DOCSLIB.ORG

Vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 Volumes Urtext for Historically Informed Performance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 Volumes Urtext for Historically Informed Performance Cantatas · Masses · Oratorios Bach Passions · Motets vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 volumes Urtext for historically informed performance • The complete sacred vocal music by J. S. Bach • Musicologically reliable editions for the practical pursuit of music, taking into account the most current state of Bach research • Informative forewords on the work’s history, reception and performance practice • Complete performance material available: full score, vocal score, choral score, and orchestral parts • carus plus: innovative practice aids for choir singers (carus music, the choir app, Carus Choir Coach, practice CDs) and vocal scores XL in large print for the major choral works available • With English singable texts www.carus-verlag.com/en/composers/bach available from: for study & performance Johann Sebastian Bach: The Sacred Vocal Music Carus has placed great importance on scholarly new editions of the music. But the editions always have the performance in mind. Complete Edition in 23 volumes Schweizer Musikzeitung Edited by Ulrich Leisinger and Uwe Wolf in collaboration with the Bach-Archiv Leipzig With the Bach vocal project, we have published Wherever the source material allowed a reconstruc- • Reader-friendly and handy format Reconstructions Johann Sebastian Bach’s complete sacred vocal tion to be made, and the works were also relevant (like a vocal score) Pieter Dirksen: BWV 1882 music in modern Urtext editions geared towards for practical performance, Bach’s fragmentary Andreas Glöckner / Diethard Hellmann: BWV 2473 historically- informed performance practice. We are surviving vocal works have been included in the • User-friendly order following the Diethard Hellmann: BWV 186a3, 197a3 convinced that the needs of performing musicians Bach vocal publishing project, and some have been Bach Works Catalogue Klaus Hofmann: BWV 80b3, 1391, 1573 are best met by a scholarly authoritative music text, published for the first time in performable versions. • Rapid location of desired work: each Reinhold Kubik: BWV 503, 1811, 1931 which neither patronizes the interpreters nor leaves Brief forewords offer you important information cantata volume contains an overview of Thomas Riegler BWV 1632 them perplexed by about each work Detlev Schulten: BWV 1921 decisions they need to the cantatas in the church year and the history of Masaaki Suzuki: BWV 1621 make. its composition, • Outstanding legibility through clear Masato und Masaaki Suzuki: BWV 1902 Our aim in the process together with presentation of the musical image and Uwe Wolf: BWV 1322, 147a3 is to reflect Bach’s com- suggestions for per- precise printing on the tried and tested positional intentions formance practice. Carus music paper ¹ Addition of individual lost parts All decisions made 2 Addition of fragmentary sections of works as closely as possible • Robust and practicable binding with our music editions. by our editors are 3 Reconstruction of missing versions of works Carus has enjoyed a clearly listed and • High-quality slip case for practical storage or whole works close and long-standing discussed in the • Vocal scores, choral scores and perfor- collaboration with lead- Critical Reports in ing Bach experts such the individual edi- mance material available for all works Versions of works as Christine Blanken, tions. Naturally you • With English singable texts Individual versions have been regarded within the Pieter Dirksen, Wolfram can obtain well- publishing project as fully valid forms of the work Enßlin, Andreas Glöck- arranged, playable which can stand side-by-side. Many editions al- ner, Klaus Hofmann, vocal scores plus ready contain different authentic versions of indi- Ulrich Leisinger, the complete per- vidual movements in the Appendix. In the case of Masaaki Suzuki, Uwe formance material more fundamental differences, separate editions Wolf and Peter Wollny. from Carus. Johann Sebastian Bach: The Sacred Vocal Music. Complete Edition have been published. This is the case for cantatas For the conclusion of this publishing project, we A high-quality complete edition with 23 volumes 23 volumes in 3 slip cases BWV 50, BWV 80/80b, BWV 82, BWV 147/147a, have re-examined all the cantatas which are already (full scores) in three slip cases has been published at Carus 31.500, 769 € BWV 186/186a, BWV 197/197a, the Sanctus published in older editions. Often, it has been pos- the conclusion of the Bach vocal editorial project. BWV 232III, and St. John Passion BWV 245. sible to incorporate new discoveries from intensive This ambitious project provides an important basis for performances of Bach’s sacred vocal music. And Bach research, which, for example, provide informa- Package 1: Masses, Passions and Oratorios tion about authenticity or the history of the version anyone who is involved with Bach’s music will bene- 6 volumes in 1 slip case from Bach’s copyists. fit from browsing through and studying this edition! Carus 31.502, 199 € Whereas in the past we thought we were doing justice to Bach by combining “the best” of different Dr. Ulrich Leisinger has been Director of Research at the versions, we now regard these separate versions Mozarteum Foundation in Salzburg since 2005, before which Package 2: Cantatas and Motets as fully valid forms of the work which can stand he was deputy director of research at the Bach-Archiv Leipzig. Bach and the Bach family have been an important focus of his 17 volumes in 2 slip cases side-by-side; sometimes two of these are published research since then. Carus 31.501, 649 € as editions which are complete in themselves. This is the case, for example, with the St. John Passion Dr. Uwe Wolf has been Chief Editor of Carus- Verlag since 2011, More information, perusal scores (pdf) after holding various positions in Bach research for over 20 years. BWV 245 of which we publish both the traditional He, too, is fascinated by the exciting and ever-evolving state of and a video about the edition: ‘mixed’ version as well as all complete surviving Bach research. www.carus-verlag.com/31500 Carus 99.007/34 versions. Also, nine cantatas – such as the famous Ein feste Burg BWV 80/80b – are available in several versions. Order from your local music dealer or from Carus. Plus shipping costs. Prices are subject to change. Errors excepted. Carus-Verlag Stuttgart GmbH & Co. KG · Sielminger Straße 51 · 70771 Leinfelden-Echterdingen · Germany Tel: +49 (0)711 797 330-0 · Fax: +49 (0)711 797 330-29 · [email protected] · www.carus-verlag.com.
Load more

Recommended publications
  • Forum Musikbibliothek Forum Musikbibliothek Beiträge Und Informationen Aus Der Musikbibliothekarischen Praxis 2013 34
    ISSN 0173-5187 Forum Forum Musikbibliothek Forum Musikbibliothek Beiträge und Informationen aus der musikbibliothekarischen Praxis 2013 34. Jahrgang Beispiel eines reich ausgeschmück- ten Chorbuchs aus dem 16. Jahr- hundert mit sieben Messen, einer / 2013 3 Motette und einem deutschen geistlichen Lied als Nachtrag 3 (D-Mbs/Mus.ms. C, fol.41v–42r) Musikgeschichte im Spiegel von Liturgie und Herrschergunst – Die Digitalisierung der Chorbuch- sammlung der Bayerischen Staatsbibliothek 7 Die Musikbibliothek Peters: Ein kulturhistorischer Schatz für Leipzig 13 Autographen und Handschriften von M. I. Glinka in der Staatsbibliothek zu Berlin – Preußischer Kulturbesitz 18 Musikbibliothekarische Aus- und Fortbildung in Deutschland 24 ortus ortus _blau_FM_heft2/13_umschlag__hks ?+20%TF+45%ziffer Kopie.indd 1 14.10.13 14:22 Forum Musikbibliothek 3 / 2013 34. Jahrgang Forum Musikbibliothek Beiträge und Informationen aus der musikbibliothekarischen Praxis Herausgegeben von der AIBM/Gruppe Bundesrepublik Deutschland e. V. Redaktion Dr. Renate Hüsken, Frankfurt a. M. E-Mail [email protected] Schriftleitung Jürgen Diet (kommissarisch) c/o Bayerische Staatsbibliothek Musikabteilung Ludwigstr. 16 D-80539 München Fon +49 (0) 89 28638-2768 Bitte richten Sie Ihre Briefe und Fax +49 (0) 89 28638-2479 Anfragen ausschließlich an die Schrift- E-Mail [email protected] leitung, nicht an den Verlag! Unverlangt zugesandte Rezensions- Rezensionen Marina Gordienko exemplare können leider nicht zurück- E-Mail [email protected] geschickt werden. Internet www.aibm.info/publikationen/forum-musikbibliothek/ Dort auch Redaktionsschlüsse und Richtlinien zur Manuskriptgestaltung. Beirat Susanne Frintrop, München Marina Gordienko, Berlin Cornelia Grüneisen, Frankfurt a. M. Kristina Richts, Detmold Torsten Senkbeil, Lübeck Cordula Werbelow, Berlin Kathrin Winter, Mannheim Erscheinungsweise Jährlich 3 Hefte (März, Juli, November) Bezugsbedingungen Abonnementpreis Deutschland FM: 41,– EUR Jahresabonnement inkl.
    [Show full text]
  • Liturgical Drama in Bach's St. Matthew Passion
    Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy.
    [Show full text]
  • Ausgewählte Werke
    Gottfried August Homilius Ausgewählte Werke Reihe 4: Instrumentalwerke Band 2 herausgegeben von Uwe Wolf In Zusammenarbeit mit dem Bach-Archiv Leipzig Gottfried August Homilius 32 Praeludia zu geistlichen Liedern für zwei Claviere und Pedal Choralvorspiele für Orgel herausgegeben von Uwe Wolf Urtext 37.107 Vorwort […] Im nachmittäglichen Gottesdienste wurden 3 Lieder gesungen, und der seelige Mann hatte es sich zum Gesetz gemacht, allemal drey Gottfried August Homilius wurde am 2. Februar 1714 in Rosenthal verschiedene Vorspiele, auf die er sich den Sonnabend vorher sorgfältig vorbereitete, zu den 3 Liedern zu machen. […] Alle Musikkenner und (Sachsen) als Sohn eines Pastors geboren. Bereits kurz nach seiner Liebhaber versammelten sich Nachmittags in der Kirche, um diese Prälu- Geburt zog die Familie nach Porschendorf bei Pirna, wo Homilius dien zu hören, und Homilius erwarb sich damit den Ruhm eines großen, die ersten Jahre seines Lebens verbrachte.1 Nach dem Tod des Vaters selbst des größten Organisten seiner Zeit, wenn man Erfindung und Ge- wechselte er 1722 – wohl auf Betreiben seiner Mutter – an die von schmack mit in Anschlag bringt.7 deren Bruder geleitete Annenschule nach Dresden. Gegen Ende seiner Schulzeit übernahm Homilius bereits vertretungsweise den Von Daniel Gottlob Türk, einem anderen Schüler Homilius’, erfah- Organistendienst an der Annen-Kirche. ren wir, dass die erwähnte sorgfältige Vorbereitung tatsächlich im Im Mai 1735 wurde Homilius als Jurastudent an der Universität schriftlichen Fixieren der Praeludien bestand,
    [Show full text]
  • Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation
    Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City.
    [Show full text]
  • ABKÜRZUNGEN 1. Allgemein ADB = Allgemeine Deutsche Biographie
    ABKÜRZUNGEN 1. Allgemein ADB = Allgemeine Deutsche Biographie, hrsg. von der Historischen Commission bei der Königlichen Akademie der Wissen- schaften München, 56 Bde., Leipzig 1875 –1912 (Nach- druck 1967 –1971) AfMw = Archiv für Musikwissenschaft, 1918 –1926, 1952 ff. Am. B. = Amalien-Bibliothek (Dauerleihgabe in D-B) AMZ = Allgemeine Musikalische Zeitung, Leipzig 1799 –1848 Bach- Kolloquium Rostock = Das Frühwerk Johann Sebastian Bachs. Kolloquium, ver- anstaltet vom Institut für Musikwissenschaft der Universi- tät Rostock 11. –13. September 1990, hrsg. von Karl Heller und Hans-Joachim Schulze, Köln 1995 Bach- Symposium Marburg = Bachforschung und Bachinterpretation heute. Wissen- schaftler und Praktiker im Dialog. Bericht über das Bach- fest-Symposium 1978 der Philipps-Universität Marburg, hrsg. von Reinhold Brinkmann, Kassel 1981 BC = Hans-Joachim Schulze und Christoph Wolff, Bach Com- pendium. Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs, Bd. I / 1– 4, Leipzig 1986 bis 1989 Beißwenger = Kirsten Beißwenger, Johann Sebastian Bachs Notenbib- liothek, Kassel 1992 (Catalogus Musicus. 13.) BG = J. S. Bachs Werke. Gesamtausgabe der Bachgesellschaft, Leipzig 1851–1899 BJ = Bach-Jahrbuch, 1904 ff. BuxWV = Georg Karstädt, Thematisch-systematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude. Buxte- hude-Werke-Verzeichnis (BuxWV), Wiesbaden 1974 BWV = Wolfgang Schmieder, Thematisch-systematisches Ver- zeichnis der musikalischen Werke von Johann Sebastian Bach. Bach-Werke-Verzeichnis, Leipzig 1950 BWV2 = Bach-Werke-Verzeichnis (wie oben); 2. überarbeitete und erweiterte Ausgabe, Wiesbaden 1990 Bach-JB_2015.indb 5 11.11.15 14:27 6 Abkürzungen BWV2a = Bach-Werke-Verzeichnis. Kleine Ausgabe nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe, hrsg. von Alfred Dürr und Yoshitake Kobayashi, unter Mitarbeit von Kirsten Beißwenger, Wiesbaden 1998 DDT = Denkmäler deutscher Tonkunst, hrsg.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Inquiry Into J.S. Bach's Method of Reworking in His Composition of the Concerto for Keyboard, Flute and Violin, Bwv 1044, and Its
    INQUIRY INTO J.S. BACH'S METHOD OF REWORKING IN HIS COMPOSITION OF THE CONCERTO FOR KEYBOARD, FLUTE AND VIOLIN, BWV 1044, AND ITS CHRONOLOGY by DAVID JAMES DOUGLAS B.A., The University of British Columbia, 1994 A THESIS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming tjjfe required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1997 © David James Douglas, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ZH t/S fC The University of British Columbia Vancouver, Canada Date . DE-6 (2788) Abstract Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity.
    [Show full text]
  • Suffering and Social Conscience in the Passion Genre from JS Bach's
    Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike.
    [Show full text]
  • Generalbaßlehre of 1738” by Thomas Braatz © 2012
    The Problematical Origins of the “Generalbaßlehre of 1738” by Thomas Braatz © 2012 Near the end of 2011 a new volume of the NBA was released by Bärenreiter. It is called a supplement and includes notes and studies on thorough-bass, composition and counterpoint along with a section of Bach’s sketches and drafts and finally in the appendix the more recently discovered aria, BWV 1127. In addition to the well- researched and documented rules on thorough-bass found in the Anna Magdalena Bach’s notebooks, there is a presentation and critical discussion of the recently discovered (1999) counterpoint studies in the form of an exchange between Wilhelm Friedemann Bach and his father, all in autograph documents from the period 1736 to1739 when W. F. Bach was an organist in Dresden. Of great interest is the analysis and discussion of the Precepts and Principles for Playing the Thorough-Bass along with the complete text and musical examples. Below I will present the original German (Appendix 1) along with my English translation (Appendix 2) of the pertinent sections from the NBA editor’s introduction and the critical report covering this document. From this the reader will be able ascertain the spurious1 nature of its origin and claims of authenticity. The Precepts and Principles for Playing Four-Part Thorough-Bass or Accompaniment, or more commonly referred to in its short form as the “Generalbaßlehre of 1738”, has attained a false aura of authenticity since the appearance of Philipp Spitta’s monumental Bach biography in which Spitta printed the entire text of this document that he also analyzed and discussed in greater detail in a music journal in 1882.2 Spitta was the first Bach scholar to recognize the connection between this document and certain paragraphs contained in a treatise by Friedrich Erhard Niedt.
    [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]
  • The American Bach Society the Westfield Center
    The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance.
    [Show full text]