Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
Edited By Antonio Baldassarre and Marc-Antoine Camp
Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title «Communicating Music», this Festschrift for Ernst Lichtenhahn’s 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.
Perfekte Symmetrie? – Johann Sebastian Bachs Duett F-Dur BWV 803
Perfekte Symmetrie? –
Johann Sebastian Bachs Duett F-Dur BWV 803
Summary: Most studies on Johann Sebastian Bach’s four duettos BWV 802–805 are primarily concerned with their function within the Clavier-Übung III. Lacking textual content a functional connection of the pieces to religious contexts cannot be readily established however, rendering hermeneutical approaches mostly arbitrary. Though various reasonably thorough attempts at musical analysis recognize the four duettos as masterpieces, they fail to explain a number of compositional peculiarities or to show how musical perfection is achieved. Reanalysing the second duetto in F Major BWV 803 applying hermeneutical perspectives and music analysis in combination, while considering hitherto insufficiently explained compositional anomalies as indicative of content beyond absolute music, the article arrives at the hypothesis that the four duettos are renderings of baroque emblems. More specifically, the music is considered to play the part of the icon while lemma and epigram – the two sadly-missed textual elements – are absent. They have been shown in previous research to probably exist nevertheless. Resulting in a more comprehensive understanding of the composition in both form and content, the extensive reanalysis allows the elimination of existing misconceptions and allegations of mistakes, and delivers proof of a newly-found compositional error requiring correction in performance.
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