Re: Bach and his music
- From: ian@xxxxxxxxxxxxx (paramucho)
- Date: Wed, 07 Sep 2005 13:49:30 GMT
On Wed, 7 Sep 2005 07:55:30 -0500, "Jon Slaughter"
<Jon_Slaughter@xxxxxxxxxxx> wrote:
>http://jan.ucc.nau.edu/~tas3/wtc.html
>
>I found this site that analyzes all the fugues in WTC and it seems to have
>some lofy ideas on how and why Bach did some of the things he did.
>
>For example,
>http://jan.ucc.nau.edu/~tas3/wtc/i04.html#movie
>
>
>I'm curious about how much of this is true? Is there any real evidence for
>this or is it just people that have nothing better to do than find *their*
>meaning in something that doesn't necessarily have it?
>
>e.g. He says that the first 4 notes are the sign of the cross and a load of
>other stuff.
>
>
>Now I know Bach was a religous freak and that it strongly influenced his
>music but did he "design" is music specific and consciously for that reason?
>
>
>Or is it that he happend to associate certain feelings with certain melodies
>and such and just reused them in pieces that had a mood that it could fit in
>with? Like for example I have noticed that he use the motive from his 13
>invention in several other pieces(I've probably heard it in over 5 other
>pieces atleast) but I get the feeling he either just reused that idea cause
>he liked it or it was just coincidence. I doubt he said to himself "This
>motive represents the creation of the universe by gods hand: the first part
>of the theme being god and the second his hand" then in some other piece he
>says "I will put gods hand here to represent the wrath of the flood and over
>here I start with god to represent that wrath" and then maybe he repeats the
>hand part several times to represent god pounding with his hand on the earth
>or some crap like that.
>
>I mean, is there any physical evidence(such as letters from him stating
>things like this) that he composed like this or is it just all coincidences
>and "over-analyzers"?
>
>Jon
All manner of number games were played with music way back when, and
there was symbolic use as well. However, you need exceptionally good
evidence to reverse-engineer this kind of stuff -- either great
primary source material or the establishment of a pervasive pattern of
behaviour across many works. These essays don't seem to provide
either.
.
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