Chapter 1 Leipzig needs a new organist

Chapter II The Ancient and Brilliant Bach Family

Chapter III johann sebastian bach's appearance

The fourth chapter is the study of young Sebastian.

The fifth chapter is the church music director of Prince Anhalt Ikeda.

Chapter VI/KLOC-Music Environment in the Second Half of the 8th Century

Bach, a musician of St. Thomas Church in Leipzig.

Lord, how much we need you.

Chapter 9 Bach how to see the light of day again

Attached is a catalogue of Bach's main works.

This year coincides with the year 2000, which is the 250th anniversary of Bach's death. The whole world is busy celebrating this great religious musician. While celebrating Bach, Taiwan Province fans will naturally think of Yo-Yo Ma and mischa maisky, two masters of Bach's unaccompanied cello recital. However, as the church music industry, we really have the responsibility to give "Bach Year" a new life. This article will discuss how Bach's music influenced Shi Huaizhe's life and the relationship between Shi Huaizhe and the organ. Perhaps this will help us understand the characters of these two great men, because many reports have written: "Shi Huaizhe's body is covered with mystery and strangeness-that is, a person who is not easy to understand; Bach's icy church composer-a person who can't keep up with the trend. 」

Brief introduction of Shi Huaizhe's life.

Dr. Shi Huaizhe (1875- 1965), an epoch-making great man with humanitarian spirit in the 20th century, an African sage and a German (French) nationality; Born in Kaysersberg, a small town in Elsas. It is located in the east of central France, on the west side of the Rhine River, bordering Germany, so the locals use German and French as the common language. Shi Huaizhe was able to use both languages freely when he was a child. According to him, this family is used to writing letters in French and writing and speaking in German. At that time, Alsace belonged to Germany, so Shi Huaizhe's mother tongue should be German. Because of the bilingual environment, he later completed the immortal masterpiece "Biography of Bach" in French (1905) and German (1908). This book is also a classic study of Bach by musicians today, and it is also the most powerful disseminator of Bach's music.

Perhaps influenced by his ancestors (among Alsace's ancestors were priests, teachers and organists), Shi Huaizhe was very talented in music. At the age of five, he studied piano with his grandfather. At the age of seven, he wrote a hymn and a harmony attached to the chorus melody. At the age of eight, he began to play the organ of Gunsbach church, and then set foot on the pedal. He inherited his grandfather's enthusiasm for the organ, and often cared about the organs and their making methods in various places. At the same time, he is also a master of organ improvisation. No matter which town he travels to or passes through, he will definitely go to the office and leave other chores alone. Otherwise, he will feel uneasy. For example, when an excellent organ was to be placed in Luzlon Church, Shi Huaizhe made a special trip to visit how to place it; At the age of nine, he played in church services instead of a formal organist, and began to work as a violinist in church services. Eugen Munch, a famous organist in St Stephen's Church of Reformed Church, studied the organ at the age of fifteen, which was the first time that Shi Huaizhe had an argument with Bach in his life. /kloc-at the age of 0/6, he was allowed to take over Qin Si's works from Eugene Harmon in the church and accompany Bach's oratorios and passionate plays in the organ choir of St. William's Church. Young Shi Huaizhe is also very fond of Richard Wagner's works (18 13- 1883), whether it's the opera "Hauser" or going all the way to Bayreuther to listen to the huge musical series "The Ring of Nibelungen" (der

18 years old went to Paris to study piano with the famous organ master Charles-Marie Widor (1844- 1937), and also studied under J.Philipp. Shi Huaizhe was studying theology and philosophy in Strasbourg. Professor Weiduo always only accepts students majoring in the Conservatory of Music, but Shi Huaizhe played a tune in front of him. Professor Wei Duo appreciated him very much, praised him and immediately accepted him as an apprentice. Meanwhile, he is expected to be a great artist in the future. Professor Weiduo's education guides Shi Huaizhe with profound knowledge and plays a beautiful three-dimensional sense. Thanks to his teaching, Shi Huaizhe understood the importance of architectural beauty in music.

Marie Jaell Trautmann, a senior student in Franz Liszt (181-1886), began to learn piano at the age of 23. At the age of 25, Shi Huaizhe was a pastor of Nicholas Church in Strasbourg, but he was also studying music theory and began his career as an organ musician. At the age of 26, he received a doctorate in philosophy. Received a doctorate in medicine at the age of 38. Later, he began to write detailed books on Bach's organ music and held organ concerts at the same time.

When he first set out for Africa at the age of 38, the Bach Society in Paris couldn't bear to bury the musical genius in the African jungle, so he gave Shi Huaizhe an unexpected gift. This is a special piano weighing three tons. It has a huge keyboard and a pedal. In order to resist the humid climate and termites in Africa, the piano surface is carefully plated with zinc. This large musical instrument with peculiar structure later accompanied Shi Huaizhe to spend half a century in Africa.

Out of the inner call, Shi Huaizhe decided to go to Africa as a priest and doctor to help care for life. This motivation prompted him to work in Lambarena, Cameroon, Africa for 35 years. Among all the children of God, Shi Huaizhe is a great believer in practicing the truth of Christ, and he can be called San Francesco II. Although he had an epiphany on "African jungle medicine" at the age of 30, God did not take away his artistic career because of it, but unexpectedly made his talent in the field of music.

This great man of the century who has made outstanding achievements in philosophy, medicine, theology and music, it is really difficult for us to know which one is more important in his life. Of course, when Shi Huaizhe was determined to practice his direct dedication to serving the people, he had already planned to give up the other three professions. However, due to God's goodwill and his firm willpower, God skillfully and harmoniously arranged four kinds of undertakings in Shi Huaizhe's daily work schedule 16 hours.

As a scholar, Bach expert, organ architect and performer, why did Shi Huaizhe choose the Jungle Hospital instead of devoting his life to music? It turned out that on a Pentecostal morning in 1904 (he was 29 years old), he saw a publication of the Paris Missionary Association. This book is full of appeals for medical services in African jungles, one of which is called "The Needs of Mission Work in Congo". This article writes: "In the jungle of the African continent, there are a large group of aborigines who don't believe in God. There are no missionaries there. When they are sick, they have no medicine. They don't know the truth, and their knowledge level is low ... Those who can resolutely and bravely respond to God's call say,' Lord! I want to follow you. At this time, Shi Huaizhe also read aloud: "When the Lord Jesus nodded, he knew how to say' Lord! "I want to follow you" is the person we need. ..... "At this time, he knew that he had made up his mind for a long time when he was 2 1 year-old (1896):" Before the age of 30, he should devote his life to preaching, teaching and music. If he can realize his desire to learn knowledge and art, he can directly enter the direction of immediate service after the age of 30 and devote himself to all mankind. Finally, I have to set foot on another stage of my life! Next, he fulfilled his promises one by one. In addition to receiving a doctorate in philosophy and theology from Strasbourg, he also combined knowledge and experience in African hospitals and put his beliefs into practice. In this way, he lived as a man who kept the commandments of Jesus, served and sacrificed his life, and stayed away from the civilized world.

When Shi Huaizhe decided to work in Africa, he also knew that once he started working in Africa, his artistic career would be over. If you don't practice the piano for a long time and your hands and feet are rusty, it should be easier to abandon the piano. But one night, when I was depressed and playing one of Bach's fugues, I suddenly had an idea: "Can't I use my free time in Africa to hone and deepen my piano skills?" This idea never occurred to me. It was often just for the fund-raising concert in African hospitals. He went in and out of Africa thirteen times. This period (for example, 1932 recorded and played Radio Saint Margaret in Westminster Abbey, 19361October recorded Bach's organ music in St. Aurelia Abbey in Strasbourg) is regarded as one of the unforgettable achievements in the music industry (Pearl Company later transcribed the CD recorded from Shi Huaizhe into CD with the number/Kloc-). During his trip to Europe, Shi Huaizhe not only held concerts, but also designed, reconstructed and saved damaged organs, and used the proceeds to build a hospital in Limbaret, Africa. This great dedication has been praised by the world.

1954 On July 30th and 3rd1day, a concert was held in the Thomas Church in Strasbourg to commemorate Bach's death. According to the regulations, this activity will be held every year, but unexpectedly, Shi Huaizhe, an 80-year-old organist, played a prelude. We can hold a concert in Paris from Shi Huaizhe's birthday on 1 month 14 every year. And on the Sunday afternoon closest to September 4th (the anniversary of Shi Huaizhe's death) every year, we can see how much a great man is admired at the organ concert in memory of Shi Huaizhe held in Kunsbach.

Undoubtedly, Shi Huaizhe, who has four different fields of philosophy, medicine, theology and music and was awarded the Nobel Peace Prize on 1953 1 October 31,is a great man of the century with great generalists and outstanding achievements, and also a famous organ player. Although he has many talents, what makes him successful is the characteristics of encouragement from faith and active efforts.

In the prime of life, Shi Huaizhe often arranges one day 16 hours to work on the road. Once he worked until four o'clock in the morning, and his friend advised him, "You shouldn't burn the candle at both ends." He replied, "if the candle is long, why not?" On another occasion, he spent eight hours practicing for an organ concert and adjusted the air duct to achieve the desired timbre. From these two things, you can imagine that he is setting an example every second. The average life expectancy of African aborigines is fifty years old, so Shi Huaizhe finished his autobiography at the age of fifty-six. I didn't expect God to love him so much that he could live to be ninety years old. Some of them said that this has a positive relationship with his habit of playing Bach music after dinner (Shi Yi, 27 years old).

Shi Huaizhe's works are diverse and professional, including Eugene Munsch (1898), Kant's philosophy of religion (1899), 19 century textual research on The Last Supper based on scientific research and historical records (190 1), and. German version: 1908), research history of Jesus' life (1906), organ making and playing skills in Germany and France (1906), the edge of virgin forest (192 1), and the philosophy of civilization: the apostle St. Paul's.

Second, about the Biography of Bach

1. Writing process and publishing origin

A passage recorded in Shi Huaizhe's Biography of Bach goes like this: "People who choose literature and music in the Middle Ages will reach Bach no matter which way they choose", which is enough to highlight Bach's small river (German original meaning is small river), not a small river, but a sea. Beethoven once said, "He is not a river, but a sea").

Shi Huaizhe has a unique aspect in interpreting Bach's sacred music, and is also recognized as the best biography of Bach by music scholars all over the world. There is a popular saying in the music industry: "People who haven't read Shi Huaizhe's Bach theory can't be successful performers of Bach music". Thus, "Bach Theory" occupies an important and special position in all kinds of works of Shi Huaizhe's life.

From 1903 to 1904, Shi Huaizhe devoted all his spare time to Bach in order to write the book On Bach. The purpose of writing is to show the French, not the Germans; Bach, once a master conductor of St. Thomas church choir in Leipzig, Germany, was unknown in France. After all, Germany is the base camp for studying Bach's music, but France is not.

The writing process is really not easy. Shi Huaizhe had to preach in German and write a book in French at the same time. Shi Huaizhe, who has always been a native speaker of German, finally finished the French version of Bach in the autumn of 1905, and the title was dedicated to his great-aunt Mrs. Shi Huaizhe Mathilde (this is to thank her for trying to introduce Professor Weido in 1893 and for being able to live with Professor Weido frequently in her hospitable home). The book was originally named Le Musicien-poete, 1908, published by Costallat Company in Paris, France and Breikopf und Hartel Publishing Company in Leipzig, Germany, with a total of 450 pages. Shi Huaizhe was thirty-three years old at this time.

At that time, Mr. Vito mentioned in front of Shi Huaizhe that all French books about Bach were biographical. At that time, there was only Bach's autobiography in France, and there were no artistic works about his musical characteristics. Although Shi Huaizhe has never made a special study on the history and theory of music before, the motivation for writing this book is only to promise Professor Vito to write some articles about Bach's music art for the students of Paris Conservatory of Music, so as to fill the shortage of French music art, but because I have studied Bach's music before and worked as an organist in St. William's Church, I have a lot of experience in theory and practice, so I naturally have the courage to write. At that time, Shi Huaizhe's plan to write a book was not to discover Bach and new historical materials of his time, but just to try to talk about Bach like other musicians. Therefore, I decided to discuss the theme that few people mentioned in this book before. For example, explain the real characteristics of Bach's music and discuss the correct playing methods. So the biography and history in the book just become a small introduction, not the main idea of the book.

As Shi Huaizhe is a German-born Frenchman, I want to rearrange the original materials of Bach's French version and translate them into a better German version than French. The German version of 『J.S Bach was finally written in the activities of studying medicine, preparing speeches, preaching, traveling and playing music. From the initial 455 pages to 844 pages, 1908 was published by Bly Kopf & hartle Publishing Company in Leipzig. This is another work in this field by Shi Huaizhe following the book A Study of Jesus in History. Later, the English version was published in 19 1 1 in two volumes by Breikopf und Hartel Company in Leipzig. 1923, the copyright of the book in Britain was granted by London A.&; C. obtained by black publishing company. In the last paragraph of Bach's preface, Professor Weiduo wrote: "We are bound together by common amazement, common respect and common understanding of fabrics. Professor Vito also got a deeper understanding of Bach because of Shi Huaizhe.

In addition, Bach Gesellschaft, which has a considerable relationship with Shi Huaizhe, was founded a century after Bach's death; At the same time, most of his works were established when people forgot. /kloc-At the beginning of the 0/9th century, Bray Kopf & Hartle Publishing Company (founded in 1540, which only published music books for half a century) once published Bach's music collection, but it could not be sold. Later, under the leadership of Mendelssohn, 1850 modeled on the Hanlu Society established by the British and established the Bach Society, which ignited a Bach revival movement and preserved the master's works. Fifty-six volumes were published from 1850 to 1900, and the last volume was published by this publishing house on 1900 1 27 (this does not include the missing parts). Among them, organ works account for about ten volumes (about 360).

/kloc-At the end of 0/9th century, the publication of Complete Works of Bach and Biography of Schweitzer aroused widespread concern and interest, making people in the music industry understand that Bach's music is not only the representative of academic and classical music. Because of the playing style discussed in the Biography of Bach, people who used to play in the traditional way were deeply puzzled, and because of Shi Huaizhe, people began to look for playing methods that fit the author's style.

2. Bach in Shi Huaizhe's eyes

Shi Huaizhe believes that Bach's music is both poetry and painting, because its theme comes from the intention of poetry and painting. Expressing the thinking impulse of poetry and painting is the essence of music. Starting from these themes, the work developed into a perfect building with a group of sounds. (Schwaetzer,1990: 412-418)

Bach uses the sound of music to describe things. He is not so much a music poet as a music painter. Bach expressed the purpose of "symbol" by means of "sound painting" and "depicting music" (German die Tonmalerei, English sound painting). For example: expressing philosophical symbols with the "number" sound mode; The number 3 refers to the trinity; Successive triplets refer to joy, running water, etc. Secondly, he used "tonality" to express emotional personality. For example, the brightness and brilliance in G major, the tragic strength in # F minor and the vigorous strength in C major. (Schwaetzer, 1990:384-386)

Bach can use music language at will, whether it is joy, suffering, peace, pain, self-confidence, devil, angel, etc. All these motives for expressing poetic and subtle thoughts can be seen and heard in his music. Music can arouse the audience's fantasy out of thin air, and it can also give life to the emotional experience and illusion that make up music. However, people who use musical sound as a language must have a mysterious ability to express their thoughts clearly and accurately in an extraordinary way. Bach is the greatest in this respect. This kind of art is full of natural life, so according to the essence of Bach's music, if we want to produce this effect, we must keep the playing method flexible and completely soft. Because its music structure is like the nature of Gothic architecture, the gradually strengthened and weakened parts are appropriate, which is different from Beethoven's later music based on emotional experience (A. Schwaetzer, 1990: 392-396).

In Schwaetzer's works, Bach is no longer a cold church composer, but a musician full of spirituality. Bach's music has not only one theme, but thousands of themes. He created music with religious enthusiasm, but he went beyond the field of art and entered the reality of life. In the field of Bach's music art, he reached the realm of "doing whatever he wants without overstepping the bounds"; In Beethoven's works, there is the necessity of musical life, and in Bach's works, there is also the necessity of its skills. Therefore, almost every composer who has studied Bach's music will not be surprised by the perfection of Bach's composition skills. However, Shi Huaizhe further inspires people that the greatest part of Bach's music lies not only in the perfect technique, but in: "Bach's music is full of natural life, especially the soul floating out of music, which symbolizes the highest state of human peace. (Shi Huaizhe, translated by Zhao Zhen, 176- 177)

3. About how to play Bach's works

In the years before Shi Huaizhe, playing skills were not valued. As for the new playing technique, it is of course related to the attitude of the audience. Paganini (Nicole? Paganini, 1782- 1840) to Franz Liszt, we can know that playing technology has become music itself. And if possible, even beyond the previous technology. In such a period, how did Shi Huaizhe interpret Bach 100 years ago? Shi Huaizhe thinks that the most important thing in playing Bach's music is: "We must cultivate an external calm attitude and an internal spirituality, so that we can turn the profound things in Bach's music into living things. (Shi Huaizhe, translated by Zhao Zhen, 177).

Shi Huaizhe strongly opposes that some people go against the composer's ideas and over-interpret Bach's works. He thinks Bach's music should be presented in its original style. What is original style? It is handled according to the timbre, speed and phrase segmentation at that time in Baroque period. However, the author thinks that the differences in architectural space, organ timbre and materials in Bach period have a great influence on the spread of organ sound, which is not available in modern churches, so it is difficult to express the original style in modern space.

Schwaetzer thinks Bach's music is played too fast most of the time. Performers should make the audience clearly recognize the side-by-side phrases. If the speed is too fast, people will feel confused. In order to make phrases sound flexible and understand the life in Bach's music, we need to pay attention to segmentation. In fact, Bach's playing method, which Shi Huaizhe learned from Professor Vito at the beginning of 1893, is a continuous tone, and most French people played like this in the late19th century. In fact, there is still such a tradition in southern Germany and France today; However, another opposite approach is that in northern Germany, they have a tradition of staccato and pop up all Bach's works. This situation can be attributed to the Germans before 19 century, who played Bach's works with extremely fast staccato. This way is really not easy to play for the extremely heavy keyboard at that time.

Later, Shi Huaizhe had an epiphany on the importance of sectioning. If you want to cut correctly, you should pay attention to the correct volume addition. In Bach's works, the stress in phrases is irregularly combined with the natural stress of bar lines. In other words, the remake is not a constant one or three beats, but is carried out side by side with the rhythm of the rhythm, and it is free, which is the greatest place of polyphonic music. We can see the vitality of the unique rhythm in Bach's music from the tension generated by the ensemble in the sentence and the stress on the nodal line (Shi Huaizhe, translated by Chen Da, 55-56). How to release the brilliance of lively Bach music? It's not the speed of its performance, but the phrase method that makes the audience feel the vivid three-dimensional sound sequence floating. So the next time you hear musicians show Bach's works with quick skills, don't forget to remind our ears and brains, do these musicians really want to express Bach's music art or show off their skills?

4. Bach in the eyes of musicians

The publication of Biography of Bach at that time coincided with the time when the music industry supported their ideas about Wagner and the pure music of Bach and Mozart. The latter school thinks that only artistic music that does not aim at poetry and painting can be called pure music. Bach's works can make every beautiful sentence reach a perfect state. Because of its completeness, it is gradually appreciated by people. Of course, this is due to the Complete Works of Bach published by Bach Society in the mid-9th century and the Passion of Matthew published again by Felix Mendelssohn bartholdi (1809- 1847). Shi Huaizhe himself did not look at Bach from the perspective of maintaining the sacred tradition of pure music, but regarded Bach as a poet and painter in music. Schwaetzer commented on Bach's music: "This is the artist's music. According to him, art is not divided into poetry, painting and music by the materials used, and materials can only be classified into the second meaning (Nomura Stone, 140- 14 1).

Shi Huaizhe not only regarded Bach as a poet and painter in music, but also compared Beethoven, Wagner, Berlioz and Schubert: "Beethoven and Wagner belong to poets and musicians; Bach, Berlioz and Schubert are even more musical painters. (a. Schwaetzer, 1990:394)

If you want to distinguish the characteristics of artists, you can simply divide them into two types; One is a subjective artist and the other is an objective artist. Subjective artist, whose art is expressed in personality; The author has nothing to do with the time of his birth. He himself is the law, anti-times, and recreates his own ideological form. Richard Wagner belongs to this type of person; Bach is an objective artist. He lived in the times and made artistic creation with the forms and ideas provided by the times. This kind of objective artist is not "impersonal", but super-personal. This kind of artist only expresses the impulse of his decision again when all the materials have been transformed into a complete form separately. He lives not in himself, but in the spirit of the times. In German philosophy, only Kant can compete with Bach, because Kant's works are impersonal (A. Schwaetzer, 1990: 1-3).