BACH IN BERLIN: NATION AND CULTURE IN MENDELSSOHN’S REVIVAL OF THE ST. MATTHEW PASSION
Book ID/图书代码： 03360015B77007
English Summary/英文概要： Bach’s St. Matthew Passion is universally acknowledged to be one of the world’s supreme musical masterpieces, yet in the years after Bach’s death it was forgotten by all but a small number of his pupils and admirers. The public rediscovered it in 1829, when Felix Mendelssohn conducted the work before a glittering audience of Berlin artists and intellectuals, Prussian royals, and civic notables. The concert soon became the stuff of legend, sparking a revival of interest in and performance of Bach that has continued to this day. Mendelssohn’s performance gave rise to the notion that recovering and performing Bach’s music was somehow "national work." In 1865 Wagner would claim that Bach embodied "the history of the German spirit’s inmost life." That the man most responsible for the revival of a masterwork of German Protestant culture was himself a converted Jew struck contemporaries as less remarkable than it does us today - a statement that embraces both the great achievements and the disasters of 150 years of German history.
In this book, Celia Applegate asks why this particular performance crystallized the hitherto inchoate notion that music was central to German’s collective identity. She begins with a wonderfully readable reconstruction of the performance itself and then moves back in time to pull apart the various cultural strands that would come together that afternoon in the Singakademie. The author investigates the role played by intellectuals, journalists, and amateur musicians (she is one herself) in developing the notion that Germans were "the people of music." Applegate assesses the impact on music’s cultural place of the renewal of German Protestantism, historicism, the mania for collecting and restoring, and romanticism. In her conclusion, she looks at the subsequent careers of her protagonists and the lasting reverberations of the 1829 performance itself.
Chinese Summary/中文概要： 巴赫的《马太受难曲》是举世公认的世界最好的音乐作品之一，但是这首曲子在巴赫逝世后除了少数几个他的学生和倾慕者，几乎被世人遗忘了。1829年，门德尔松在有柏林艺术家，知识分子，普鲁士皇室成员和公众人物的名人云集的地方演奏它后，让公众又重新发现了这首曲子。这场演奏会很快便带上了传奇色彩，重燃了人们对巴赫作品的兴趣和演奏，影响至今。门德尔松的演奏引发了人们对巴赫音乐的复兴和演绎，从某种程度上来说这是种“国家工程”。1865年，瓦格纳将巴赫称作“德国人精神里生活深处的历史”。他是德国新教文化巨作复兴的重要负责人，他改变了犹太同时代的人，他在当时的影响不亚于在今天的影响—在150年的德国历史中，它既是丰功伟绩又是灾难。
在本书中，西莉亚•阿普尔盖特质问了为什么这场特别的表演明确了今日，音乐是德国集体认同的中心的早期概念。她以重述这场表演为开端，让本书极具可读性，然后及时将笔触一转，拆开文化链，在那个下午的柏林合唱协会又连在了一起。作者探讨了知识分子，记者和业余音乐家（作者也是其中之一）在发展“德国是个音乐民族”这个概念中所扮演的角色。阿普尔盖特评估了它在德国新教，历史相对论，收集和恢复热潮及浪漫主义的复兴的音乐文化地位的影响。她总结道，她会关注接下来的主角生涯和1829年这场演奏带来的持久反向。（YYW）
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