DOCSLIB.ORG

BACH, CARL PHILIPP EMANUEL, Briefe Von Carl Phitipp Emanuel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BACH, CARL PHILIPP EMANUEL, Briefe Von Carl Phitipp Emanuel LITERATUR A. Quellen und ältere Literatur (bis 1850) Musikalische Ausgaben (Denkmälerausgaben, Gesamtausgaben einzel­ ner Meister etc.) sind im nachstehenden Literatutverzeichnis nicht an­ geführt. Sie werden jeweils mit den bibliographischen Angaben im lau­ fenden Text bzw. in den Anmerkungen zitiert. Musikalische Quellen (Autographe, Handschriften, Originaldrucke) werden ebenfalls im laufenden Text bzw. in den Anmerkungen ange­ führt, jeweils mit Bibliotheksstandort und Signatur. BACH, CARL PHILIPP EMANUEL, Briefe von Carl Phitipp Emanuel Bach an johann Gottlob Immanuel Breitkopf und johann Nikolaus Forke!, (Hrsg.: Ernst Suchalla), Tutzing 1985 ders., Carl Phitipp Emanuel Bachiana, Briefe, die bei Ernst Suchalla nicht veröffentlicht wurden, (Hrsg.: Rudolph Angermüller), in: Jahrbuch des Staatlichen Institut für Musikforschung Preußischer Kulturbesitz 1985/1986, Berlin 1989 ders., Autobiographie, in: Burney, Carl, Der Musik Doctors Tagebuch seiner Musikalischen Reisen, III. Bd. Durch Böhmen, Sachsen, Bran­ denburg, Harnburg und Holland, Harnburg 1773 ders., Versuch über die wahre Art das Clavier zu spielen, Berlin 1753 BACH, JOHANN SEBASTIAN, Eingabe an den Rat der Stadt Leipzig (23. 8. 1730), in: Schriftstücke von der Hand Johann Sebastian Bachs, vorgelegt und erläutert von Werner Neumann und Hans-Joachim Schulze, Kassel Basel 1963 (=Bach-Dokumente Bd 1), S. 60-64 ders., Brief an Georg Erdmann, Danzig (28. 10. 1730), in: Schriftstücke von der Hand Johann Sebastian Bachs, vorgelegt und erläutert von Werner Neumann und Hans-Joachim Schulze, Kassel Basel 1963 (=Bach-Dokumente Bd 1), S. 67-68 BURNEY, CARL, Der Musik Doctors Tagebuch seiner musikalischen Reise, durch Flandern, die Niederlande und am Rhein bis Wien, Wilhelmshaven 1980 (=Taschenbücher zur Musikwissenschaft 65) (Nachdruck der Ausgabe Harnburg 1772) CRAMER, Carl Friedrich, Magazin der Musik, Harnburg 1783-1786. FAißT, IMMANUEL GOTTLOB FRIEDRICH, Beiträge zur Geschichte der Claviersonate von ihrem ersten Auftreten an bis auf C.P. Emanuel Literatur Bach, in Caecilia, 25 (1846) und 26 (1847); im folgenden zitiert nach: Neues Beethoven-Jahrbuch 1 (1942), S. 7-85 FEUILLET, RAOUL AUGER, Choreographie ou l'Art de decrire Ia Dance par caracteres, figures et signes demonstratifs, Paris 1700 FORKEL, JOHANN NIKOLAUS, Allgemeine Geschichte der Musik, Leipzig 1788 ders., Ueber die Theorie der Musik, insofern sie Liebhabern und Ken­ nern nothwendig und nützlich ist, Göttingen 1777 GAFFURIUS, FRANCHINUS, Practica musicae, Mailand 1496 GERBER, ERNST LUDWIG, Eine freundliche Vorstellung über gearbeite­ te Instrumentalmusik, besonders über Symphonien, in: Allgemei­ ne Musikalische Zeitung 15 (1813), Sp. 457-463 HILLER, JOHANN ADAM, Wöchentliche Nachrichten und Anmerkungen die Musik betreffend, Leipzig 1766 KIRNBERGER, JOHANN PHILIPP, Der allzeit fertige Polonaisen= und Menuettencomponist, Berlin 1757 KOCH, HEINRICH CHRISTOPH, Versuch einer Anleitung zur Compositi­ on, Bildesheim 1969 (Reprographischer Nachdruck der Ausgabe Rudolstadt 1782 (I), Leipzig 1787 (Zweyter Theil) und Leipzig 1793 (Dritter und lezter Theil) LA VATER, JOHANN KASPAR, Physiognomische Fragmente, Bd 3, Leipzig Winterthur 1777 MARPURG, FRIEDRICH WILHELM, Historisch=Kritische Beyträge zur Aufnahme der Musik, III. Bd, Berlin 1757/58 ders., Abhandlungen von der Fuge nach den Grundsätzen und Exem­ peln der besten deutschen und ausländischen Meistern, Berlin 1753 ders., Abhandlung von der Fuge zweyter Theil, Berlin 1754 MATI'HESON, JOHANN, Das Neu= Eröffnete Orchestre, Harnburg 1713 ders., Das Beschützte Orchestre, Harnburg 1717 ders., Der Vollkommene Capellmeister, Harnburg 1739 NICHELMANN, CHRISTOPH, Die Melodie nach ihrem Wesen sowohl, als nach ihren Eigenschaften, Danzig 1755 NICOLAI, CHRISTOPH FRIEDRICH, Allgemeine deutsche Bibliothek, 45. Bd, 1. Stück, BerliO. und Stettin 1781 NIEDT, FRIEDRICH ERHARD, Handleitung zur Variation, wie man den General-Bass und darüber gesetzte Zahlen variieren, artige In­ ventionen machen ... , zweite Auflage (verbessert, vermehret, mit verschiedenen Grundrichtigen Anmerkungen und einem Anhang von mehr als 60 Orgel-Wercken versehen durch J. Mattheson), Harnburg 1721 Literatur ders., Musicalische Handleitung Teil I/1, handelnd vom Contra­ Punct, Canon, Motetten, Choral, Recitativ-Stylo und Cavaten (Hrsg.: Johann Mattheson), Harnburg 1717 REICHA, ANTONIN, Traite de baute composition musicale, 2. Bd, Paris 1826 REICHARDT, ]OHANN FRIEDRICH, Noch ein Bruchstück aus j.F. Rei­ cbardt's Autobiographie. Sein erster Aufenthalt in Hamburg, in: Allgemeine Musikalische Zeitung 16 (1814), Sp. 21-34 RIEPEL, JOSEPH, Anfangsgründe zur musicaliscben Setzkunst. Erstes Capitel: De Rbytbmopoeia, oder von der Tactordnung, Regensburg Wien 1752 ders., Anfangsgründe zur musicaliscben Setzkunst. Zweites Capitel: Grundregeln zur Tonordnung insgemein, Frankfurt Leipzig 1755 ders., Anfangsgründe zur musicaliscben Setzkunst. Drittes Capitel: Gründliebe Erklärung der Tonordnung insbesondere, Frankfurt Leipzig 1757 ROCHLITZ, FRIEDRICH, Karl Phitipp Emanuel Bach, in: Für Freunde der Tonkunst 4. Bd, Leipzig 1832 ders., jobann Gottlieb Naumann und sein Vater=Unser, nach Klop­ stock, in: Für Freunde der Tonkunst 3. Bd, Leipzig 1830 ROUSSEAU, JEAN-]ACQUES, Dictionnaire de Musique, Paris 1768 SCHEIBE, JOHANN ADOLPH, Compendium Musices, in: Benary, Peter, Die deutsche Kompositionslehre des 18. Jahrhunderts, Leipzig 1961 ders., Critiscber Musikus, Hildesheim New York 1970 (Reprographi­ scher Nachdruck der Ausgabe Leipzig 1745) SCHUBART, CHRISTIAN DANIEL FRIEDRICH, Ideen zu einer Ästhetik der Tonkunst, Hildesheim 1969 (Reprographischer Nachdruck der Aus­ gabe Wien 1806). SULZER, JOHANN GEORG, Allgemeine Theorie der Schönen Künste, Leipzig 1771-1774 TRIEST, ]OHANN KARL FRIEDRICH, Bemerkungen über die Ausbildung der Tonkunst im 18. Jahrhundert, in: Allgemeine Musikalische Zei­ tung 3 (1800/1801), Sp. 225-235, 241-249, 257-264, 273-286, 297-308, 321-331, 369-379, 389-401, 421-432 und 437-445 VOGLER, GEORG ]OSEPH, Betrachtungen der Mannheimer Tonschule, 4 Bde, Hildesheim New York 1974. (Reprografischer Nachdruck der Ausgabe Mannheim 1778-1781.) WALTHER, ]OHANN GOTTFRIED, Musicatisches Lexicon oder Musicali­ sche Bibliothek, Leipzig 1732 ders., Praecepta der Musicalischen Composition, (hrsg. von Peter Be­ nary), Leipzig 1955 Literatur ZARUNO, GIOSEFFO, Istituzioni harmoniche, Venedig 1558 ders., Theorie des Tonsystems. Das erste und zweite Buch der Istitu­ tioni barmonicbe (1573). Aus dem Italienischen übersetzt, mit An­ merkungen, Kommentaren und einem Nachwort versehen von Mi­ chael Fend, Frankfurt/Main 1989 B. Sekundärliteratur (ab 1850) BAGGE, SELMAR, Die Symphonie in ihrer bistorisehen Entwickelung, (Leipzig 1883) (=Sammlung musikalischer Vorträge, hrsg. von Paul Graf von Waldersee, 51) ders. Die geschiehtliebe Entwickelung der Sonate, in: Sammlung mu­ sikalischer Vorträge, Neue Reihe, Leipzig 1880 BENARY, PETER, Die deutsche Kompositionslehre des 18. Jahrhun­ derts, Leipzig 1961 (=Jenaer Beiträge zur Musikforschung. Bd 3) ders., jobann Adolpb Scbeibes Compendium Musices, in: Die Musik­ forschung, 10 (1957), S. 508-515 BESSELER, HEINRICH, Bach als WegbereiteP, in: Archiv für Musikwissen­ schaft, 12 (1955), S. 1-39 ders., Das musikalische Hören der Neuzeit, Berlin 1959 ders., Charakterthema und Erlebnisform bei Bach, in: Kongreßbe• richt Lüneburg, Kassel Basel 1950, S. 7-32 ders., Singstil und Instrumentalstil in der europäischen Musik, in: Be­ richt über den internationalen Musikwissenschaftlichen Kongreß Bamberg 1953, Kassel Basel 1954, S. 223-240 BITTER, CARL HERMANN, Carl Phitipp Emanuel und Wilhelm Friede­ mann Bach und deren Brüder, 2 Bde, Berlin 1868 ders., Die Söhne Bacb's, Leipzig 1884 (=Sammlung musikalischer Vor­ träge, hrsg. von Paul Graf von Waldersee, 49) BÖRSCH-SUPAN, HELMUT, Gruppenbild mit Musikern. Ein Gemälde von Balthasar Denner und das Problem der Bach-Ikonographie, in: Kunst und Antiquitäten, 8 (1982), S. 22-32 BUDDAY, WOLFGANG, Grundlagen musikalischer Formen der Wiener Klassik. An Hand der zeitgenössischen Theorien von joseph Rie­ pel und Heinrich Christoph Koch dargestellt an Menuetten und Sonatensätzen 0750-1790), Kassel Basel 1983 Literatur DAHLHAUS, CARL, Satz und Periode. Zur Tbeorie der musikalischen Syntax, in: Zeitschrift für Musiktheorie, 9 (1978) Heft 2, S. 16-26 ders., Gefühlsästhetik und musikalische Formenlehre, in: Deutsche Vierteljahresschrift für Literaturwissenschaft und Geistesgeschichte, 41 (1967), s. 505-516 ders., Der rhetorische Formbegriff H.Chr. Kochs und die Tbeorie der Sonatenform, in: Archiv für Musikwissenschaft, 35 (1978), S. 155-177 ders., Logik, Grammatik und Syntax der Musik bei Heinrich Chri­ stoph Koch, in: Die Sprache der Musik (Festschrift Klaus Wolfgang Niemöller zum 60. Geburtstag), Regensburg 1989, S. 99-109 ders., Die Musiktheorie im 18. und 19. Jahrhundert. Erster Teil. Grundzüge einer Systematik, Darmstadt 1984 (=Geschichte der Musiktheorie. Bd 10) ders., Die Musiktheorie im 18. und 19. Jahrhundert. Zweiter Teil. Deutschland, Darmstadt 1989 (=Geschichte der Musiktheorie. Bd 11) DANCKWARDT, MARIANNE, Die langsame Einleitung. Ihre Herkunft und ihr Bau bei Haydn und Mozart, Tutzing 1977 (=Münchner Veröffentlichungen zur Musikgeschichte. Bd 25) DANUSER, HERMANN, Das imprevu in der Symphonik. Aspekte einer musikalischen Formkategorie in der Zeit von Carl Philipp Ema­ nuel Bach bis Hector Berlioz, in: Musiktheorie 1 (1986), S. 61-81 DÜRRENMATI', HANS-RUDOLF, Die Durchführung bei Johann Stamitz 0717-1757). Beiträge zum Problem der Durchführung und ana­ lytische
Load more

Recommended publications
  • Bach and Money: Sources of Salary and Supplemental Income in Leipzig from 1723 to 1750*
    Understanding Bach, 12, 111–125 © Bach Network UK 2017 Young Scholars’ Forum Bach and Money: Sources of Salary and Supplemental Income in Leipzig * from 1723 to 1750 NOELLE HEBER It was his post as Music Director and Cantor at the Thomasschule that primarily marked Johann Sebastian Bach’s twenty-seven years in Leipzig. The tension around the unstable income of this occupation drove Bach to write his famous letter to Georg Erdmann in 1730, in which he expressed a desire to seek employment elsewhere.1 The difference between his base salary of 100 Thaler and his estimated total income of 700 Thaler was derived from legacies and foundations, funerals, weddings, and instrumental maintenance in the churches, although many payment amounts fluctuated, depending on certain factors such as the number of funerals that occurred each year. Despite his ongoing frustration at this financial instability, it seems that Bach never attempted to leave Leipzig. There are many speculations concerning his motivation to stay, but one could also ask if there was a financial draw to settling in Leipzig, considering his active pursuit of independent work, which included organ inspections, guest performances, private music lessons, publication of his compositions, instrumental rentals and sales, and, from 1729 to 1741, direction of the collegium musicum. This article provides a new and detailed survey of these sources of revenue, beginning with the supplemental income that augmented his salary and continuing with his freelance work. This exploration will further show that Leipzig seems to have been a strategic location for Bach to pursue and expand his independent work.
    [Show full text]
  • 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 ...............................................................................................
    [Show full text]
  • A Polonaise Duet for a Professor, a King and a Merchant: on Cantatas BWV 205, 205A, 216 and 216A by Johann Sebastian Bach 1
    Understanding Bach , 2, 19-36 © Bach Network UK 2007 A Polonaise Duet for a Professor, a King and a Merchant: on Cantatas BWV 205, 205a, 216 and 216a by Johann Sebastian Bach 1 SZYMON PACZKOWSKI Bach’s cantata Zerreißet, zersprenget, zertrümmert die Gruft ( Der zufriedengestellte Aeolus or Aeolus Pacified , BWV 205) was composed in 1725 for the name-day of August Friedrich Müller, a professor of philosophy at the University of Leipzig. 2 Bach’s Collegium Musicum performed the piece on the evening of 3 August 1725 in front of the professor’s house at 2 Katharinenstraße in Leipzig. Christian Friedrich Henrici (Picander) wrote the libretto 3 with its allegorical allusions to the professor’s philosophical ideas. The libretto has attracted its fair share of scholarly criticism, and indeed derision. 4 However, the circumstances of its 1 This article is part of Szymon Paczkowski’s research project, ‘The Polish Style in German Music of the Eighteenth Century: Functions and Meaning on the Example of the Work of Johann Sebastian Bach (2004–2007)’, sponsored by the State Committee for Scientific Research of the Republic of Poland. It has been prepared for publication as part of a book entitled Polish Studies on Baroque Music (in preparation) which brings together the papers presented by Polish speakers at the 12th Biennial International Conference on Baroque Music in Warsaw (26–30 July 2006), and appears in ‘Understanding Bach’ courtesy of the book’s publishers, the Institute of Musicology at Warsaw University. 2 Hans-Joachim Schulze, Christoph Wolff, Bach-Compendium . Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs , Vokalwerke: Teil IV (further abbreviated to Bach- Compendium IV) (edn Peters, Leipzig: 1989), p.
    [Show full text]
  • Payment Receipts in the Hand of Johann Sebastian Bach, 1746 to 1748 (With a Fragment for the Year 1749 in the Hand of His Son)
    The Nathan Bequest: Payment Receipts in the Hand of Johann Sebastian Bach, 1746 to 1748 (With a Fragment for the Year 1749 in the Hand of His Son) Robert L. Marshall Among Johann Sebastian Bach's duties as Thomas Cantor in Leipzig was the obligation to lead the choirboys of the Thomasschule in annual renditions of motets or chorales offered in memory of benefactors of the school. In some twenty instances the terms of the bequest governing these performances entailed an honorarium for the cantor, who dutifully prepared and signed a receipt confirming its payment.1 The most copiously documented of these obligations was the so-called Nathan Bequest (Nathanisches Legat). Sabine Nathan, evidently the wealthy widow of a Leipzig master cabinetmaker, died in 1612. Her last will and testament provided that each year, on or about Sabina's Day (i.e., October 26), funeral motets were to be performed before and after the weekly sermon in the appropriate church: either St. Thomas or St. Nikolai. For this purpose the widow earmarked the sum of 1000 gulden, from whose annual interest five gulden were to be shared by the cantor (two gulden) and the participating choirboys (three gulden). The bequest was to be administered by the Leipzig cabinetmakers' guild.2 Between 1686 and 1821 receipts for these payments were entered into a leather- backed, bound receipt book belonging to the guild. Since Bach assumed the post of Thomas Cantor in May 1723 and retained it until his death in July 1750, we may presume that (whenever possible) he personally drafted and signed all the receipts for the Nathan bequest falling within that twenty-seven-year period.
    [Show full text]
  • The Organ Music of J. S. BACH, Second Edition Peter Williams Frontmatter More Information
    Cambridge University Press 0521814162 - The Organ Music of J. S. BACH, Second Edition Peter Williams Frontmatter More information The Organ Music of J. S. Bach Second edition This is a completely revised edition of volumes I and II of The Organ Music of J. S. Bach (1980), a bestselling title, which has subsequently become a classic text. This new edition takes account of the Bach scholarship of the last twenty-five years. Peter Williams’s piece-by-piece commentary puts the musical sources of the organ works in context, describing the form and content of each work and relating them to other music, German and non-German. He summarises the questions about the history, authenticity, chronology, function and performance of each piece, and points out important details of style and musical quality. The study follows the order of the Bach catalogue (BWV), beginning with the sonatas, then the ‘free works’, followed by chorales and ending with the doubtful works, including the ‘newly discovered chorales’ of 1985. Peter Williams is an internationally renowned Bach scholar and performer. He was Professor of Performance Practice and the first Director of the Russell Collection of Harpsichords at the University of Edinburgh, Arts and Sciences Distinguished Professor at Duke University, NC, and until recently John Bird Professor at the University of Wales, Cardiff. He has written numerous books on the organ, organ history and organ repertoire. The first edition of The Organ Music of J. S. Bach was published in 1980(vols. I and II) and 1984 (vol. III). © Cambridge University Press www.cambridge.org Cambridge University Press 0521814162 - The Organ Music of J.
    [Show full text]
  • Bach, Reiche, and the Leipzig Collegia Musica
    SMITHERS BACH, REICHE AND THE LEIPZIG COLLEGIA MUSICA Don L. Smithers, D. Phil. (Oxon.) To the memory of Arthur Mendel: Teacher, Colleague, Friend. Kannst du nicht allen gefallen durch deine That und deine Kunshverk, Mach' es wenigen recht, vielen gefallen ist schlimm. Johann Christoph Friedrich Schiller hat are the music-historical relationships between the composer, the per- former and the venues of their operations? To what extent has the work of composers depended upon individual performers and/or performing en- wsembles and the places with which they were associated? In the writing of music history how much attention should be paid to particular places and performers as opposed to specific "schools" of composition and individual composers? Most music history books are strangely silent about these matters. The intertwined, indeed, inseparable historical relationships between places,performers and composers are frequently slighted in favor of the usual biographical sketches of composers, tabulations of their works, and sometimes less than historical, if relevant, discussions of musical forms, harmony and so-called styles. Music historiography, like historical writing in general, should depend, as Collingwood suggested, on the "re-enactment of past experiences in the mind of the present thinker," experiences that are "objective" or known to the historian "only because they are also subjective, or activities of his own."' Musical history is not something apart from history itself, from the historical knowledge of a given time, place and society responsible for musical works and their performance. Which brings us to the subject of the present essay. To better understand the music of a composer like Bach, his approach to orchestration and employment of specific instruments, it is useful to have a better perception of the circumstances of his musical performances and the careers of those to whom wereentrusted the onerous taskofreproducing his ideas.
    [Show full text]
  • Introduction
    Introduction The performance of the St John Passion at St Nikolai Leipzig in Lent 1724 is the first surviving example of Bach’s new Passion genre, making the St John Passion and its longer successor, the St Matthew Passion, milestones for later composers of Passions.1 In spite of the significance of Bach’s St John Passion as the principal textual model and musical inspiration for numerous later Passion compositions, there is currently no comprehensive single work in English that examines both the development of the new genre and provides a sustained analysis of the words and the music of Bach’s St John Passion. This volume documents the genesis of Bach’s Passion genre and provides a thorough interpretation of the libretto and music of his first surviving Passion. The first part of this volume examines the development of Bach’s StJohnPassion as a principally Lutheran art form by considering the composer’s own thorough Lutheran upbringing and his self-understanding as a Lutheran church musi- cian, while the second part presents a theological and musical commentary of the work in order to show how Bach communicated and anchored the Chris- tian Passion narrative in the devotional story of his community through his music.2 Those familiar with the life and education of Bach, the development of the Lutheran Passion tradition in general and Bach’s work in particular, may wish to move directly to the second part of the volume, and the close reading and musico-theological analysis of Bach’s St John Passion. 1 Drawing on Bach’s necrologue in: Werner Neumann and Hans Joachim Schulze, eds., Bach- Dokumente, 3 vols (Kassel: Bärenreiter, 1963–1972) [cited as BD], 3, no.
    [Show full text]
  • Bach's Feet: the Organ Pedals in European Culture David Yearsley Frontmatter More Information
    Cambridge University Press 978-0-521-19901-8 - Bach's Feet: The Organ Pedals in European Culture David Yearsley Frontmatter More information BACH’ S FEET The organist seated at the King of Instruments with thousands of pipes rising all around, hands busy at the manuals and feet patrolling the pedalboard, is a symbol of self-sufficiency yielding musical possi- bilities beyond all other modes of solo performance. In this book, David Yearsley presents a new interpretation of the significance of the oldest and richest of European instruments by investigating the German origins of the uniquely independent use of the feet in organ-playing. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the fifteenth century, through the central contribution of Bach’s music and legacy, to the newly pedaling organists of the British Empire and the sinister visions of Nazi propagandists. david yearsley is the author of Bach and the Meanings of Counterpoint (Cambridge University Press, 2002) as well as numerous essays on European musical culture in the seventeenth and eighteenth centuries. Active as a performer on organ and other keyboard instru- ments, his recordings are available on the Loft and Musica Omnia labels. Mr. Yearsley has been an Alexander von Humboldt Fellow at the Humboldt University in Berlin, a Wenner Gren Foundation Fellow at the University of Gothenburg, and an American Council of Learned Societies Fellow. He
    [Show full text]
  • On Linking Bach's 'F-Major Sinfonia' and His 'Hunt Cantata'
    Swarthmore College Works Music Faculty Works Music Fall 1992 On Linking Bach's 'F-Major Sinfonia' And His 'Hunt Cantata' Michael Marissen Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-music Part of the Music Commons Recommended Citation Michael Marissen. (1992). "On Linking Bach's 'F-Major Sinfonia' And His 'Hunt Cantata'". Bach. Volume 23, Issue 2. 31-46. https://works.swarthmore.edu/fac-music/27 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Music Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. ON LINKING BACH'S F-MAJOR SINFONIA AND HIS HUNT CANTATA MICHAEL MARISSEN In contrasting the apparently old-fashioned style of the opening Allegro from the First Brandenburg Concerto with the more "modern" style of its third movement some Bach scholars have been led to believe that the Concerto was composed over a considerable period of time, with the first movement predating Bach's Weimar encounter with Vivaldi's L'estro armonico concertos, and with the third movement having been written considerably later.1 Also the unusual scoring of the work (including horns) has caused some Bach specialists to reason that the concerto would have been performable only with an expansion of Bach's typical orchestra (since none of his groups included members specifically listed as horn players). The opinion that the two (or more?) versions of the concerto must
    [Show full text]
  • Bach Notes No. 5
    No. 5 Spring 2006 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY BACH AND THE “THEATRALISCHER STIL”1 HANS JOACHIM MARX Bach research, as far as I have seen, has said practically nothing about Bach’s relationship to the opera of his day. In my view, this restraint stems from the fact that until now little doubt has been raised concerning the “Kirchenstil” of the sacred cantatas and oratorios, which have stood at the forefront of the efforts surrounding the formulation of a philologically safeguarded picture of Bach. But then the questions arises, what is to be understood by the term “Kirchenstil,” and how does “Kirchenstil” stand in relation to the “theatralischer Stil,” which, since Giovanni Battista Doni, had become the most important of the Baroque stylistic terms. Philipp Spitta has already pursued this dramatic sections of Bach’s early canta- question in his monumental Bach biog- tas, maintaining that solo song must not IN THIS ISSUE raphy, and if Spitta had not had an aver- express individual feelings, but rather sion to opera in general, which inevitably common feelings. Spitta had a negative influenced his interpretation of Bach’s view of early eighteenth-century opera P. 1. Bach and the “Theatralischer Stil” works, I could restrict myself here to because he believed it was “a plant of the by Hans Joachim Marx his assessment of certain Bach compo- German soil that was rich with leaves sitions. A learned theologian, Spitta but bore no fruit” (“ein blattreiches, 7. Biennial Meeting of the saw, as formulated by Wilibald Gurlitt, doch fruchtloses Gewächs auf deutschem American Bach Society: 3 “the essence of Bach’s art in its sym- Boden”).
    [Show full text]
  • Bach Notes No. 15
    No. 15 Fall 2011 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY IN MEMORIAM: ALFRED DÜRR (MARCH 3, 1918—APRIL 7, 2011) works editions of the post-war period. Mendel. Its title: “Recent Develop- Apart from his editorial work, Dürr’s ments in Bach Chronology.” accomplishments and contributions to The object of Mendel’s article was to Bach research are legendary—above report to the larger musicological com- all, no doubt, his establishment, to- munity—especially to American schol- gether with Georg von Dadelsen (they ars—on the revolutionary re-dating of are the “Crick and Watson” of Bach re- Bach’s vocal music that had been estab- search) of a precise chronology of the lished over the course of the previous vast majority of Bach’s vocal music. decade—most of it, in fact, in just the Dürr is also the author of monographs last two years—as an almost accidental on the Bach cantatas, the St. John Pas- outgrowth of the preparatory ground- sion, the Well-Tempered Clavier, and work for the NBA. numerous specialized articles. The re- Mendel’s report is still worth reading cipient of honorary degrees from Ber- lin, Oxford, and Baldwin-Wallace Col- IN THIS ISSUE: lege, he was elected a Corresponding Member of the American Musicologi- PAGE cal Society in 1988. 1. In Memoriam: Alfred Dürr. Dürr’s “Zur Chronologie der Leipziger Tributes, Reminiscences, and Observations on His Influence Vokalwerke J. S. Bachs,” was pub- by Robert L. Marshall and lished in the Bach-Jahrbuch 1957. (It ap- Joshua Rifkin peared in 1958, the same year as von Alfred Dürr, arguably the most signifi- Dadelsen’s monograph).
    [Show full text]
  • The Marche Movement in BWV 207 and BWV 207A
    The Marche movement in BWV 207 and BWV 207a Anhang: Marche Prepared by Thomas Braatz © 2013 BWV 207 BWV 207 “Vereinigte Zwietracht der wechselnden Saiten” NBA I/38 [Notenband - Printed Music] Werner Neumann (1960) pp. 97-177 Anhang zu Kantate BWV 207 Marche pp. 176-177 NBA I/38 KB [Kritischer Bericht – Critical Report] Werner Neumann (1960) pp. 46-97 BWV 207a BWV 207a “Auf, schmetternde Töne der muntern Trompeten” NBA I/37 Werner Neumann (1961) pp. 1-84 Anhang zu Kantate BWV 207a Marche pp. 83-84 NBA I/37 KB Werner Neumann (1961) pp. 15-29 NBA IX, 1 Katalog der Wasserzeichen in Bachs Originalhandschriften Wisso Weiss/Yoshitake Kobayashi (1985) Watermarks BWV 207: SPK P 174; SPK St 93 Autograph Score & Original Parts. Watermarks are very unclear in both the score and the original parts, all 25 of them. Watermark Type 132. This watermark is definitely dated by Bach’s letter to the Plauen City Council November 15, 1726. The performance of BWV 207 is dated by the Korte (Cortius) event: December 11, 1726. No clear identification of the manufacturer of this paper has been ascertained but one remote possibility is a paper mill in Chomutov, Czech Republic. 1 BWV 207a SPK St 347, SPK St 93 Original Parts Watermark Type 91: This “Crown+Posthorn” paper was used between 1729-1736 and was manufactured by a paper mill located in Milíkov (Czech Republic) near Mariánské Lázně. It was the earliest watermark ever used by this paper mill. Several variants are known as the two different forms J. S.
    [Show full text]