Percy Grainger’s nearly lifelong fascination with the music of J.S. Bach began when he encountered the Bach interpretations of Louis Pabst in Australia at the age of ten and then subsequently studied the Well-Tempered Clavier and other compositions by Bach with him. Yet it was after a few weeks of studying Bach–Busoni transcriptions with Ferruccio Busoni in Berlin during the summer of 1903 that the compositions of Bach took on greater aesthetic and poietic significance for him. Even despite the fact that the relationship eventually ‘soured’, discussions with Busoni in Berlin (and subsequently in London and the United States) reinforced some of Grainger’s burgeoning countercultural aesthetic ideas, especially ones deriving from the music of Bach: scepticism about the concept of ‘originality’, an interest in flexible instrumentation, and an idealization of polyphony. Although several scholars have discussed the Busoni–Grainger relationship, its importance for Grainger’s artistic ideals has yet to be explored in any degree of detail. Through analyses of scores, manuscripts, essays, concert programmes, recordings, and letters, including unpublished documents from the Grainger Museum at The University of Melbourne, this article presents the first detailed exploration of the ways Grainger’s aesthetics, poietics, and interpretations were influenced by Busoni’s vision of Bach. In so doing, the article lends greater insight into the development of Grainger’s unique compositional style, and contributes to current discourse about the role and value of adaptations in the early twentieth century. In particular, it reveals that while participating in an early-twentieth-century fascination with the music of Bach, the ideas Busoni transmitted to Grainger held even wider ranging significance. They represent a move away from the modernist notion of progress into a proto-postmodernist mindset in which appropriation, reuse, adaptation, and reshaping hold as much value as the original and new.

中文翻译：

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从巴赫-布索尼到巴赫-格兰杰：适应即构成

珀西·格兰杰（Percy Grainger）对JS巴赫音乐的终生痴迷始于十岁时在澳大利亚遇到巴赫（Bach）对路易·帕布斯特（Louis Pabst）的诠释，然后随后与巴赫一起研究了脾气暴躁的竖琴和其他作品。然而，直到1903年夏天在柏林与Ferruccio Busoni一起研究巴赫-布索尼的抄本几周后，巴赫的作品对他而言才具有更大的美学和诗意意义。尽管事实上这种关系最终变得“酸痛”，但在柏林（随后在伦敦和美国）与Busoni的讨论加强了Grainger新兴的反文化美学观念，特别是那些源自巴赫音乐的观念：对“巴赫”概念的怀疑“原始性”，对柔性仪器的兴趣，和复音的理想化。尽管有几位学者讨论了布索尼与格安格的关系，但对于格安格的艺术理想的重要性尚未有任何详细的探讨。通过对乐谱，手稿，论文，音乐会节目，录音和信件的分析，包括墨尔本大学Grainger博物馆未出版的文件，本文首次详细探讨了Grainger的美学，诗学和诠释受到影响的方式。布索尼对巴赫的看法。通过这样做，本文为Grainger独特的构图风格的发展提供了更多的见识，并有助于对20世纪初适应的作用和价值的当前论述。特别是，它揭示了在参与二十世纪初对巴赫音乐的迷恋中，布索尼传达给格安格的想法具有更广泛的意义。它们代表着从现代主义的进步观念转变为原始的后现代主义思维方式，在这种思维方式中，挪用，重用，适应和重塑与原始和新的一样重要。