuan·maklumat). Note that C and H are transposed down, leaving the spelling unaffected but changing the melodic contour.
Play (bantuan·maklumat). The motif may be used in different ways: here it is only the beginning of an extended melody.[4]- 1845 — Robert Schumann: Sechs Fugen über den Namen: Bach, for organ, pedal piano, or harmonium, Op. 60[3][5]
- 1855 — Franz Liszt: Fantasy and Fugue on the Theme B-A-C-H, for organ (later revised, 1870, and arranged, 1871, for piano)[6]
- 1878 — Nikolai Rimsky-Korsakov: Variations on BACH, for piano
- 1900 — Max Reger: Fantasia and Fugue on B-A-C-H for organ
- 1910 — Ferruccio Busoni: Fantasia contrappuntistica for piano (first version; later versions 1912 and 1922)[perlu rujukan]
- 1926–28 — Arnold Schoenberg: Variations for Orchestra, Op. 31[7]
- 1937–38 — Anton Webern: String Quartet (the tone row is based on the BACH motif)[8]
- 1968 - Alfred Schnittke: Quasi Una Sonata (repeated motif, one reviewer, "noting that B-A-C-H is the victor of the composition")[9]
- 1981 - Schnittke: Symphony No. 3 - used alongside the monograms of several other composers.[10]
Play (bantuan·maklumat). The BACH motif from The Art of Fugue Contrapunctus XIXc is the "'1st Theme'/fugue subject" of Ives' combined sonata-allegro and fugal procedures.[11]Other works include:
- 1856 - Johannes Brahms: Fugue in A-flat minor for organ, WoO 8[5]
- 1930 - Marios Varvoglis: Canon, Chorale and Fugue on BACH
- 1932 - Alfredo Casella: Due Ricercari sul nome B-A-C-H, Op. 52
- 1932 - Francis Poulenc: Valse-improvisation sur le nom Bach for piano
- 1934 - Hanns Eisler: Prelude and Fugue on B-A-C-H, Op. 46 for string trio
- 1937 - Marios Varvoglis: Prelude, Chorale and Fugue on BACH
- 1942-46 - Charles Koechlin: Offrande musicale sur le nom de B-A-C-H, Op. 187
- 1952 - Jean Coulthard: Variations on BACH for piano
- 1952 - Luigi Dallapiccola: Quaderno musicale di Annalibera for piano[12]
- 1954 - Dallapiccola: Variazioni ("Variations", orchestral version of Quaderno musicale di Annalibera)[12]
- 1951-55 - Dallapiccola: "Canti di liberazione"[12]
- 1964 - Arvo Pärt: Collage over B-A-C-H for strings, oboe, harpsichord and piano
- 1974 - Rudolf Brucci: Metamorfosis B-A-C-H for strings
- 1993 - Ron Nelson: Passacaglia (Homage on B-A-C-H) for concert band
Rujukan sunting
- ^ Marshall, Robert (2003). 18th-Century Keyboard Music, p.201 and p.224n18. ISBN 041596426. See Godt 1979.
- ^ Eggebrecht (1993:8) cited in Cumming, Naomi (2001). The Sonic Self: Musical Subjectivity and Signification, p.256. ISBN 0-253-33754-2.
- ^ a b Christopher Alan Reynolds (2003). Motives for Allusion: Context and Content in Nineteenth-Century Music, p.31. ISBN 0-674-01037-X.
- ^ Daverio, John (1997). Robert Schumann: Herald of a "New Poetic Age", p.309. ISBN 0-19-509180-9.
- ^ a b Platt, Heather Anne (2003). Johannes Brahms, p.243. ISBN 0-8153-3850-3.
- ^ Arnold, Ben (2002). The Liszt Companion, p.173. ISBN 0-313-30689-3.
- ^ Stein, Erwin (ed.). 1987. Arnold Schoenberg letters, p. 206. University of California Press. ISBN 978-0-520-06009-8
- ^ Bailey, Kathryn. 2006. The Twelve-note Music of Anton Webern: Old Forms In a New Language, p. 24. Cambridge University Press. ISBN 978-0-521-54796-3
- ^ Schmelz, Peter J. (2009). Such Freedom, If Only Musical, p.255-56. ISBN 0-19-534193-7.
- ^ Ivashkin, Alexander (2009) Liner notes to BIS complete symphony cycle, BIS-CD-1767-68
- ^ Crist, Stephen (2002). Bach Perspectives: Vol. 5: Bach in America, p.175. ISBN 0-252-02788-4. "The reference could not be more clear."
- ^ a b c Fearn, Raymond (2003). The Music of Luigi Dallapiccola. 2005: ISBN 1-58046-078-X.
Bibliografi sunting
- Boyd, Malcolm. 1999. Bach. Oxford University Press. 2006 edition: ISBN 0-19-530771-2.
- Jeong, Seyoung (2009). Four Modern Piano Compositions Incorporating the B-A-C-H Motive. ISBN 3-8364-9768-9.
- Prinz, Ulrich; Dorfmüller, Joachim; and Küster, Konrad. 1985. Die Tonfolge B–A–C–H in Kompositionen des 17. bis 20. Jahrhunderts: ein Verzeichnis, in: 300 Jahre Sebastian Bach, pp. 389–419 (exhibition catalogue)
- Robinson, Schuyler Watrous. 1972. The B–A–C–H Motive in German Keyboard Compositions from the Time of J.S. Bach to the Present (thesis, University of Illinois)