By Bach, Johann Sebastian; Mendelssohn Bartholdy, Felix; Applegate, Celia
Bach’s St. Matthew ardour is universally stated to be one of many world’s ideally suited musical masterpieces, but within the years after Bach’s demise it was once forgotten via all yet a small variety of his scholars and admirers. the general public rediscovered it in 1829, whilst Felix Mendelssohn carried out the paintings earlier than a glittering viewers of Berlin artists and intellectuals, Prussian royals, and civic notables. The live performance quickly grew to become the stuff of legend, sparking a revival of curiosity in and function of Bach that has persisted to this present day. Mendelssohn’s functionality gave upward push to the concept that improving and acting Bach’s track used to be by some means "national work." In 1865 Wagner might declare that Bach embodied "the heritage of the German spirit’s inmost life." That the fellow such a lot liable for the revival of a masterwork of German Protestant tradition used to be himself a switched over Jew struck contemporaries as much less outstanding than it does us today—a assertion that embraces either the nice achievements and the mess ups of a hundred and fifty years of German history.
during this publication, Celia Applegate asks why this actual functionality crystallized the hitherto inchoate idea that song was once principal to Germans’ collective identification. She starts off with a superbly readable reconstruction of the functionality itself after which strikes again in time to tug aside a number of the cultural strands that might come jointly that afternoon within the Singakademie. the writer investigates the position performed through intellectuals, newshounds, and novice musicians (she is one herself) in constructing the proposal that Germans have been "the humans of music." Applegate assesses the influence on music’s cultural position of the renewal of German Protestantism, historicism, the mania for amassing and restoring, and romanticism. In her end, she seems on the next careers of her protagonists and the lasting reverberations of the 1829 functionality itself
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Extra resources for Bach in Berlin : nation and culture in Mendelssohn's revival of the St. Matthew Passion
Matthew Passion (Geck, 21). Felix to family, Heidelberg, 20 September 1827, in Hensel, 196–98. 51 Hiller, Mendelssohn, 8–9. ” (Hensel, 199– 200). 53 Geck, 75–76. See also Dale A. Jorgenson, The Life and Legacy of Franz Xaver Hauser: A Forgotten Leader in the Nineteenth-Century Bach Movement (Carbondale, IL, 1996), 23–27. 54 Christoph Wolff, “The Kantor, the Kapellmeister and the Musical Scholar: Remarks on the History and Performance of Bach’s Mass in B Minor,” trans. Mary Whittall, liner notes to J.
Within the unfolding story of one prodigious accomplishment after another, the 1829 performance, in all its solemnity and drama, served as the perfect capstone, the culminating moment in the dazzling ﬁrst act in the life of a musical genius. 24 Still, even such dismissive attitudes allowed for recognition at least of Mendelssohn’s historicism, if not his creative genius. Only with the growing domination of right-wing nationalism in German musicology 22 Arnd Richter, Mendelssohn: Leben, Werke, Dokumente (Mainz, 1994), 68.
Their instruction in musical composition at Zelter’s hands reﬂected the same line of Bach inheritance in which Sara Levy was so crucially involved, from J. S. Bach to C. P. E. Bach and J. S. Kirnberger, to Fasch, and then to Zelter. ”21 The children both joined the Singakademie in 1820, where the study of Bach’s choral writing, often from scores donated to the Singakademie library by Sara Levy, was a regular part of the weekly rehearsals. And Felix began to study the organ with August Wilhelm Bach, no close relation to the composer but an important performer of his organ works.
Bach in Berlin : nation and culture in Mendelssohn's revival of the St. Matthew Passion by Bach, Johann Sebastian; Mendelssohn Bartholdy, Felix; Applegate, Celia