DOCSLIB.ORG

J.S. BACH COMPLETE ORGAN MUSIC Liner Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
J.S. BACH COMPLETE ORGAN MUSIC Liner Notes J.S. BACH COMPLETE ORGAN MUSIC Liner notes CD1 and reflects the influence of Georg Böhm and the tastes The majority of the recordings made using the Trost of central and southern Germany. The cantus firmus (on organ in Waltershausen consist of trio sonatas that were the pedal) alludes to death, but with serenity not originally conceived as compositions for the organ. reminiscent of the chorales from the Orgelbüchlein Only No.6 was deliberately composed for the collection, (BWV 616 and 617) on the Canticle of Simeon, with while many derive from other trios. Sonatas Nos. 2, 5 subdivision of the phrases and imitations of the and 6 are homogeneous, in that they share common individual elements. The BWV736 version in D major, features: the structure of the first movement in the which was composed later, also expresses serenity, concerto style, for instance, with alternating solo and though the way it is constructed is different, in that the ensemble parts; and that of the third movement in the chorale, played by the pedal, emerges from the weft in style of the fugue. Bach had envisaged the collection for triplets of the upper voices. his son Wilhelm Friedemann, introducing some The partita O Gott, du frommer Gott BWV767 (and remarkably innovative developments in form and Sei gegrüßet BWV768) appears to be a series of content, and in general adhering to the style of the variations on a chorale often used in the Thuringian sonata and the Italian concerto. That said, however, the (Buttstett) tradition. It was probably intended as a focus is largely on the keyboard, with the pedal generally collection of material that could be alternated with the ‘simplified’ in the themes (with respect to compositions canto. One feature that distinguishes it from similar for strings) to create a moderately concertante effect, pieces by Buxtehude is the presence of the harmonised while the slow tempi present details that vary chorale at the beginning and at the end. The eight considerably, to the extent that some of them are variations that follow reveal the influence of both almost galanti (No.3). Pachelbel and Böhm, and the cantus firmus is in fact The first movement of the Trio Sonata BWV525 has developed in various different ways: bicinium (No.1), no tempo indications, but is cantabile , with a simple figurations in ascending and descending semiquavers ABABA form and recapitulations typical of the (Nos. 3 and 5), basse de trompette (No.6), chromaticism composer’s maturity. The different themes are variously with unusual harmonies (No.8) and echo (No.9). In this combined and inverted. The second movement is last form, apart from the dialogue between the melancholy, a grieving Siciliana, divided into two parts keyboards, the use of different tempi is also particularly with ritornelli and with the second part presenting an interesting: the final Andante expresses the inverted version of the main theme. Lastly the third Transfiguration before the Resurrection (Presto) in movement, binary in form like the second, is marked keeping with the text of the chorale. ‘Vivace’, with the head of the violin theme developed in Outstanding among the great preludes and fugues leaping intervals, with an inversion in the second part. are those comprising BWV543 (which possibly dates The bass also takes part, but in a simplified form well back to the Weimar period, with major solo sections on suited to the pedalboard. the manuals and the pedals typical of Pachelbel and In BWV526 the first movement is concerto-like in Buxtehude in both the prelude and at the end of the form, with alternations of the ensemble and solo parts fugue) and BWV541 , in the style of the Italian concerto, and fugues. The overall expressive impact is very with the pedal playing rhythmical motifs typical of the different from that of BWV525, because the themes are timpani. This latter composition may have been used for distinct and recognisable and the form evident. The taut the Dresden audition by Wilhelm Friedemann in 1733, harmonies exploit the expressive resources of the C though Bach also adopts various elements of the minor key (long Orgelpunkt with chromatic harmonies northern organ tradition, such as the initial solo passage and long trills). The structure of the second movement (cf. BWV543), typical of his earlier compositions (cf. does not appear to be as clear and symmetrical as its Toccata in G major for harpsichord BWV916). The theme counterpart in BWV525, but it is distinctly cantabile and of the fugue features repeated notes in the Italian style, freely inspired in character. Particularly worthy of note is in a manner reminiscent in form of the fifth movement the final cadenza on the C minor dominant (by means of of the BWV596 concerto and the BWV21 cantata. E flat), also found in many Vivaldi concertos and in BWV537. There is practically no division between this movement and the start of the third, which is a proper fugue in the early style alla breve with two themes, the second more rhythmical, lively and modern in style. The lovely colours of the Trost organ come to the fore in the series of chorales BWV 735 and 736 and the Partita BWV767. There are two different versions of the Valet will . Distinctly cantabile and motet-like in form, the first ( BWV735 ) was written during the Arnstadt period 1 95105 Bach Complete Organ Works CD2 death, in relation to the Canticle of Simeon ( BWV 616 This CD also comprises two trio sonatas. BWV527 begins and 617 ). with an Andante that is full of distinctive and BWV720 , on the other hand, belongs to the fantasia interrelated thematic ideas: triplets, demisemiquaver genre, in which the chorale becomes a way of rests, descending lines, and pedal notes that imitate the constructing a virtuoso concerto piece that showcases plucking of strings. The third movement is very much a the performer’s skill and the sound range of the sonata in the Italian style in which the elements have instrument. In fact, Ein feste Burg was written for the been unified in an ingenious whole featuring repeated inauguration of the Mühlhausen organ in 1709, to which notes on the pedal, its central part containing a vortex of Bach had added new registers, some of which are triplets that create a succession of new episodes mentioned in the score. BWV721 is a chorale relating to comprising many and varied harmonies and rhythms. the theme of penitence and conversion, in which the The Trio Sonata BWV528 is unique in its four-part impact of the text is expressed by means of repeated form. The first movement derives from the BWV76 chords reminiscent of the ‘imitatio tremula organi’ effect cantata (the symphony that opens the second part, with in S. Scheidt’s Tabulatura nova of 1624, and the the oboe d’amore, viola da gamba and continuo); the ‘trembling of the Israelites’ in Kuhnau’s first Biblical Andante is a far-reaching cantabile piece made up of Sonata. short musical phrases that embody plenty of intervals For Bach, the Weimar period was a time of great and harmonic progressions. Minuet-like in form, the Un creative energy and deep reflection regarding poc’allegro tempo is actually quite rapid and concise, composition. Italian music was becoming highly with a use of triplets (even in the pedal, in the central influential, not least on account of Prince Johann Ernst’s part) similar to that of the second movement of the interest in the instrumental works of Vivaldi, Corelli and BWV527 trio sonata. The initial theme expands the Albinoni. The transcriptions of the Italian concertos descending chromatic series E – D sharp – D – C sharp – (especially those by Vivaldi) for both the harpsichord and C, which is common in other pieces written in E minor the organ bear witness to the wide circulation of such (cf. Toccata BWV914 and Bruhns’ Praeludium in E music at court; indeed, in all likelihood the prince minor). himself commissioned his teachers, Walther and Bach, One of the outstanding examples of the great to write them, and Bach in particular showed remarkable miscellaneous pieces is the Praeludium et Fuga BWV532 . skill in reworking the material in concerto form. The The prelude derives from the combination of different Concerto BWV596 derives from Vivaldi’s Op.3 No.11 elements: the southern German improvisation and (RV565, Amsterdam 1711), originally conceived for two toccata style, unique its use of the pedal right from the violins and cello. It is a perfect example of Bach’s outset, a Pachelbel-like episode (bars 5–9) with mastery in adapting the voice of string instruments for Orgelpunkt and figurations in precise semiquavers, and the keyboard, just as the colour of the orchestra is the dotted rhythm of the French Ouverture. In the long captured in the astounding interplay of the organ alla breve section, in the manner of Corelli, there is a manuals. Conceived in the style typical of northern development of elements in three-voice counterpoint Germany, with solos in the manual and pedalboards, the using the pedals that suggests it was conceived during Prelude and Fugue BWV550 also probably date back to the Weimar period (1713–1717): progressions, echoes the Weimar period. The theme of the fugue, with its and remarkable inventiveness. The last bars of the ‘broken’ chords, creates an increasingly dense structure Adagio introduce an episode in the Italian style featuring that is reminiscent of the great Bruhns’ Praeludium in G ‘hardness and ligature’, with the double pedal, major. Neapolitan Sixth, dissonance and intense expressiveness. The virtuoso, exuberant theme of the Fugue is highly developed, in many respects typical of the Thuringian organ tradition.
Load more

Recommended publications
  • Jan Dismas Zelenka's Missae Ultimae
    Jan Dismas Zelenka's Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) Item Type text; Electronic Dissertation Authors Cho, Hyunjin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 20:42:28 Link to Item http://hdl.handle.net/10150/195489 JAN DISMAS ZELENKA‟S MISSA DEI PATRIS (1740): THE USE OF STILE MISTO IN MISSA DEI PATRIS (ZWV 19) by HyunJin Cho ______________________ Copyright © HyunJin Cho 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by HyunJin Cho entitled Jan Dismas Zelenka‟s Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) and recommend that it be accepted as the fulfilling requirements for the degree of Doctor of Musical Arts ___________________________________________________ Date: 07/16/2010 Bruce Chamberlain ___________________________________________________ Date: 07/16/2010 Elizabeth Schauer ___________________________________________________ Date: 07/16/2010 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate‟s submission of the final copy of the document to the Graduate College.
    [Show full text]
  • Magnificat in D Major, BWV
    Johann Sebastian Bach Magnificat in D Major, BWV 243 Magnificat Quia respexit Quia fecit mihi magna Et misericordia eius Fecit potentiam Deposuit potentes Suscepit Israel Gloria patri Sicut erat in principio *** Chorus: S-S-A-T-B Soloists: Soprano 1, soprano 2, alto, tenor, bass Orchestra: 2 flutes, 2 oboes, 2 oboes d'amore, 3 trumpets, timpani, strings, continuo ************************* Program notes by Martin Pearlman Bach, Magnificat, BWV 243 In 1723, for his first Christmas as cantor of the St. Thomas Church in Leipzig, Bach presented a newly composed setting of the Magnificat. It was a grand, celebratory work with a five-voice chorus and a colorful variety of instruments, and Bach expanded the Magnificat text itself by interpolating settings of several traditional Christmas songs between movements. This was the original Eb-major version of his Magnificat, and it was Bach's largest such work up to that point. About a decade later, he reworked the piece, lowering the key from Eb to the more conventional trumpet key of D major, altering some of the orchestration, and, perhaps most importantly, removing the Christmas inserts, so that the work could be performed at a variety of festivals during the liturgical year. It is this later D major version of the Magnificat that is normally heard today. Despite its brilliance and grandeur, Bach's Magnificat is a relatively short work. Nonetheless, it is filled with countless fascinating details. The tenor opens his aria Deposuit with a violent descending F# minor scale to depict the text "He hath put down [the mighty]". At the end of the alto aria Esurientes, Bach illustrates the words "He hath sent the rich away empty" by having the solo flutes omit their final note.
    [Show full text]
  • Stadtkirche St. Michael Kirche Gehren
    Stadtkirche St. Michael Kirche Gehren Auch Gehren kann in seiner Geschichte auf mehrere Kirchbauten verweisen. Dort, wo heute die Stadtkirche St. Michael steht, befand sich ein Vorgängerbau, dessen erste Erwähnung aus dem Jahre 1521 stammt. Hier war Johann Michael Bach, der Schwiegervater von Johann Sebastian Bach, von 1673 bis 1694 als Organist tätig. Anfang des 18. Jh. wurde diese Kirche zu klein für die ständig wachsende Zahl der Gottesdienstbesucher, da mit dem Ausbau der fürstlichen Verwaltungsstrukturen als „Amt“ Gehren der Ort überregionale 1834 Bedeutung erlangte. Eine 1729 eingeweihte größere Kirche auf dem benachbarten Kirchberg stand allerdings nur 20 Jahre, dann fiel sie einem Brand zum Opfer. So wurde die Kirche am Markt bis 1830 genutzt. Dann riss man sie ab und erbaute an gleicher Stelle im klassizistischen Stil eine Neue. In der „kirchenlosen Zeit“ fanden die Gottesdienste in der Kapelle des Gehrener Schlosses statt. Der Kirchturm der neuen Kirche hatte zunächst eine ebene Plattform. 35 Jahre später erst erhielt er die heutige Spitze mit vier kleinen Ecktürmchen. 1895 wurde eine vom Hof-Orgelbauer Sauer gebaute Orgel installiert. Aus dem gleichen Jahr stammt auch die Kanzel. 1924 schenkte die Fürstin Marie von Schwarzburg- Sondershausen der Kirchgemeinde einige Kunstgegenstände aus der nicht mehr genutzten Schlosskapelle. Diese wurden dadurch kein Opfer der Flammen, die das Schloss 1933 zerstörten. Der etwas streng wirkende Altarraum erhielt in den 1960er Jahren seine heutige Form. In diesem Zusammenhang kam der von der Fürstin Marie gespendete Altar nach Jesuborn. 1917 mussten die drei Bronzeglocken – eine davon fast 450 Jahre alt – zur Einschmelzung abgeführt werden. Heute läuten nun an ihrer Stelle drei Stahlglocken.
    [Show full text]
  • December 3, 2006 2595Th Concert
    For the convenience of concertgoers the Garden Cafe remains open until 6:00 pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-fifth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art Music Department 2,595th Concert National Gallery of Art Sixth Street and Constitution Avenue nw Washington, DC Shaun Tirrell, pianist Mailing address 2000B South Club Drive Landover, md 20785 www.nga.gov December 3, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program Domenico Scarlatti (1685-1757) Sonata in F Minor, K. 466 (1738) Frederic Chopin (1810-1849) Ballade in F Major, op. 38 (1840) Franz Liszt (1811-1886) Funerailles (1849) Vallot d’Obtrmann (1855) INTERMISSION Sergey Rachmaninoff (1873-1943) Sonata no. 2 in B-flat Minor, op. 36 (1913) The Mason and Hamlin concert grand piano used in this performance Allegro agitato was provided by Piano Craft of Gaithersburg, Maryland. Lento Allegro molto The Musician Program Notes Shaun Tirrell is an internationally acclaimed pianist who has made his In this program, Shaun Tirrell shares with the National Gallery audience his home in the Washington, dc, area since 1995. A graduate of the Peabody skill in interpreting both baroque and romantic music. To represent the music Conservatory of Music in Baltimore, where he studied under Julian Martin of the early eighteenth-century masters of the harpsichord (the keyboard and earned a master of music degree and an artist diploma, he received a instrument of choice in that era), he has chosen a sonata by Domenico rave review in the Washington Post for his 1995 debut recital at the Kennedy Scarlatti.
    [Show full text]
  • MTO 19.3: Brody, Review of Matthew Dirst, Engaging Bach
    Volume 19, Number 3, September 2013 Copyright © 2013 Society for Music Theory Review of Matthew Dirst, Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn (Cambridge University Press, 2012) Christopher Brody KEYWORDS: Bach, Bach reception, Mozart, fugue, chorale, Well-Tempered Clavier Received July 2013 [1] Historical research on Johann Sebastian Bach entered its modern era in the late 1950s with the development, spearheaded by Alfred Dürr, Georg von Dadelsen, and Wisso Weiss, of the so-called “new chronology” of his works.(1) In parallel with this revolution, the history of the dissemination and reception of Bach was also being rewritten. Whereas Hans T. David and Arthur Mendel wrote, in 1945, that “Bach and his works ... [were] practically forgotten by the generations following his” (358), by 1998 Christoph Wolff could describe the far more nuanced understanding of Bach reception that had arisen in the intervening years in terms of “two complementary aspects”: on the one hand, the beginning of a more broadly based public reception of Bach’s music in the early nineteenth century, for which Mendelssohn’s 1829 performance of the St. Matthew Passion represents a decisive milestone; on the other hand, the uninterrupted reception of a more private kind, largely confined to circles of professional musicians, who regarded Bach’s fugues and chorales in particular as a continuing challenge, a source of inspiration, and a yardstick for measuring compositional quality. (485–86) [2] In most respects it is with the latter (though chronologically earlier) aspect that Matthew Dirst’s survey Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn concerns itself, serving as a fine single-volume introduction to the “private” side of Bach reception up to about 1850.
    [Show full text]
  • {DOWNLOAD} J.S. Bach: St. Matthew Passion (Vocal Score)
    J.S. BACH: ST. MATTHEW PASSION (VOCAL SCORE) PDF, EPUB, EBOOK Neil Jenkins | 248 pages | 01 Dec 2003 | NOVELLO & CO LTD | 9780853608028 | English | London, United Kingdom J.S. Bach: St. Matthew Passion (Vocal Score) PDF Book Recitativo: Die aber Jesum gegriffen hatten. Since it is usually assumed that Bach's St Matthew Passion was first performed on Good Friday 11 April , [3] although its first performance may have been as late as Good Friday as older sources assert. Recitativo B : Ja freilich will in uns das Fleisch und Blut. L ; Anon. Masses, magnificat, passions and oratorios by Johann Sebastian Bach. Performers Accordeana Accordion Orchestra. Create a quick account Your email: Your pseudo: Pseudo This is your nickname on free-scores. These files are part of the Orchestra Parts Project. In dich hab ich gehoffet, Herr. Bach for Violin: 10 Easy Themes. Purchase the work as a CD or download. Anhang: 29a. The first two lines of the hymn are a rhetorical question: "My dearest Jesus, which crimes have you committed, that such dire judgement has been passed? The soloists included Charlotte Helen Sainton-Dolby. Be the first to write down a comment. Recitativo A : Erbarm es Gott. Add to wishlist. The St Matthew Passion was composed as to perform a single work from both organ lofts at the same time: Chorus and orchestra I would occupy the large organ loft, and Chorus and orchestra II performed from the small organ loft. Bach created particularly distinctive accompagnato recitatives in this work: they are accompanied not by continuo alone, but also by the entire string section of the first orchestra using long, sustained notes and "highlighting" certain words, thus creating an effect often referred to as Jesus's "halo".
    [Show full text]
  • Simone Dinnerstein, Piano Sat, Jan 30 Virtual Performance Simone Dinnerstein Piano
    SIMONE DINNERSTEIN, PIANO SAT, JAN 30 VIRTUAL PERFORMANCE SIMONE DINNERSTEIN PIANO SAT, JAN 30 VIRTUAL PERFORMANCE PROGRAM Ich Ruf Zu Dir Frederico Busoni (1866-1924) Johann Sebastian Bach (1685-1750) Three Chorales Johann Sebastian Bach Ich Ruf Zu Dir Richard Danielpour Frederico Busoni (1866-1924) | Johann Sebastian Bach, (1685-1750) (b, 1956) Les Barricades Mysterieuses François Couperin (1688-1733) Arabesque in C major, Op. 18 Robert Schumann (1810-1856) Mad Rush Philip Glass (b. 1937) Tic Toc Choc François Couperin BACH: “ICH RUF’ ZU DIR,” BWV 639 (ARR. BUSONI) Relatively early in his career, Bach worked in Weimar as the court organist. While serving in this capacity, he produced his Orgelbüchlein (little organ book): a collection of 46 chorale preludes. Each piece borrows a Lutheran hymn tune, set in long notes against a freer backdrop. “Ich ruf’ zu dir,” a general prayer for God’s grace, takes a particularly plaintive approach. The melody is presented with light ornamentation in the right hand, a flowing middle voice is carried by the left, and the organ’s pedals offer a steady walking bassline. The work is further colored by Bach’s uncommon choice of key, F Minor, which he tended to reserve for more wrought contrapuntal works. In this context, though, it lends a warmth to the original text’s supplication. In arranging the work for piano, around the year 1900, Busoni’s main challenge was to condense the original three-limbed texture to two. Not only did he manage to do this, while preserving the original pitches almost exactly, he found a way to imitate the organ’s timbral fullness.
    [Show full text]
  • Dmitri Shostakovich and the Fugues of Op. 87: a Bach Bicentennial Tribute
    I DMITRI SHOSTAKOVICH AND THE FUGUES OF OP. 87: A BACH BICENTENNIAL TRIBUTE THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Robert M. Adams, B. M. Denton, Texas August, 1981 Adams, Robert M. , Dmitri Shostakovich and the Fugues of Op. 87: A Bach Bicentennial Tribute. Master of Music (Music Theory), August, 1981, 242 pp., 12 tables, biblio- graphy, 16 titles. In 1950-51, for the bicentennial of the death of J. S. Bach, Dmitri Shostakovich wrote his collection of Twenty-four Preludes and Fugues, Op. 87. This thesis is a study of the fugal technique of Shostakovich as observed in Op. 87, in light of the fugal style of Bach as observed in The Well-Tempered Clavier, Volume One. Individual analyses of each of the twenty-four Shostakovich pieces yield the conclusion that Op. 87 is an emulation of Bachian fugal methods as observed in The Well-Tempered Clavier, Volume One. TABLE OF CONTENTS Page LIST OF TABLES . ..v LIST OF EXAMPLES vi ACKNOWLEDGMENTS. ....... 'Xi Chapter I. INTRODUCTION . .......I . Purpose of Study . Shostakovich's Style .. 2 Definition of Terms . 5 BIBLIOGRAPHY 11 II. BACH'S WELL-TEMPERED CLAVIER 12 BIBLIOGRAPHY .- 0 * 0--- *.. 30 III. THE FUGUES OF SHOSTAKOVICH'S OP. 87 31 Fugue I in C Major - - . 31 Fugue II in a Minor - - . 35 Fugue III in G Major . 41 Fugue IV in e Minor-. 48 Fugue V in D Major -. 58 Fugue VI in b Minor-. 64 Fugue VII in A Major .
    [Show full text]
  • HOW to FIND RELATIVE MINOR and MAJOR SCALES Relative
    HOW TO FIND RELATIVE MINOR AND MAJOR SCALES Relative minor and major scales share all the same notes–each one just has a different tonic. The best example of this is the relative relationship between C-major and A-minor. These two scales have a relative relationship and therefore share all the same notes. C-major: C D E F G A B C A-minor: A B C D E F G A Finding the relative minor from a known major scale (using the 6th scale degree) scale degrees: 1 2 3 4 5 6 7 1 C-major: C D E F G A B C A-(natural) minor: A B C D E F G A A-minor starts on the 6th scale degree of C-major. This relationship holds true for ALL major and minor scale relative relationships. To find the relative minor scale from a given major scale, count up six scale degrees in the major scale–that is where the relative minor scale begins. This minor scale will be the natural minor mode. 1 2 3 4 5 6 C-D-E-F-G-A The relative minor scale can also be found by counting backwards (down) by three scale degrees in the major scale. C-major: C D E F G A B C ←←← count DOWN three scale degrees and arrive at A 1 2 3 C-B-A Finding the relative major from a known minor scale (using the 3rd scale degree) scale degrees: 1 2 3 4 5 6 7 1 A-(natural) minor: A B C D E F G A C-major: C D E F G A B C C-major starts on the 3rd scale of A-minor.
    [Show full text]
  • Im Auftrag Der Internationalen Heinrich-Schütz-Gesellschaft E.V. Herausgegeben Von Walter Werbeck in Verbindung Mit Werner Brei
    Im Auftrag der Internationalen Heinrich-Schütz-Gesellschaft e.V. herausgegeben von Walter Werbeck in Verbindung mit Werner Breig, Friedhelm Krummacher, Eva Linfield 33. Jahrgang 2011 Bärenreiter Kassel . Basel . London . New York . Praha 2012_schuetz-JB_druck_120531.ind1 1 31.05.2012 10:03:13 Gedruckt mit Unterstützung der Internationalen Heinrich-Schütz-Gesellschaft e.V. und der Landgraf-Moritz-Stiftung Kassel © 2012 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Alle Rechte vorbehalten / Printed in Germany Layout: ConText, Carola Trabert – [email protected] ISBN 978-3-7618-1689-9 ISSN 0174-2345 2012_schuetz-JB_druck_120531.ind2 2 31.05.2012 10:03:13 Inhalt Vorträge des Schütz-Festes Kassel 2010 Heinrich Schütz und Europa 7 Silke Leopold Heinrich Schütz in Kassel 19 Werner Breig Europa in der ersten Hälfte des 17. Jahrhunderts 31 Georg Schmidt Music and Lutherian Devotion in the Schütz Era 41 Mary E. Frandsen »Mein Schall aufs Ewig weist«: Das Jenseits und die Kirchenmusik in der lutherischen Orthodoxie 75 Konrad Küster Medien sozialer Distinktion: Funeral- und Gedenkkompositionen des 17. Jahrhunderts im europäischen Vergleich 91 Peter Schmitz Echos in und um »Daphne« 105 Bettina Varwig Heinrich Schütz und Otto Gibel 119 Andreas Waczkat, Elisa Erbe, Timo Evers, Rhea Richter, Arne zur Nieden Heinrich Schütz as European cultural agent at the Danish courts 129 Bjarke Moe Freie Beiträge Eine unbekannte Trauermusik von Heinrich Schütz 143 Eberhard Möller Heinrich Schütz und seine Brüder: Neue Stammbucheinträge 151 Joshua Rifkin Die Verfasser der Beiträge 168 2012_schuetz-JB_druck_120531.ind3 3 31.05.2012 10:03:13 Abkürzungen ADB Allgemeine deutsche Biographie, München u. Leipzig 1876 – 1912 AfMw Archiv für Musikwissenschaft AmZ Allgemeine musikalische Zeitung Bd., Bde.
    [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]
  • Zwei Orgelwerke
    Johann Ringk 1717-1778 Zwei Orgelwerke Herausgegeben von Dr. Christoph Albrecht DR. J. BUTZ · MUSIKVERLAG · ST. AUGUSTIN Verl.-Nr. 1733 Vorwort In der Musikabteilung der Staatsbibliothek zu Berlin befinden sich zwei bisher wenig beachtete Auto- graphe von Johann Ringk, dem ehemaligen Organisten an der Berliner Marienkirche. Es handelt sich um ein Choralvorspiel zu Paul Eberts Silvesterlied aus dem Jahre 1569 „Helft mir, Gott’s Güte prei- sen“ (zu einer anonymen Melodie, die sich erstmals 1563 als Singweise zu „Von Gott will ich nicht lassen“ nachweisen lässt) und – als Erstdruck – um Praeludium und Fuge C–Dur. Sie tragen die Signa- turen Mus. ms. autogr. Ringk 1 und 2. Johann Ringk ist auch Kennern der Orgelmusik kaum ein Begriff. Der 1717 im thüringischen Fran- kenhain Geborene erhielt seine wesentlichen musikalischen Anregungen durch Johann Peter Kellner in Gräfenroda, der ein Schüler Johann Sebastian Bachs gewesen sein soll. Demnach hätten wir es bei Johann Ringk (wie bei Johann Christian Heinrich Rinck) mit einem Enkelschüler Bachs zu tun. Seine Hauptwirkungsstätte war die Berliner St.-Marien–Kirche, an der er von 1755 bis zu seinem Tode im Jahre 1778 Organist war. An der dortigen Joachim-Wagner–Orgel ließ er einer Überlieferung zufolge „fast nichts anderes hören ... als des alten Bach Stücke“. Seinen Zeitgenossen war er als ausgezeichne- ter Fugen–Improvisator ein Begriff. Auch Charles Burney hat er bei seinem Berlin–Besuch 1773 da- mit beeindruckt („M. Ringk ... is much esteemed as a performer of extempore fugues“); andererseits kritisiert Burney dezent Ringks spieltechnische Fähigkeiten, die angeblich denen seines Kollegen an der Petrikirche nachstanden („less brilliancy of finger than the organist of St.
    [Show full text]