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Bach Cantatas Piano Transcriptions
Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR. -
Bach: Goldberg Variations
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BACH GOLDBERG VARIATIONS Parker Ramsay | harp PARKER RAMSAY Parker Ramsay was the first American to hold the post of Organ Scholar at King’s, from 2010–2013, following a long line of prestigious predecessors. Organ Scholars at King’s are undergraduate students at the College with a range of roles and responsibilities, including playing for choral services in the Chapel, assisting in the training of the probationers and Choristers, and conducting the full choir from time to time. The position of Organ Scholar is held for the duration of the student’s degree course. This is Parker’s first solo harp recording, and the second recording by an Organ Scholar on the College’s own label. 2 BACH GOLDBERG VARIATIONS Parker Ramsay harp 3 CD 78:45 1 Aria 3:23 2 Variatio 1 1:57 3 Variatio 2 1:54 4 Variatio 3 Canone all’Unisono 2:38 5 Variatio 4 1:15 6 Variatio 5 1:43 7 Variatio 6 Canone alla Seconda 1:26 8 Variatio 7 al tempo di Giga 2:24 9 Variatio 8 2:01 10 Variatio 9 Canone alla Terza 1:49 11 Variatio 10 Fughetta 1:45 12 Variatio 11 2:22 13 Variatio 12 Canone alla Quarta in moto contrario 3:21 14 Variatio 13 4:36 15 Variatio 14 2:07 16 Variatio 15 Canone alla Quinta. Andante 3:24 17 Variatio 16 Ouverture 3:26 18 Variatio 17 2:23 19 Variatio 18 Canone alla Sesta 1:58 20 Variatio 19 1:45 21 Variatio 20 3:10 22 Variatio 21 Canone alla Settima 2:31 23 Variatio 22 alla breve 1:42 24 Variatio 23 2:33 25 Variatio 24 Canone all’Ottava 2:30 26 Variatio 25 Adagio 4:31 27 Variatio 26 2:07 28 Variatio 27 Canone alla Nona 2:18 29 Variatio 28 2:29 30 Variatio 29 2:04 31 Variatio 30 Quodlibet 2:38 32 Aria da Capo 2:35 4 AN INTRODUCTION analysis than usual. -
BACH IS BACK in BERLIN: the Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics
BACH IS BACK IN BERLIN: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics Patricia Kennedy Grimsted Harvard Ukrainian Research Institute The National Council for Eurasian and East European Research 910 17th Street, N.W. Suite 300 Washington, D.C. 20006 TITLE VIII PROGRAM Project Information* Contractor: Harvard University Principal Investigator: Patricia Kennedy Grimsted Council Contract Number: 816-03g Date: June 9, 2003 Copyright Information Individual researchers retain the copyright on their work products derived from research funded through a contract or grant from the National Council for Eurasian and East European Research (NCEEER). However, the NCEEER and the United States Government have the right to duplicate and disseminate, in written and electronic form, reports submitted to NCEEER to fulfill Contract or Grant Agreements either (a) for NCEEER’s own internal use, or (b) for use by the United States Government, and as follows: (1) for further dissemination to domestic, international, and foreign governments, entities and/or individuals to serve official United States Government purposes or (2) for dissemination in accordance with the Freedom of Information Act or other law or policy of the United States Government granting the public access to documents held by the United States Government. Neither NCEEER nor the United States Government nor any recipient of this Report may use it for commercial sale. * The work leading to this report was supported in part by contract or grant funds provided by the National Council for Eurasian and East European Research, funds which were made available by the U.S. -
JB17 Poeschel 2018 10 30 Familie Graun in Preußen Manuskript WP2
Wilhelm Poeschel – Familie Graun in Preußen 3. Quellen zu biografischen Daten der Familien Johann Gottlieb und Carl Heinrich Graun (Auswahl) Samuel Schmiel Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 107 (*1658; †1.9.1734) 1734 I September I 1. Herr Samuel Schmiel, Königl. Geheimer Kammer Diener, 77. Jahr, am Schlagfluß, den 5. Anna Regina Schmiel, Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 8 geb. Thering 1704 Aug. 15. Hr. Geheimer Cammerdiener Schmieles Ehe Frau, in S.P. (*um 1680; †15.8.1704) Friederich Schmiel Taufbuch St. Petri, ELAB Sig. 5789-2, S. 596 (*17.5.1700; †2.8.1700) Pr: Herr Samuel Schmiel Ser: churfürstlichen Herrn (?) brandng geheimer Cammer-Diener I Mr: Fr: Anna Regina geborene Theringen laßen Tauffen am 17 May ihr am 14 deßelbh Monath zwischen 3 und ½ 4 Uhr geborenes Söhn- lein mit dem Nahmen I Friedrich I Die Gevattern waren I S: Churfürstl. Durch- laucht Friederich an deßen Platz der Hoffmarschall Excellents d(er) Herr von Wusrau (?) zugegen gewest. I Herr Lucas Heinrich Therig Archediaconus d(er) Peter Kirch. Die Fr: Kriegs Rähtin v. Kraut, geborene Schindlern, Die Frau Mommortin, Loff […][…] (?) Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 1536 1700, Augt. 2. Herr Geheimer Cammerdiener Schmiels Kind, zu S.P. Anna Theodora Schmiel, Taufbuch Friedrich Werdersche Kirche, ELAB Sig. 5117-1, S. 151 geb. Simonetti, 1684, 27 December Inf: Anna Theodora I Pat: Johann Simonetti, Stucator156 I Mat: Euphrosina Hoffekuntzin I Pathen I 1 Hr. Christian Kuntzleben. 2 Hr. (#27.12.1684; †15.5.1708) Peter Jenicke. 3 Jfr: Scharlotta …(?) 4 Fr […] 5 Fr. -
MTO 19.3: Brody, Review of Matthew Dirst, Engaging Bach
Volume 19, Number 3, September 2013 Copyright © 2013 Society for Music Theory Review of Matthew Dirst, Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn (Cambridge University Press, 2012) Christopher Brody KEYWORDS: Bach, Bach reception, Mozart, fugue, chorale, Well-Tempered Clavier Received July 2013 [1] Historical research on Johann Sebastian Bach entered its modern era in the late 1950s with the development, spearheaded by Alfred Dürr, Georg von Dadelsen, and Wisso Weiss, of the so-called “new chronology” of his works.(1) In parallel with this revolution, the history of the dissemination and reception of Bach was also being rewritten. Whereas Hans T. David and Arthur Mendel wrote, in 1945, that “Bach and his works ... [were] practically forgotten by the generations following his” (358), by 1998 Christoph Wolff could describe the far more nuanced understanding of Bach reception that had arisen in the intervening years in terms of “two complementary aspects”: on the one hand, the beginning of a more broadly based public reception of Bach’s music in the early nineteenth century, for which Mendelssohn’s 1829 performance of the St. Matthew Passion represents a decisive milestone; on the other hand, the uninterrupted reception of a more private kind, largely confined to circles of professional musicians, who regarded Bach’s fugues and chorales in particular as a continuing challenge, a source of inspiration, and a yardstick for measuring compositional quality. (485–86) [2] In most respects it is with the latter (though chronologically earlier) aspect that Matthew Dirst’s survey Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn concerns itself, serving as a fine single-volume introduction to the “private” side of Bach reception up to about 1850. -
Jahresbericht 2017
JAHRESBERICHT 2017 BACHS ERbe – EiN AUFTRAG FÜR DIE ZUKUNFT Unser herzlicher Dank gilt allen Förderern, Sponsoren und Partnern des Bachfestes 2017 sowie des Meisterkurses 2017 in Leipzig. • arcona LIVING BACH14 Leipzig • Hochschule für Technik, Wirtschaft • nextbike GmbH • Bärenreiter-Verlag und Kultur Leipzig (HTWK) • PROMENADEN Hauptbahnhof Leipzig Karl Vötterle GmbH & Co. KG • HypoVereinsbank – Member of • Sächsisches Staatsministerium für • Die Beauftragte der Bundesregierung UniCredit Wissenschaft und Kunst (SMWK) für Kultur und Medien • Institut Français • Seaside Park Hotel Leipzig • BMW Niederlassung Leipzig • Leipzig Hotel Alliance • Sparkasse Leipzig • Christa Bach-Marschall-Stiftung • Leipzig Tourismus und • Stadt Leipzig • Deutschlandradio Kultur Marketing GmbH • Stiftung Chorherren zu St. Thomae • DIE ZEIT • Leipziger Verkehrsbetriebe • Ströer Deutsche Städte • Evangelisch-Lutherische Landes- GmbH (LVB) Medien GmbH kirche Sachsens • Leipziger Volkszeitung • TOTAL Raffinerie • fairgourmet GmbH • MDR Kultur Mitteldeutschland GmbH • GENUIN Classics • Mitteldeutsche Barockmusik in • Turkish Airlines Inc. • Goethe-Institut e. V. Sachsen, Sachsen-Anhalt und • Vereinigung der Freunde des • Hochschule für Musik und Theater Thüringen e. V. Bach-Archivs Leipzig e. V. „Felix Mendelssohn Bartholdy“ • Musikschule Leipzig Leipzig (HMT) „Johann Sebastian Bach“ JAHRESBERICHT 2017 BACHS ERbe – EIN AUFTRAG FÜR DIE ZUKUNFT INHALT 1. GRUSSWORT 4 2. VORWORT 6 3. BACH-ARCHIV LEIPZIG – AUFGABEN UND ZIELE 9 4. DAS INKLUSIVE BACH-MUSEUM 12 5. AN BACH VERERBEn – NACHLASSSPENDEN FÜR DAS BACH-ARCHIV 16 6. TÄTIGKEITSBERICHTE UND PROJEKTE 19 6.1. Forschungsinstitut 19 6.2. Bibliothek 25 6.3. Museum 34 6.4. Bachfest Leipzig 46 6.5. Meisterkurs 51 6.6. Kommunikation und Vermittlung 52 7. KOOPERATIONEN 57 7.1. Das Bach-Archiv – Institut an der Universität Leipzig 57 7.2. Kooperation mit der Hochschule für Musik und Theater 58 „Felix Mendelssohn Bartholdy“ Leipzig (HMT) 7.3. -
A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-2-2014 A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Labadorf, Thomas A., "A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet" (2014). Doctoral Dissertations. 332. https://opencommons.uconn.edu/dissertations/332 A New Transcription and Performance Interpretation of J.S. Bach’s Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf, D. M. A. University of Connecticut, 2014 A new transcription of Bach’s Chromatic Fantasy is presented to offset limitations of previous transcriptions by other editors. Certain shortcomings of the clarinet are addressed which add to the difficulty of creating an effective transcription for performance: the inability to sustain more than one note at a time, phrase length limited by breath capacity, and a limited pitch range. The clarinet, however, offers qualities not available to the keyboard that can serve to mitigate these shortcomings: voice-like legato to perform sweeping scalar and arpeggiated gestures, the increased ability to sustain melodic lines, use of dynamics to emphasize phrase shapes and highlight background melodies, and the ability to perform large leaps easily. A unique realization of the arpeggiated section takes advantage of the clarinet’s distinctive registers and references early treatises for an authentic wind instrument approach. A linear analysis, prepared by the author, serves as a basis for making decisions on phrase and dynamic placement. -
Rethinking J.S. Bach's Musical Offering
Rethinking J.S. Bach’s Musical Offering Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Anatoly Milka All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3706-4 ISBN (13): 978-1-5275-3706-4 TABLE OF CONTENTS List of Figures........................................................................................... vii List of Schemes ....................................................................................... viii List of Music Examples .............................................................................. x List of Tables ............................................................................................ xii List of Abbreviations ............................................................................... xiii Preface ...................................................................................................... xv Introduction ............................................................................................... -
18Th Century Quotations Relating to J.S. Bach's Temperament
18 th century quotations relating to J.S. Bach’s temperament Written by Willem Kroesbergen and assisted by Andrew Cruickshank, Cape Town, October 2015 (updated 2nd version, 1 st version November 2013) Introduction: In 1850 the Bach-Gesellschaft was formed with the purpose of publishing the complete works of Johann Sebastian Bach (1685-1750) as part of the centenary celebration of Bach’s death. The collected works, without editorial additions, became known as the Bach- Gesellschaft-Ausgabe. After the formation of the Bach-Gesellschaft, during 1873, Philip Spitta (1841-1894) published his biography of Bach.1 In this biography Spitta wrote that Bach used equal temperament 2. In other words, by the late 19 th century, it was assumed by one of the more important writers on Bach that Bach used equal temperament. During the 20 th century, after the rediscovery of various kinds of historical temperaments, it became generally accepted that Bach did not use equal temperament. This theory was mainly based on the fact that Bach titled his collection of 24 preludes and fugues of 1722 as ‘Das wohltemperirte Clavier’, traditionally translated as the ‘Well-Tempered Clavier’ . Based on the title, it was assumed during the 20 th century that an unequal temperament was implied – equating the term ‘well-tempered’ with the notion of some form of unequal temperament. But, are we sure that it was Bach’s intention to use an unequal temperament for his 24 preludes and fugues? The German word for ‘wohl-temperiert’ is synonymous with ‘gut- temperiert’ which in turn translates directly to ‘good tempered’. -
The End Is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140
The End is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140 Master's Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Dr. Eric Chafe, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Hannah Spencer May 2015 ABSTRACT The End is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140 A thesis presented to Department of Music Graduate School of Arts and Sciences Brandeis University Waltham, Massachusetts By Hannah Spencer In his mission to create a better repertoire of "well-regulated church music to the Glory of God," J.S. Bach utilized every aspect of his craft. Aside from the rich texts penned by his anonymous librettist, Bach intentionally utilized specific musical gestures to intertwine the Gospel into each layer of his compositions. In the case of BWV 1 and BWV 140 , Bach makes compositional choices that allow him to depict the eschatological viewpoint of Phillip Nicolai, the Lutheran theologian who penned the chorales used as the basis of these chorale cantatas. By analyzing Bach's use of such devices as large-scale harmonic patterns, melodic motives, and the structural use of chiasm, the depiction of motion between the realms of Heaven and Earth becomes clear. More than simply "church music," Bach's cantatas are musical sermons of intricate detail. ii TABLE OF CONTENTS Abstract..........................................................................................................................................ii -
CC 8805 Engl.Indd
1 Commentary Abbreviations and Sigla To proclaim this date as terminus post quem for the conception of the sonata collection a.c. ante correcturam including the revision of the two named movements appears to be premature in light P Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung, Mus. Ms. of the possibility that Bach did not intend to make the sonatas available to his students Bach (shelf number for scores) for copying. It is unlikely that Bach left Vogler a three-part organ work for copying at the Ped Pedal system end of 1729 (BWV 545 with BWV 529/2) when at this point the second movement had St Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung, Mus. Ms. already found its defi nitive designation as the middle movement of the fi fth sonata. A Bach (shelf number for parts) date of around 1731 thus stands out. The time signature 2| in BWV 526/3, seldom-used by Bach, also points to 1731.3 Perhaps the origin of the sonata collection stands in di- In the individual notes, voices are indicated by Roman numerals for the system and, if rect connection with Bach’s appearance as organist in Dresden in September 1731;4 an necessary, Arabic numerals for the individual voices within the system, each in increas- organ concert in the Dresden Sophienkirche on September 14 is evidence.5 ing order (I 2 = fi rst system, second voice). These designations pertain to the notation of the present edition. Origin of the Primary Source Unless otherwise noted, the individual notes are concerned with differences between Although P 271 is a pure copy, corrections and small modifi cations common to Bach the respective primary source and the notation of the present edition. -
Einleitung 2. Fass. Fußnoten.Qxp 11.11.2010 11:27 Seite 1
Einleitung 2. Fass. Fußnoten.qxp 11.11.2010 11:27 Seite 1 7 Einleitung Die beiden Werkgruppen des vorliegenden Bandes nehmen in Bachs Schaffen einen auch innerhalb der Orgelmusik eine gewisse Tradition aufzuweisen, an die Bach besonderen Platz ein. Sie gehören Gattungen an, die am Anfang des 18. Jahrhunderts anknüpfen konnte. Hier ist in erster Linie an die französische Orgeltradition zu den- der instrumentalen Ensemblemusik zugeordnet wurden und der Tastenmusik im ken, in der eine der wichtigsten Formen – das Trio für zwei Manuale und Pedal – auf Grunde fremd waren. Es ist deshalb nicht verwunderlich, dass es sich bei einem wich- dem kammermusikalischen Modell eines langsamen Triosatzes für zwei Violinen und tigen Teil der Stücke um Bearbeitungen handelt: So basieren die Konzerte auf Generalbass beruht. Bachs Kenntnis solcher Sätze ist für die Drucksammlungen von Streicherkonzerten anderer Komponisten, die Sonaten gehen zum Teil auf eigene Boyvin, Du Mage, Grigny und Raison belegt.2 Kammermusikwerke zurück. Weitere verbindende Elemente – natürlich vor dem Innerhalb der mittel- und norddeutschen Orgeltradition vor Bach wurde der Triosatz Hintergrund der Besonderheiten dieser Werkgattungen – sind die Anlage „à 2 Clav. mit obligatem Pedal dagegen fast ausschließlich mit dem choralgebundenen Spiel in e Ped.“ sowie die Dreisätzigkeit. Verbindung gebracht.3 Dabei herrscht jener Satztyp vor, bei dem die Choralmelodie ins Pedal verlegt und als eine Art Generalbasslinie neu interpretiert wird. Choraltrios, Die Sechs Sonaten und einzelne Sonatensätze bei denen die Choralmelodie in einer oder beiden Oberstimmen mehr oder weniger In den sechs Sonaten für Orgel BWV 525–530 verbinden sich verschiedene Merkmale koloriert auftritt und das Pedal eine reine Generalbassfunktion übernimmt, sind viel von Bachs kompositorischem Schaffen der 1720er Jahre.