Jahresbericht 2017
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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. -
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. -
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, -
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. -
Bach Notes No. 4 (Fall 2005)
No. 4 Fall 2005 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY FRANZ LISZT AND HIS EARLY RECEPTION OF BACH’S ORGAN WORKS* RUSSELL STINSON In the fall of 1857, some fifteen months after the death of her husband, Clara Schumann embarked on a lengthy concert tour of Germany and Switzerland. She performed first in Dresden and Leipzig, sharing the bill with the violinist Joseph Joachim. At some point during their stay in Dresden, the two artists were treated to a performance by Johann Gottlob Schneider on the sumptuous Silbermann organ at the court church, the same instrument on which Schneider had often played for Robert Schumann. Also present was arguably the era’s most famous musical personality, who had traveled to the Saxon capital to conduct the premiere performance of his Dante Symphony. We have no idea who invited Liszt to this with Liszt and Joachim firing salvos on gathering, but it seems unlikely that either the subject of Bach’s organ works. Our IN THIS ISSUE Clara or Joachim did. Clara had by this source is a letter written by Clara a week time developed a great animosity toward or two after Schneider’s performance and P. 1. Franz Liszt and His Early the man as well as his music, and in one addressed to her half brother, the com- Reception of Bach’s Organ Works of her letters to Joachim she went so far poser Woldemar Bargiel: by Russell Stinson as to say that she detested Liszt from the 1 depths of her soul. Joachim had likewise I had a pleasant time in Dresden 7. -
Bach Festival the First Collegiate Bach Festival in the Nation
Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr. -
2 Fifteenth Berkeley Festival & Exhibition 2
2 FIFTEENTH BERKELEY FESTIVAL & EXHIBITION 2 june 3–10, 2018 Festival Advisory Committee, Board of Directors & Staff ...............................................................................................2 Festival Supporters ...........................................................................................................................................................3 Welcome ..........................................................................................................................................................................6 Festival Calendar .............................................................................................................................................................8 Main Stage Players Sunday, June 3 Seattle Historical Arts for Kids ...............................................................................................................................14 California Bach Society ..........................................................................................................................................17 Monday, June 4 Christine Brandes & Elizabeth Blumenstock ..........................................................................................................23 Tuesday, June 5 San Francisco Conservatory Baroque Ensemble Students and Alumni ...................................................................27 Davis Senior High School Baroque Ensemble ........................................................................................................30 -
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. -
A World-Class City of Music Experience the Fascinating Power of Music
www.leipzig.travel Experience music Leipzig A World-Class City of Music Experience the fascinating power of music Gewandhaus concert hall Leipzig – where music calls the tune 3 Gewandhausorchester – a world-renowned ensemble 4 Leipzig Opera – a superlative artistic experience 5 Johann Sebastian Bach – his heirs, his followers 6 Mahler, Bach, Mendelssohn, Wagner. Music Festivals in 2021/22. 8 Experience authentic historic places 12 Leipzig Music Trail 14 Organ building and BurgenLandKlänge I Leipzig Region 16 Event highlights 18 Travel offer 20 Richard Wagner’s “The Ban on Love, or The Novice of Palermo” at the Leipzig Opera 2 Leipzig – where music calls the tune In Leipzig you can feel the fascinating power of music everywhere – in the streets and squares, in churches, concert halls and in the many authentic places where famous composers and musicians lived and worked. A long-standing tradition: over 500 composers have lived here over the centuries including the greatest names in music history – Johann Sebastian Bach, Felix Mendelssohn Bartholdy and the married couple Clara and Robert Schumann, as well as Richard Wagner, Edvard Grieg, Albert Lortzing, Gustav Mahler and Hanns Eisler. Music comes to life The city’s rich musical heritage also includes the Gewandhaus- orchester and the world-renowned St. Thomas Boys Choir, which can look back on over 800 years of history. Leipzig Opera, which has always sought to preserve Wagner’s heritage, is the third oldest civic venue for musical theatre in Europe. In the capital of music, outstanding ensembles and soloists delight audiences at concerts, ballets, the Summer Organ Festival and the world- famous Leipzig Bachfest. -
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. -
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. -
Bachfest Leipzig 11.–20. Juni 2010
ABSENDER / SENDER Bitte frei machen Please affi x stamp Name / Surname Vorname / Forename Straße / Street PLZ, Ort / Town, postcode Land / Country BACH-ARCHIV LEIPZIG Interim Wünschmannshof Telefon, Fax / Telephone, Facsimile Dittrichring 18–20a 04109 Leipzig E-Mail / e-mail Datum / Date Unterschrift / Signature AM 21. MÄRZ 2010 AM 21. ERÖFFNUNG NEUEBACH-MUSEUM DAS WWW.BACHMUSEUMLEIPZIG.DE IN VERBINDUNG MIT DEM DEM IN VERBINDUNGMIT 11.–20. JUNI 11.–20. LEIPZIG BACHFEST 85. BACHFEST85. DER N EUEN BACHGESELLSCH EUEN 2010 WWW.BACHFESTLEIPZIG.DE AFT E. V. AFT E. BACH – SCHUMANN – BRAHMS Im Bachfest-Programm 2010 sind mit Robert Schumann und Johannes With Robert Schumann and Johannes Brahms, two leading protago- Brahms zwei führende Protagonisten der Bach-Rezeption im 19. Jahr- nists of the Bach reception in the nineteenth century are represented in hundert vertreten. Schumann, dessen Geburtstag sich zum 200. Male the Bachfest 2010 programme. Schumann, the 200th anniversary of jährt, gehörte zu den Initiatoren der ersten Bach-Gesamtausgabe und whose birth we will be celebrating, was one of the initiators of the fi rst hatte sogar selbst eine Bach-Edition konzipiert. Das »Wohltemperierte complete edition of Bach’s works, and even planned his own Bach Klavier«, welches er als »Werk aller Werke« betrachtete, stand bereits edition. The »Well-Tempered Clavier«, which he regarded as the »work in frühen Jahren im Zentrum seiner musikalischen Studien und galt als of all works«, was at the centre of his musical studies even in his early Leitbild für eigene Kompositionen. Schumann dirigierte 1851 die Düs- years and served as a model for his own compositions.