INTRODUZIONE HL

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“the Creator God allowed His humble servant Johann Sebastian Bach the privilege of transcribing His music for a brief season,”
Note:RICK MARSCHALL...BIOGRAFIA RECENTE...E UN PO' BLASFEMA...INTERPRET ESAGERATA

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By “Bach” I mostly mean “Bach’s music,” and by “God” I mostly mean “the religious content of Bach’s music.”
Note:SPIEGA DEL TITOLO

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see him as a Great Artist with no truly meaningful ties to religion at all.
Note:PER MOLTI LA RELIGIONE PUÒ ESSERE MESSA DA PARTE

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that was only to pay the rent,
Note:MOTIV DELLA MUSICA SACRA X MOLTI

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all Bach really wanted to do was compose and perform “pure” instrumental music,
Note:NELA GERSIONE AGNOSTICA

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Brandenburg Concertos,
Note:I VERTICI X QS INTERPRET

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Well-Tempered Clavier,

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Goldberg Variations,

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Art of Fugue.

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the “purely aesthetic” pleasure of Bach’s modern record-collecting and concert-attending audiences.
Note:LO SCOPO DELLA MUSICA LITURGICA X IL DISINCANTATO

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we can and should ignore the words
Note:AUTORIZZATI DALL AGNOSTICO

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a True Understanding of the Essential Bach.
Note:QUEL CHE CONTA X IL LAICONE

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this triumphal-supersessionist-secularist view of Bach’s music may well be just another form of interpretive slander and just as likely to be misguided as the extreme view of Bach as amanuensis of God.
Note:TESI

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the explanatory power that religion does seem to have,
Note:SOLO GUIDATI DALLA RELIGIONE COMPRENDIAMO

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I am principally focused not on Bach’s life but on his music.
Note:E PARLIAMO DI MUSICA...NN DI VITA

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Bach’s personal beliefs corresponded more or less to the religious content of his compositions,
Note:IRRILEVANTE

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this book does not address biographical
Note:LA BIOGRAFIA QUI NN CÈ

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the words do seem to matter.
Note:ESSENZIALE

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“pure” aesthetic appreciation of Bach’s pitches, rhythms, and tone colors would lead to serious misunderstanding
Note:EQUIVOCI

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musical settings may, in fact, more or less only reflect their texts
Note:SPESSO

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we can, and indeed should, simply ignore all that unpleasant talk in the text
Note:LA POSIZIONE DI MOLTI DI FRONTE A CERTI TESTI SGRADEVOLI

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about ‘the Jews’ and their shouting for the death of Jesus…
Note:OGGETTO SCABROSO

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the only music he really wanted to write,

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E QS VALE ANCHE X LA MUSICA PURA

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standard to speak of Bach’s “sacred” as opposed to “secular”
Note:FALSA OPPOSIZIONE

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the distinction should be between “liturgical” and “secular,”
Note:MEGLIO

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both types of music would, justifiably, have been deemed “sacred” or “religious,”
Note:SIA CHIARO

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Both the churchly and the worldly realms were wholly God’s,
Note:DENTRO E FUORI DALLA CHIESA

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the theological nature of Bach’s Musical Offering (BWV 1079).
Note:ESEMPIO

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most sophisticated, rarefied, and “abstract” art for art’s sake.
Note:SOLO ALL APPARENZA

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quick overview
Note:Tttttttt

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seven essays

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basic Lutheran ideas in Bach’s cantatas,
Note:PRIMA PARTE

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Bach’s music can interpret, not only reflect, the words.
Note:TESI CH 1

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how Bach’s cantata librettos and even their musical settings are often seriously misunderstood,
Note:Ch 2

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concerns the taking up of Lutheran and biblical anti-Judaism in Bach’s church cantatas.
Note:PARTE II

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in the New Testament and in Bach’s cantatas, traditional theological anti-Judaism is found right there in the plain sense
Note:TESI

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Schauet doch und sehet (BWV 46) expresses a marked contempt for Judaism,
Note:ES CH 3

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Luther was right to translate the Gospel of John’s now controversial hoi Ioudaioi as “the Jews” and not as “the Judeans” or “the Jewish leaders.”
Note:TESI CH 4

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Bach’s church cantatas straightforwardly share John’s and Luther’s severe views of Jews
Note:cccccccccx

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scholarly
Note:DA QUI

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during the Passion season, Bach’s intended Lutheran listeners can be encouraged to focus on their own sinfulness.
Note:X QS NELLA PASSIONE DI GIOVANNI NN CÈ ANTISEMITISMO ...CH 5

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Matthew’s distinction between “the people” and “the crowds.”
Note:UNA DISTINZIONE RIPRESA DA LUTERO IN FUNZIONE ANTISEMITA...PEOPLE...EBREI. CROWD...TUTTI

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on Matthew 27:25, mitigates the anti-Jewish sentiments amplified by Luther’s translation of the gospel.
Note:QUI UN BACH MITIGATORE

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even Bach’s so-called pure instrumental music can share a great deal with his liturgical vocal
Note:PARTE IV

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Musical Offering (BWV 1079) was not, as is often argued, a pro-Enlightenment homage of “abstract” chamber music
Note:TESI CH 7

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was a carefully scored defense of anti-Enlightenment Lutheranism,
Note:INVECE

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