Michael Marissen – författare

Many scholars and music lovers hold that J.S. Bach is a modern figure, as his music seems to speak directly to the aesthetic, spiritual, or emotional concerns of today's listeners. But, by eighteenth-century standards, Bach and his music in fact reflected and forcefully promoted a premodern world and life view. In Bach against Modernity, author Michael Marissen offers a new look at Bach that considers problems of inattentiveness to historical considerations in academic and popular writing about Bach's relation to the present. He also puts forward interpretive reassessments of key individual works by Bach and examines problems in modern comprehension of the partly archaic German texts that Bach set to music. Lastly, he explores Bach's music in relation to premodern versus enlightened attitudes toward Jews and Judaism and enquires into the theological character of Bach's secular instrumental music.Throughout, the book provides overlooked or misunderstood evidence of Bach's private engagement with religious and social issues that he also addressed in his public vocal compositions. Marissen ultimately argues that, while we are free to make use of Bach and his music in whatever ways we find fitting, we ought also to guard against miscasting Bach in our own ideological image and proclaiming the authenticity of that image, and hence its prestige value, in support of our own agendas.

Bach & God explores the religious character of Bach's vocal and instrumental music in seven interrelated essays. Noted musicologist Michael Marissen offers wide-ranging interpretive insights from careful biblical and theological scrutiny of the librettos. Yet he also shows how Bach's pitches, rhythms, and tone colors can make contributions to a work's plausible meanings that go beyond setting texts in an aesthetically satisfying manner. In some of Bach's vocal repertory, the music puts a "spin " on the words in a way that turns out to be explainable as orthodox Lutheran in its orientation. In a few of Bach's vocal works, his otherwise puzzlingly fierce musical settings serve to underscore now unrecognized or unacknowledged verbal polemics, most unsettlingly so in the case of his church cantatas that express contempt for Jews and Judaism. Finally, even Bach's secular instrumental music, particularly the late collections of "abstract " learned counterpoint, can powerfully project certain elements of traditional Lutheran theology. Bach's music is inexhaustible, and Bach & God suggests that through close contextual study there is always more to discover and learn.

Bach's St. John Passion is surely one of the monuments of Western music, yet performances are inevitably controversial. In large part, this is because of the combination of the powerful and highly emotional music and a text that includes passages from a gospel marked by vehement anti-Judaic sentiments. What did this masterpiece mean in Bach's day and what does it mean today? Although bibliographies on Bach and Judaism have grown enormously since World War II, there has been very little work on the relationship between the two areas. This is hardly surprising; Judaica scholars and culture critics focusing on issues of anti-Semitism commonly lack musical training and are, in any event, quite reasonably interested in even more pressing social and political issues. Bach scholars, on the other hand, have mostly concentrated on narrowly defined musical topics. Strangely, therefore, almost no scholarly attention has been given to relationships between Lutheranism and the religion of Judaism as they affect Bach's most controversial work, the St. John Passion. Through a reappraisal of Bach's work and its contexts, Marissen confronts Bach and Judaism directly, providing interpretive commentary that could serve as a basis for a more informed and sensitive discussion of this troubling work. Consisting of a long interpretive essay, followed by an annotated literal translation of the libretto, a guide to recorded examples, and a detailed bibliography, this concise text provides the reader with the tools to assess the work on its own terms and in the appropriate context.

This volume is a guide to the resources and materials of Bach scholarship, both for the non-specialist wondering where to begin in the enormous literature on J.S. Bach, and for Bach specialists looking for a convenient and up-to-date survey of the field. It describes the tools of Bach research and how to use them, and suggests how to get started in such research by describing the principal areas of research and citing the essential literature on each piece and topic. Subjects covered include bibliographic tools of Bach research and sources of literature; Bach's family: Bach biographies; places Bach lived and worked; Bach's teaching; the liturgy; Bach source studies and the transmission of his music; repertory and editions; genres and individual vocal and instrumental works; the reception and analysis of Bach's music; and many others.

An Introduction to Bach Studies is a comprehensive guide to the resources and materials of Bach scholarship, both for students beginning work in the enormous literature on J. S. Bach, and for the Bach specialist looking for a convenient and up-to-date survey of the field. Covering a broad range of both primary and secondary sources, well-known Bach scholars Daniel R. Melamed and Michael Marissen draw on their extensive research experience to describe the principal tools of Bach research and how to use them. With clear descriptions and explanations, the multiple bibliographies and tables help students and instructors quickly find the most appropriate sources on Bach's life, his repertory, approaches to his music, and many other topics. Additionally, this volume provides insights into potentially confusing sources and detailed information on the technical topics important to all Bach scholars. Concise and comprehensive, this user-friendly guide brings together useful bibliographic resources in one place, and is an indispensable resource for all who conduct research on Bach.

The major choral works by Johann Sebastian Bach-the Christmas, Easter, and Ascension Oratorios, and the St. Matthew, St. Mark, and St. John Passions-stand as the most frequently-performed and penetratingly discussed of the genre. Renowned Bach scholar Michael Marissen has assembled a compact, well-designed and ideally useful treatment of Bach's oratorios, providing the full German texts with literal English translations and copious annotations. He provides strict literal translations of these texts, with citations from the Luther Bible as it was known in Bach's day, along side extensive footnotes that provide information addressing the interests and concerns of today's Bach community. These are the first translations of the librettos from Bach's oratorios to accommodate the many sense-clarifying allusions to the readings of the Luther Bibles in Bach's day, to explore from historical dictionaries the meanings of previously unnoticed archaic usages, and to contrast relevant findings from modern biblical scholarship. Marissen's insights are particularly helpful, his thoroughness is impressive, and the book will be a longstanding, definitive, and essential reference for choral directors, performers, audience members, and Bach scholars alike.

An eye-opening reexamination of Handel’s beloved religious oratorioEvery Easter, audiences across the globe thrill to performances of Handel’s “Hallelujah Chorus,” but they would probably be appalled to learn the full extent of the oratorio’s anti-Judaic message. In this pioneering study, respected musicologist Michael Marissen examines Handel’s masterwork and uncovers a disturbing message of anti-Judaism buried within its joyous celebration of the divinity of the Christ.Discovering previously unidentified historical source materials enabled the author to investigate the circumstances that led to the creation of the Messiah and expose the hateful sentiments masked by magnificent musical artistry—including the famed “Hallelujah Chorus,” which rejoices in the “dashing to pieces” of God’s enemies, among them the “people of Israel.” Marissen’s fascinating, provocative work offers musical scholars and general readers alike an unsettling new appreciation of one of the world’s best-loved and most widely performed works of religious music.