Тип раздаваемого материала: Видеоурок
Продолжительность: 32 лекции по 45 минут + introduction
Год выпуска: 2008
Описание: В данном цикле лекций рассказывается о биографии Баха, проводится анализ его произведений.
"I would vote for Bach, all of Bach, streamed out into space. We would be bragging, of course."
—Biologist Lewis Thomas, on what message to send to an extraterrestrial civilization
Underappreciated in his own time, Johann Sebastian Bach has ascended to Olympian heights in the estimation of generations of music lovers.
But what is it about his music that makes it great? Composer and musicologist Robert Greenberg helps you hear the extraordinary sweep of Bach's music and understand his compositional language—whether you're a devoted admirer or a casual listener.
How Did Bach Become Bach?
Professor Greenberg sets Bach in context by tracing the musical traditions and composers from whom he drew his inspiration, and explaining how Bach absorbed these influences to become the transcendent composer of the High Baroque. According to Professor Greenberg, no other composer is more representative of the period and its aesthetic of emotional extravagance and technical control.
You will also learn how Bach's background—at least 42 of his relatives were professionally involved with music—and his strong German Lutheran heritage shaped his development as an artist.
A Musical Feast
But above all, you will hear music—lots of it. Professor Greenberg devotes extensive discussions to the following Bach pieces, from which he plays major excerpts:
Brandenburg Concerto no. 2
Cantata no. 140, "Wachet auf, uns ruft die Stimme"
Fugue in C-sharp Major from The Well Tempered Clavier, Book I
Partita no. 5 in G Major for Harpsichord
St. Matthew Passion
Toccata and Fugue in D Minor
Violin Concerto in E Major.
You'll hear selections from other Bach works, such as Orchestral Suite in D ("Air on the G String"), B Minor Mass ("Hosanna" from the Sanctus), and Concerto in D Major for Harpsichord.
In addition, you'll be able to compare Bach with musical examples from Bizet, Chopin, Corelli, Couperin, Handel, Haydn, Lully, Palestrina, Pergolesi, Purcell, Rossini, Tchaikovsky, Vivaldi, and other composers both before and after his time.
What Makes Bach Bach?
The music of Bach, especially when compared to what came before, is extravagant and unbridled. Yet every aspect of it—beat, melody, melodic repetition, interaction, and harmony—is also magnificently controlled. His output is encyclopedic, encompassing every form then current in Western music. With Professor Greenberg's instruction, you will understand precisely how Bach's genius raises these forms to their pinnacle, achieving an unprecedented fullness of artistic realization within each of them, and why Bach's death in 1750 also marks the end of the Baroque period.
What You'll Learn
Part I gives an overview of Bach's life and the stylistic trends present in the music of the High Baroque.
Lecture 1 lays out the goals of the course and also introduces the truly extraordinary sweep of Bach's music, in terms of compositional genres and expressive content.
Lecture 2 introduces Bach the man at a critical juncture in his life, Christmas 1722.
Lectures 3 and 4 provide an introduction to the Baroque aesthetic and that most quintessential Baroque musical procedure, fugue.
Lecture 5 provides a historical overview of both the Baroque era and the years leading up to it.
Lectures 6–8 offer a musical glossary of the style features of High Baroque music.
Part II explores the diverse world of Baroque Europe with an ear for those elements—musical and nonmusical—that together constitute Bach's inheritance. Among the influences in Bach's life, the Lutheran Church must be considered the most important and profound.
Lecture 9 deals with the tremendous social upheavals and wars of religion that were the Protestant Reformation.
Lecture 10 examines Lutheranism and the new Lutheran liturgy, with particular attention paid to the role of music, especially the Lutheran Church chorale and its role in the Lutheran liturgy. Second only to the influence of Lutheranism on Bach was the Italian musical style, the pre-eminent musical style of the High Baroque. Based in equal measure on the Italian language, vocality, and the dramatic practices of opera, the Italian style powerfully shaped Bach's approach to melody, genre, and musical form.
Lectures 11 and 12 explore the development of the Italian style from the Renaissance through the Baroque, and how Bach joins the melodic fluidity and drama of Italian style with the spiritual power and profundity of German Lutheranism in the Toccata and Fugue in D Minor.
Lectures 13–16 examine the concerto, the most important orchestral genre of the High Baroque, with special attention paid to the life, times, and concerti of Antonio Vivaldi; Vivaldi's influence on Bach; Baroque concerto types; and Bach's intensification and expansion of the Italian concerto models in his own concerti.
Part III continues with an in-depth examination of the influence on Bach of the French style and Italian opera.
Lectures 17 and 18 focus on the preeminence of dance and opera in French Baroque music and the birth and development of the French overture and the orchestral suite.
Lectures 19 and 20 continue to focus on music born of the French Baroque, examining first the keyboard suite in France and then in Germany.
Lectures 21–22 discuss the Lutheran Church Cantata No. 140, Wachet Auf ("Sleepers, Wake!"), as a Lutheran religious composition permeated with the compositional techniques and human drama of secular opera.
Lectures 23–24 deal with Bach's Coffee Cantata. These lectures introduce and discuss the work as a forward-looking comic opera (opera buffa), firmly within the same Italian comic operatic tradition as the Italian-language operas of Pergolesi, Mozart, and Rossini.
Part IV features two of Bach's greatest masterpieces: the St. Matthew Passion and the Goldberg Variations. No works by Bach are more transcendent.
Lectures 25–28 examine the St. Matthew Passion, a massive and deeply moving work that has no model, no precedent, and no equal in the Baroque era. Matthew's dark and very human telling of the trials and crucifixion of Jesus is brilliantly realized by Bach in a work set for two full choruses, two full orchestras, and two sets of vocal soloists. It is a work at once magnificent and intimate, despairing and filled with faith.
Lectures 29–32 deal with the Goldberg Variations, probably the most singularly unified, most spiritually esoteric work created during the Baroque. In this intimate keyboard work, consisting of a theme, 30 variations, and a reprise of the theme, worlds of numerical, religious, and metaphysical symbolism have been found. The Goldberg Variations is a work of almost unbelievable substance, a whole infinitely greater than its 32 constituent parts.
00. Professor Bio
02. Christmas, 1722
03. Introduction to the Baroque Aesthetic
05. Historical Overview from Constantine through the Great Thinkers of the Baroque
06. Style Features of High Baroque Music, Part I—A Musical Glossary
07. Style Features of High Baroque Music, Part II—A Musical Glossary
08. Style Features of High Baroque Music, Part III—A Musical Glossary
09. Bach's Inheritance, Part I—The Protestant Reformation and the Rise of Lutheranism
10. Lutheranism, the Chorale and the Chorale Prelude
11. Bach's Inheritance, Part II—The Development of the Italian Style
12. The Italian Style, The Operatic Ideal and Lutheran Spirituality are Joined
13. Vivaldi, Bach and the Concerto, Part I—Vivaldi and the Venetian Opera
14. Vivaldi, Bach and the Concerto, Part II—Vivaldi's Model and Bach, Violin Concerto No. 2 in E Major
15. Vivaldi, Bach and the Concerto, Part II—Bach Violin Concerto No. 2 in E Major (cont.)
16. Vivaldi, Bach and the Concerto, Part III—The Concerto Grosso and the Brandenburg Concerto No. 2
17. Bach and the French Style, Part I—Dance and the Orchestral Suite
18. Dance and the Orchestral Suite (cont.)
19. Bach and the French Style, Part II—The Keyboard Suite
20. The Keyboard Suite (cont.)
21. Bach and Opera, Part I—Cantata No. 140 Wachet auf, uns ruft die stimme
22. Cantata No. 140 Wachet auf, uns ruft die stimme (cont.)
23. Bach and Opera, Part II—Opera Buffa and the Secular Cantata, The Coffee Cantata
24. Opera Buffa and the Secular Cantata, The Coffee Cantata (cont.)
25. Bach Transcendent—The Saint Matthew Passion, Part I
26. Bach Transcendent—The Saint Matthew Passion, Part II
27. Bach Transcendent—The Saint Matthew Passion, Part III
28. Bach Transcendent—The Saint Matthew Passion, Part IV
29. Bach Transcendent—The Goldberg Variations, Part I
30. Bach Transcendent—The Goldberg Variations, Part II
31. Bach Transcendent—The Goldberg Variations, Part III
32. Bach Transcendent—The Goldberg Variations, Part IV
Видео кодек: XviD
Аудио кодек: MP3
Видео: XviD, 624х470, 4:3, 741 kbps, 29,970 fps
Аудио: MP3, 128 kbps, 48,0 kHz, 2 ch
Формат : AVI
Формат/Информация : Audio Video Interleave
Размер файла : 287 МиБ
Продолжительность : 45 м.
Общий поток : 883 Кбит/сек
Название фильма : 720 01 BACH DISC 1.Title5.DVDRip
Программа кодирования : Lavf52.17.0
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Идентификатор : 0
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Параметры BVOP формата : Нет
Параметры QPel формата : Нет
Параметры GMC формата : Без точки перехода
Параметры матрицы формата : Default (H.263)
Идентификатор кодека : XVID
Идентификатор кодека/Подсказка : XviD
Продолжительность : 45 м.
Битрейт : 741 Кбит/сек
Ширина : 624 пикс.
Высота : 470 пикс.
Соотношение кадра : 4:3
Частота кадров : 29,970 кадр/сек
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ChromaSubsampling : 4:2:0
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Тип развёртки : Прогрессивная
Бит/(Пиксели*Кадры) : 0.084
Размер потока : 241 МиБ (84%)
Библиотека кодирования : XviD 1.1.2 (UTC 2006-11-01)
Идентификатор : 1
Формат : MPEG Audio
Версия формата : Version 1
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Режим : Joint stereo
Format_Settings_ModeExtension : MS Stereo
Идентификатор кодека : 55
Идентификатор кодека/Подсказка : MP3
Продолжительность : 45 м.
Вид битрейта : Постоянный
Битрейт : 128 Кбит/сек
Канал(ы) : 2 канала(ов)
Частота : 48,0 КГц
Размер потока : 41,7 МиБ (15%)
Выравнивание : Соединение по промежуткам
Продолжительность промежутка : 24 мс. (0,72 видеокадр)
Библиотека кодирования : LAME3.97