ABKÜRZUNGEN 1. Allgemein ADB = Allgemeine Deutsche Biographie
Total Page：16
File Type：pdf, Size：1020Kb
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. -
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, -
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. -
Johann Sebastian Bach
Johann Sebastian Bach This article is about the Baroque composer. For his ently at his own initiative, Bach attended St. Michael’s grandson of the same name, see Johann Sebastian Bach School in Lüneburg for two years. After graduating he (painter). For other uses of Bach, see Bach (disambigua- held several musical posts across Germany: he served as tion). Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of the Thomasschule in Leipzig, and Royal Court Composer to Augustus III.[4][5] Bach’s health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8] Bach’s abilities as an organist were respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of inter- est and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.[9] 1 Life 1.1 Childhood (1685–1703) See also: Bach family Johann Sebastian Bach was born in Eisenach, Saxe- Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the direc- tor of the town musicians, and Maria Elisabeth Läm- merhirt.[10] He was the eighth child of Johann Ambro- Portrait of Bach, aged 61, Haussmann, 1748 sius, (the eldest son in the family was 14 at the time of Bach’s birth)[11] who probably taught him violin and the basics of music theory.[12] His uncles were all professional Johann Sebastian Bach[1] (31 March [O.S. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Vocalsacred Vocal Music Stuttgarter Bach-Ausgaben Urtext Im Dienste Historisch Informierter Complete Edition in 23 Volumes Aufführungspraxis
Kantaten · Messen · Oratorien Passionen · Motetten Bach The vocalSacred Vocal Music Stuttgarter Bach-Ausgaben Urtext im Dienste historisch informierter Complete Edition in 23 volumes Aufführungspraxis Attractive introductory price! valid through 31.1.2019 for study & performance Johann Sebastian Bach The Sacred Vocal Music Complete Edition in 23 volumes Edited by Ulrich Leisinger and Uwe Wolf in collaboration with the Bach-Archiv Leipzig I unreservedly recommend this to Bach lovers everywhere. Choir & Organ • For study and performance: the authoritative Urtext of the Stuttgart Bach Edition • Each volume contains a preface reflecting the latest state of Bach research • Complete performance material for all works available for sale: full score, vocal score, choral score, and the complete orchestral parts • Reader-friendly format, also suitable for conducting (19 x 27 cm, like a vocal score) Carus has placed great importance on scholarly new editions of the music. But the editions always have the performance in mind. Schweizer Musikzeitung With the Bach vocal project, we have published ‘mixed’ version as well as all complete surviving ver- Johann Sebastian Bach’s complete sacred vocal sions. Also, nine cantatas – such as the famous “Ein music in modern Urtext editions geared towards feste Burg” BWV 80/80b – are available in several historically- informed performance practice. We are versions. convinced that the needs of performing musicians Wherever the source material allowed a reconstruc- are best met by a scholarly authoritative music text, tion to be made, and the works were also relevant which neither patronizes the interpreters nor leaves for practical performance, Bach’s fragmentary them perplexed by decisions they need to make. -
Johann Sebastian Bach BWV Werkverzeichnis (Stand: 21.11.2010) [ Zusammengestellt Von Werner Für Volkers Klassikforum J.S
Johann Sebastian Bach BWV Werkverzeichnis (Stand: 21.11.2010) [ zusammengestellt von Werner für Volkers Klassikforum J.S. Bach ] BWV Werk Bemerkungen Aufnahme(n) ¹) Gat- Grp./ Name von tung² ) Instr. ²) 1 GES Kan Wie schön leuchtet der Morgenstern Mariae Verkündigung, 25.03. 2 GES Kan Ach Gott, vom Himmel sieh darein 2. So. nach Trinitatis 3 GES Kan Ach Gott, wie manches Herzeleid 2. So. nach Epiphanias 4 GES Kan Christ lag in Todesbanden 1. Ostertag 5 GES Kan Wo soll ich fliehen hin 19. So. nach Trinitatis 6 GES Kan Bleib bei uns, denn es will Abend werden 2. Ostertag 7 GES Kan Christ unser Herr zum Jordan kam Johannistag, 24.06. 8 GES Kan Liebster Gott, wann werd ich sterben 16. So. nach Trinitatis 9 GES Kan Es ist das Heil uns kommen her 6. So. nach Trinitatis 10 GES Kan Meine Seel erhebt den Herren Mariae Heimsuchung, 02.07. 11 GES Kan Lobet Gott in seinen Reichen (Himmelfahrts-Oratorium) Himmelfahrt 12 GES Kan Weinen, Klagen, Sorgen, Zagen Jubilate 13 GES Kan Meine Seufzer, meine Tränen 2. So. nach Epiphanias 14 GES Kan Wär Gott nicht mit uns diese Zeit 4. So. nach Epiphanias 15 GES Kan Denn du wirst die Seele von Johann Ludwig Bach 16 GES Kan Herr Gott, dich loben wir Neujahr 17 GES Kan Wer Dank opfert, der preiset mich 14. So. nach Trinitatis 18 GES Kan Gleichwie der Regen und Schnee vom Himmel fällt Sexagesimae 19 GES Kan Es erhub sich ein Streit Michaelistag, 29.09. 20 GES Kan O Ewigkeit, du Donnerwort 1. -
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. -
Hof-Compositeur« Bach
22 »HOF-COMPOSITEUR« BACH Bach & Friends Passion Thomaskirche Samstag, 15. Juni 2019, 20.00 h Wir bitten Sie, Ihr Handy während des Konzerts auszuschalten und auf das Fotografieren zu verzichten. Aus urheberrechtlichen Gründen sind Film- und Tonaufnahmen nicht gestattet. Die Kollekte kommt der Erhaltung der Thomaskirche zugute. / We kindly ask you to switch off your mobiles and to refrain from taking photographs during the concert. Sound or image recordings are not permitted for copyright reasons. The collection will help maintain St. Thomas’s. Bachfest-News: in der Bachfest-App und unter www.facebook.com/bacharchiv Hauptförderer des Bachfestes Leipzig 2019 BA_2019_22.indd 1 05.06.19 11:07 PROGRAMM Gottfried Heinrich Stölzel (1690–1749) Ein Lämmlein geht und trägt die Schuld Passionsoratorium für Sopran, Alt, Tenor, Bass, vierstimmigen Chor, Flöte, Oboe, Fagott, Violine, Viola da gamba, Streicher und Basso continuo (Erste Leipziger Wiederaufführung. Zur Herstellung des Aufführungs- materials wurden die musikalischen Quellen dankenswerterweise vom Schlossmuseum Sondershausen zur Verfügung gestellt.) Veronika Winter, Sopran Franz Vitzthum, Altus Markus Brutscher, Tenor Martin Schicketanz, Bass Rheinische Kantorei Das Kleine Konzert Leitung: Hermann Max Eine Kooperation zwischen Thüringer Bachwochen und Bachfest, gefördert durch die Mitteldeutsche Barockmusik in Sachsen, Sachsen-Anhalt und Thüringen e. V. Das Konzert wird von Deutschlandfunk Kultur mitgeschnitten. BA_2019_22.indd 2 05.06.19 11:07 LICHTBLICKE IN UND AUS BACHS NOTENBIBLIOTHEK Schon lange ist bekannt, dass Johann Sebastian Bach eine recht umfangreiche Notenbibliothek pflegte; während andere Komponisten seiner Zeit ausge- dehnte Lehrreisen durch Europa unternahmen, hielt Bach sich vorwiegend mit Drucken und Manuskripten auf dem neuesten Stand der Musikentwicklung. Bereits 1709 hatte er sich »nicht sonder Kosten« einen »guthen apparat der auserlesensten Kirchen Stücke angeschaffet«, wie Bach seinem damaligen Arbeitgeber, dem Rat in Mühlhausen, mitteilen konnte. -
An Outline of the Edition History of the Solo Cello Suites by JS Bach
Problematic Sources, Problematic Transmission: An Outline of the Edition History of the Solo Cello Suites by J. S. Bach Zoltán Szabó A Thesis submitted in fulfilment of requirements for the degree of PhD in Music (Musicology) Sydney Conservatorium of Music The University of Sydney 2016 P a g e | 1 Declaration I, Zoltán Szabó, hereby confirm that the work submitted is my own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. Signed: ___________________ Date: 15 July 2016 P a g e | 2 Acknowledgments This thesis was instigated by four decades of continuous exploration, practising, learning, performing and teaching of the Bach Cello Suites; the last four years of researching and collecting the editions and writing the dissertation was an added bonus. These four years have never ceased to be pleasurable and astonishing in their discoveries about myself, about the Master: Johann Sebastian, about how to read fast and write carefully, about how to conduct academic research and about learning a new style of thinking. I would have stumbled constantly on this road, had I not received professional and personal help from so many people. Librarians played a chief role in guiding me through the maze of confusing catalogues, books in storage and many intricate details of how to track down and obtain a source that may or may not even exist. Ludwig Sugiri and his colleagues at the Sydney Conservatorium of Music never grew tired of giving me time and attention or getting hold of yet another source, book or rare edition. -
Notes on the February Program Funeral Rites for 18Th-Century
Notes on the February Program Funeral rites for 18th-century German dignitaries – both civic and noble – were often lavish and costly affairs, conducted with ostentatious ceremonies and theatrically draped catafalques, interminable eulogies, endless processions of mourners, and elaborate musical compositions. Whereas most of the above could be assembled in due time, the last item required the beleaguered Kapellmeister to compose a new extended work, hire copyists to write out the parts from the score, and rehearse the choir, soloists, and orchestra, all in advance of the impending obsequies. Such was the situation for Georg Philipp Telemann, musical director of Hamburg's five largest churches, when Mayor Garlieb Sillem died on 26 December 1732 right in the midst of the Christmas holidays. "His Magnificence, the highly noble, highly and thoroughly learned gentleman...the oldest and p[ro] t[empore] presiding, highly meritorious mayor" was interred ten days later and according to accounts, "the cortege was distinguished and very large. There were 420 pairs of the most eminent businessmen and citizens in attendance, not counting the scholars, clergymen, and mourners, and the funeral music was exceptional." Telemann's exceptional funeral music had perhaps been prepared ahead of the need, as His Honor the mayor had written most of the text himself – entitled his "swan song" (Schwanengesang) for a twenty-movement work of choruses, arias, and chorales. This evening's instrumental sinfonia which opens the work is a rather dry-eyed processional in E-flat major for strings, oboes, and trumpets and timpani. Marked "Lamento, grave e staccato," it is a dialogue of solemn phrases from the muted trumpets alternating with a consoling melody in the first violins and oboe.