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从1821年门德尔松突然发现《马太受难曲》的几个世纪来,作家与批评家们用了太多高度的评价赋予约翰·塞巴斯蒂安·巴赫(Johann SebastianBach)。再谈巴赫,能够说的话,似乎真的不多了,以至每次想写他,都因无从下手而终止。这也印证了爱因斯坦的一句话:“对于巴赫,只有聆听、演奏、热爱、尊敬,并且不说一句话”。然而人们终究无法沉默。在巴赫超乎人类之上的音乐境界里,总是自己先打破自己,赞美、沉思而后喟然。这恐怕是巴赫生前万万想不到的。当时的他,只是被人善意地称做“我们的好风琴师巴赫先生”而已。被人称引最多的一件往事是那次波茨坦之
Over the centuries since Mendelssohn’s sudden discovery of the Matthew Sufferings in 1821, writers and critics have used too much of a high opinion to give Johann Sebastian Bach. To talk about Bach, to be able to say that seems really much, and even want to write him every time, because no start to stop. This also confirms Einstein’s sentence: “For Bach, only to listen, play, love, respect, and do not say a word ”. However, people can not be silent after all. In Bach’s musical realm above humanity, he always breaks himself, compliments, meditates and then turns himself. This is probably something that Bach never imagined before his death. At the time, he was only known as “our good organist, Mr. Bach,” only in good faith. One of the most famous episodes is that of Potsdam