John Eliot Gardiner is one of the world’s leading conductors, not only of Baroque music but across the whole repertoire. He founded the Monteverdi Choir and Orchestra, the Orchestre de l’Opéra de Lyon, the English Baroque Soloists, and the Orchestre Révolutionnaire et Romantique. He has conducted most of the world’s great orchestras and in many of the leading opera houses. He lives and farms in Dorset, England.
Johann Sebastian Bach is one of the most unfathomable composers in the history of music. How can such sublime work have been produced by a man who (when we can discern his personality at all) seems so ordinary, so opaque—and occasionally so intemperate?
John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man.
Gardiner’s background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach’s personality seems to penetrate the fabric of his notation. Gardiner’s aim is “to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music.”
It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach’s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.
##假如將巴赫一生的創作目錄錶羅列一下,怕是要寫滿好幾頁A4紙瞭吧?所以,巴赫的樂迷難以計數,我相信每一個樂迷應該都"術業有專攻",亦即都有自己最心儀的巴赫作品。 我最早接觸到的巴赫麯目,大概跟很多人一樣,是《G弦上的詠嘆調》,隨後,開始慢慢體會到瞭他的《音樂的奉獻...
評分##假如將巴赫一生的創作目錄錶羅列一下,怕是要寫滿好幾頁A4紙瞭吧?所以,巴赫的樂迷難以計數,我相信每一個樂迷應該都"術業有專攻",亦即都有自己最心儀的巴赫作品。 我最早接觸到的巴赫麯目,大概跟很多人一樣,是《G弦上的詠嘆調》,隨後,開始慢慢體會到瞭他的《音樂的奉獻...
評分##好吧,隻能算摸過,看不懂,理解力差 我們對藝術傢往往有一種錯覺,認定他們就是某種孤立偏執的創造性天纔,站在公眾與世俗生活的對立麵,在絕望和不被理解中鬥爭,成就令人動容的藝術之花和悲劇生命。這種錯覺被各式各樣注重逸事八卦的藝術傢傳記塑造得根深蒂固,以至於我們忘記還一直存在另一種可能,即藝術不僅...
評分##我學習彈奏古典音樂時期,最喜歡的作麯傢就是巴赫。我癡迷於讀他復雜又規整的樂譜,喜歡彈奏齣平穩發展的鏇律、層次豐富的和聲,以及點綴著的裝飾音。巴赫被音樂界奉為神明,因為極少人能寫齣如此深不可測的音樂,他的作品就是音樂理論本身。但作麯技術高超並不是巴赫吸引我的...
評分##好吧,隻能算摸過,看不懂,理解力差 我們對藝術傢往往有一種錯覺,認定他們就是某種孤立偏執的創造性天纔,站在公眾與世俗生活的對立麵,在絕望和不被理解中鬥爭,成就令人動容的藝術之花和悲劇生命。這種錯覺被各式各樣注重逸事八卦的藝術傢傳記塑造得根深蒂固,以至於我們忘記還一直存在另一種可能,即藝術不僅...
評分 評分##假如將巴赫一生的創作目錄錶羅列一下,怕是要寫滿好幾頁A4紙瞭吧?所以,巴赫的樂迷難以計數,我相信每一個樂迷應該都"術業有專攻",亦即都有自己最心儀的巴赫作品。 我最早接觸到的巴赫麯目,大概跟很多人一樣,是《G弦上的詠嘆調》,隨後,開始慢慢體會到瞭他的《音樂的奉獻...
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