Bach Notes No. 10 (Fall 2008)
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Bach Cantatas Piano Transcriptions
Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR. -
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, -
Bach and Money: Sources of Salary and Supplemental Income in Leipzig from 1723 to 1750*
Understanding Bach, 12, 111–125 © Bach Network UK 2017 Young Scholars’ Forum Bach and Money: Sources of Salary and Supplemental Income in Leipzig * from 1723 to 1750 NOELLE HEBER It was his post as Music Director and Cantor at the Thomasschule that primarily marked Johann Sebastian Bach’s twenty-seven years in Leipzig. The tension around the unstable income of this occupation drove Bach to write his famous letter to Georg Erdmann in 1730, in which he expressed a desire to seek employment elsewhere.1 The difference between his base salary of 100 Thaler and his estimated total income of 700 Thaler was derived from legacies and foundations, funerals, weddings, and instrumental maintenance in the churches, although many payment amounts fluctuated, depending on certain factors such as the number of funerals that occurred each year. Despite his ongoing frustration at this financial instability, it seems that Bach never attempted to leave Leipzig. There are many speculations concerning his motivation to stay, but one could also ask if there was a financial draw to settling in Leipzig, considering his active pursuit of independent work, which included organ inspections, guest performances, private music lessons, publication of his compositions, instrumental rentals and sales, and, from 1729 to 1741, direction of the collegium musicum. This article provides a new and detailed survey of these sources of revenue, beginning with the supplemental income that augmented his salary and continuing with his freelance work. This exploration will further show that Leipzig seems to have been a strategic location for Bach to pursue and expand his independent work. -
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. -
Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks. -
18Th Century Quotations Relating to J.S. Bach's Temperament
18 th century quotations relating to J.S. Bach’s temperament Written by Willem Kroesbergen and assisted by Andrew Cruickshank, Cape Town, October 2015 (updated 2nd version, 1 st version November 2013) Introduction: In 1850 the Bach-Gesellschaft was formed with the purpose of publishing the complete works of Johann Sebastian Bach (1685-1750) as part of the centenary celebration of Bach’s death. The collected works, without editorial additions, became known as the Bach- Gesellschaft-Ausgabe. After the formation of the Bach-Gesellschaft, during 1873, Philip Spitta (1841-1894) published his biography of Bach.1 In this biography Spitta wrote that Bach used equal temperament 2. In other words, by the late 19 th century, it was assumed by one of the more important writers on Bach that Bach used equal temperament. During the 20 th century, after the rediscovery of various kinds of historical temperaments, it became generally accepted that Bach did not use equal temperament. This theory was mainly based on the fact that Bach titled his collection of 24 preludes and fugues of 1722 as ‘Das wohltemperirte Clavier’, traditionally translated as the ‘Well-Tempered Clavier’ . Based on the title, it was assumed during the 20 th century that an unequal temperament was implied – equating the term ‘well-tempered’ with the notion of some form of unequal temperament. But, are we sure that it was Bach’s intention to use an unequal temperament for his 24 preludes and fugues? The German word for ‘wohl-temperiert’ is synonymous with ‘gut- temperiert’ which in turn translates directly to ‘good tempered’. -
The End Is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140
The End is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140 Master's Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Dr. Eric Chafe, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Hannah Spencer May 2015 ABSTRACT The End is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140 A thesis presented to Department of Music Graduate School of Arts and Sciences Brandeis University Waltham, Massachusetts By Hannah Spencer In his mission to create a better repertoire of "well-regulated church music to the Glory of God," J.S. Bach utilized every aspect of his craft. Aside from the rich texts penned by his anonymous librettist, Bach intentionally utilized specific musical gestures to intertwine the Gospel into each layer of his compositions. In the case of BWV 1 and BWV 140 , Bach makes compositional choices that allow him to depict the eschatological viewpoint of Phillip Nicolai, the Lutheran theologian who penned the chorales used as the basis of these chorale cantatas. By analyzing Bach's use of such devices as large-scale harmonic patterns, melodic motives, and the structural use of chiasm, the depiction of motion between the realms of Heaven and Earth becomes clear. More than simply "church music," Bach's cantatas are musical sermons of intricate detail. ii TABLE OF CONTENTS Abstract..........................................................................................................................................ii -
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7 Einleitung Der vorliegende Band enthält diejenigen Orgelkompositionen Bachs, die mit dem Quellen wurde durch Schreiber-Identifizierungen und Untersuchungen zur Schrift- Titel „Toccata“ überliefert sind, Werke mit singulären Überschriften sowie zwei Stücke, entwicklung der Kopisten von Hans-Joachim Schulze, Christoph Wolff, Peter Wollny, die üblicherweise unter den Klavierwerken eingereiht werden, die aber die Mitwirkung Uwe Wolf, Russell Stinson, Kirsten Beißwenger, Thomas Synofzik, Andrew Talle, des Pedals verlangen: das Capriccio in E BWV 993 und die Sonate in D BWV 963. Der Jürgen Neubacher und anderen weitergeführt. Begriff „Toccata“ bezeichnet ein freies, improvisatorisch wirkendes Stück, das voll- griffige Klänge mit virtuosem Laufwerk verbindet. Toccaten kennen wir seit dem 16. Johann Christoph Bach, Ohrdruf Jahrhundert: in Venedig (Andrea und Giovanni Gabrieli, Claudio Merulo) steht die Johann Christoph Bach1 (1671–1721) hatte 1695 nach dem Tod beider Eltern seinen ‚bellezza‘ im Vordergrund, während etwas später bei Girolamo Frescobaldi der Aspekt Bruder Sebastian in sein Haus aufgenommen. Die Identifizierung der Handschrift der rezitativischen Dramatik wichtig wird. Vor allem durch Johann Jacob Froberger Johann Christophs gelang Hans-Joachim Schulze.2 Die beiden Bände, die wir seiner gelangte die Toccata nach Deutschland, wobei mehr und mehr die Polarität zwischen Hand verdanken (die Möllersche Handschrift und das Andreas-Bach-Buch) sind für das freien und gebundenen (fugierten) Teilen formal bestimmend wird. Schließlich erhält Verständnis und die Chronologie von Bachs Jugendwerken bis etwa 1714 von zentra- die Toccata im Norden durch die Mitwirkung des Orgelpedals eine zusätzliche ler Bedeutung. Für die vorliegende Neuausgabe (NA) ist diese Identifizierung vor Steigerung der Klangpracht. Allerdings ist bei Dieterich Buxtehude die Bezeichnung allem für die Frühfassung der Passacaglia BWV 582 wichtig. -
An Opportunity Missed
Understanding Bach, 10, 141–157 © Bach Network UK 2015 Current Concerns A Missed Opportunity: Reflections on Written by Mrs Bach RUTH TATLOW Suicide, destruction of property and extramarital relations are among the highlights of the award-winning film1 devoted to Martin Jarvis and his ideas about Anna Magdalena Bach (1701–1760) as the unnamed composer of some of her husband’s works.2 The book on which the film is based gives a more detailed account of the evolution of the ideas that gave rise to the sensational claims.3 The genius of the publicity machine behind the world press announcements of Jarvis’s discoveries, in April 2006,4 and the release of the film in December 2014 have put his ideas before millions of readers and viewers, and elicited reactions ranging from anger and confusion to sadness. My decision to undertake this analysis of Written by Mrs Bach was not taken lightly. I had to weigh up the pain of writing critically about the well-meant research effort of an acquaintance, against the temporary relief but longer-term discomfort of remaining silent.5 I offer this analysis in the hope that it might help clarify some of the confusions and defuse some of the widely-felt frustrations.6 1 Written by Mrs Bach, directed by Alex McCall. Produced by Glasgow Films in association with Looks Films ©Written By Mrs Bach Ltd 2015. It won Award of Excellence at the Indie Festival, California theindiefest.com and is currently a finalist of the New York Festival in the category United Kingdom Arts, www.newyorkfestivals.com/tvfilm/main.php?p=2,3,16 (accessed 15 March 2015). -
The Musiciansl Choice
8h[dh[_j[h J^[Cki_Y_WdiÊ9^e_Y[ ȱȱȱȱȃȱǯȄȱȱ ȱ¢ȱȱȱȱȱ¢ȱ ǯȱȱȱȱȱȱȱǰȱȱ ¢ȱȱȱȱȱȬ ǰȱ ȱǯȱ¡ȱȱȱȱȱ ¢ȱǯȱ ȱȱȱȱ ȱȱȱ¢ȱ ȱȬǯȱ Die Unwissenden nennen sie „Seegurke“. Die ȱĴȱû ȱȱȱȱ ȱȱǯȱȱȱȱ ȱȱ ĵǰȱȱđȱȱȱȱȱ ǰȱȱǯȱȱ ȱ ȱȱȱȱ£ȱ§ǯȱ ȱȱ ȱȱ ȱȱȱȱȱȬǯ J^[Fhe]hWcc[ D[mFkXb_YWj_edi I^[[jCki_Y 1/2016 New Issue Title 1 New Publications 1/2016 · The Programme Contents Piano Handel: Coronation Anthems Zadok the Priest HWV 258. BA 10258 ......................22 Chopin: Vingt-quatre Préludes pour le piano The King shall rejoice HWV 260. BA 10259 ............23 op. 28, Prélude pour le piano op. 45. BA 9610 ........3 Reger: Sacred Choral Music a cappella. BA 7549........ 24 Beethoven: Sonatas for Pianoforte .............................. 4-5 Jansson: Missa Popularis. BA 7420 ..................................25 Three Sonatas in F minor, A major, C major Zelenka: Missa Divi Xaverii ZWV 12. BA 9594 ............. 26 op. 2. BA 10859 Sonata in D major op. 28 “Pastorale”. BA 11814 Vocal Score / Opera Sonata in A major op. 101. BA 11811 Dušek: Complete Sonatas for Piano, Volume I Schubert: Rosamunde, Fürstin von Cypern D 797 BA 11513 ..............................................................................6 BA 5570-90 ......................................................................27 In celebration of the 150th Orchestra Erik Satie jubilee ................................................7 Dvořák: Serenade in E major op. 22. BA 10423 ............28 Haydn: Symphony in G major “Oxford” Hob. I:92. Complete Editions ...................................................8 BA 10977 ..........................................................................29 Suk: Meditation on the Old Czech Hymn Strings “St. Wenceslas” op. 35a. BA 9584 ..............................15 Rachmaninoff: Sonate op. 19, Prélude et Danse Study Scores orientale op. 2, Lied. BA 9994 ....................................9 Sassmannshaus: Cello Recital Album, First Position. Dvořák: Symphony no. 7 in D minor op. -
BACH NOTES the Journal of the London Bach Society Spring 2013
BACH NOTES The Journal of the London Bach Society Spring 2013 Farlau’s copy the differences between Bach’s early version “About the and the version with which we are most familiar today are St. Matthew Passion” revealed. Notably there is only one continuo section; the setting of the Passion chorale (No. 17) has different words. No recorders are present for the tenor recitative (No 19). It f anyone enjoys detective work, then tracing the is a simple chorale “Jesum laß ich nicht von mir” that closes 4 origins of the St. Matthew Passion is just the job for Part I, not “O Mensch bewein….” . The opening aria in Iyou! The existence of a surviving score and parts for Part II is allocated to the Bass in Chorus I, not the Alto; there Bach’s 1736 performance might well suggest to you that this are significant differences in the vocal line of the tenor aria is the year of its public debut, but it has been a long held (No 35) “Geduld, geduld…” and a lute replaces the viola view that the origins were earlier and so, for the moment, da gamba. In rehearsals we have had to be alert to the our journey of discovery begins at Leipzig in the 1720s. changes in phrasing and slurring in this version to those in the more familiar 1736 score and in our preparations The detective work done already that attributes the date of its debut as Leipzig on Good Friday 1727 uses fragments we have also noticed that Farlau might have been thinking of music that date from 1724 onwards to draw some contemporarily while copying the recitative with recorders conclusions, yet keeps an open mind. -
Johann Sebastian Bach by Johann Nikolaus Forkel and Charles Sanford Terry
The Project Gutenberg EBook of Johann Sebastian Bach by Johann Nikolaus Forkel and Charles Sanford Terry This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Johann Sebastian Bach Author: Johann Nikolaus Forkel and Charles Sanford Terry Release Date: January 24, 2011 [Ebook 35041] Language: English ***START OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH *** Johann Sebastian Bach. About 1720. (From the picture by Johann Jakob Ihle, in the Bach Museum, Eisenach). Johann Sebastian Bach His Life, Art and Work. Translated from the German of Jo- hann Nikolaus Forkel. With notes and appendices by Charles Sanford Terry, Litt.D. Cantab. Johann Nikolaus Forkel and Charles Sanford Terry Harcourt, Brace and Howe, New York 1920 Contents Introduction . xi FORKEL'S PREFACE . xxi CHAPTER I. THE FAMILY OF BACH . .3 Chapter II. THE CAREER OF BACH . 11 CHAPTER IIA. BACH AT LEIPZIG, 1723-1750 . 31 CHAPTER III. BACH AS A CLAVIER PLAYER . 47 CHAPTER IV. BACH THE ORGANIST . 57 CHAPTER V. BACH THE COMPOSER . 65 CHAPTER VI. BACH THE COMPOSER (continued) . 73 CHAPTER VII. BACH AS A TEACHER . 83 CHAPTER VIII. PERSONAL CHARACTERISTICS . 95 CHAPTER IX. BACH'S COMPOSITIONS . 101 CHAPTER X. BACH'S MANUSCRIPTS . 125 CHAPTER XI. THE GENIUS OF BACH . 129 APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS . 137 APPENDIX II. THE CHURCH CANTATAS AR- RANGED CHRONOLOGICALLY . 151 APPENDIX III.