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巴赫为什么在一段时期內不太著名，上面Alma和M兄的说法都比较浪漫化。既从主调和复调音乐的进化，或从社会变迁的角度来讲。现在我们来看看牛津大学出版社出版的Malcolm Boyd写的Bach一书中的说法。
It was no doubt partly because of its complexity and technical difficulty that Bach’s music was not more widely disseminated during his lifetime, and was to some extent neglected after his death. The story of its rediscovery and revival has been told many times,but the romantic picture of a self-effacing genius whose music was unrecognized during his lifetime and neglected after his death, only to be rediscovered by a much later generation, is one that persists. Even had this been the case, it would have meant only that Bach, after his death, shared the fate of still better-known composers, such as Vivaldi and Telemann, whose music fell into even deeper oblivion and for a longer time. Handel was in this respect exceptional, his music kept alive after his death because of its accessibility (in every sense), because of the conservatism of English tastes, and because the king found it to his liking. But even Handel’s fame was perpetuated by a relatively small number of major works.
导致巴赫音乐不著名的部分原因是巴赫音乐技术上的复杂性。
宗教音乐并没有作为一种独立的艺术形式来表演。
在音乐史上，这种事经常发生。比如Vivaldi和Telemann，他们的音乐被后来发现的时期更长。
Popular notions about Bach’s reputation stand in need of revision in a number of respects. First, it is not true to say that his contemporaries admired him only as an executant. Certainly there are numerous accounts that stress his extraordinary skill as an organist and keyboard player, but the earliest reference to Bach in print—a passage in Mattheson’s Das beschu ̈tzte Orchestre (Hamburg, 1717)—extols the music, not the playing, of the ‘famous organist at Weimar’. By the time the publication of the Clavier-U ̈ bung was complete, in 1741–2, Bach was widely recognized as one of the finest composers of his time. Writing from Bologna to a correspondent in Fulda only three months before Bach’s death, the great Italian musician Padre Martini, who had certainly never heard him play, could say: ‘I consider it unnecessary to describe the singular merit of Sig. Bach since it is too well known and admired not only in Germany but all over Italy. I will say only that I hold it difficult to find a better Professore since every day he can claim to be among the finest in Europe.’ Bach may never have enjoyed the popular success that could come to an opera composer of international repute, such as Handel and Hasse, but his music was eulogized in terms similar to Padre Martini’s throughout the rest of the eighteenth century. Mozart and Beethoven knew and admired it, and by the time Beethoven died, in 1827, Bach had taken his place in the German consciousness alongside Handel, Haydn, and Mozart as one of music’s immortals, as Grillparzer’s funeral oration makes clear.
在贝多芬去世时，巴赫已经和亨德尔，海顿，莫扎特一样成为德国音乐中不朽的人物。
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发表于 2013-11-21 14:17:02
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发表于 2013-11-24 11:50:20
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发表于 2013-11-25 09:16:47
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