Bach Notes No. 3
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Introduction
Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen. -
An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger
An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger Abbreviations NBA = Neue Bach Ausgabe (collected edition of Bach works) BC = Bach Compendium by Hans-Joachim Schulze and Christoph Wolff. 4 vols. (Frankfurt: Peters, 1989). Liturgical Occasion (Other Bach cantatas for that occasion listed in chronological order) *Gospel Reading of the Day (in the Lutheran liturgy, before the cantata; see below) *Epistle of the Day (in the Lutheran liturgy, earlier than the Gospel Reading; see below) FP = First Performance Note: Some of the following material is taken from Melvin Unger’s overview of Bach’s sacred cantatas, prepared for Cambridge University Press’s Bach Encyclopedia. Copyright Melvin Unger. That overview (which is available here with the annotated Bach cantata scores) includes a bibliography. Additional, online sources include the Bach cantatas website at https://www.bach-cantatas.com/ and Julian Mincham’s website at http://www.jsbachcantatas.com/. The German Cantata Before Bach In Germany, Lutheran composers adapted the genre that had originated in Italy as a secular work intended for aristocratic chamber settings. Defined loosely as a work for one or more voices with independent instrumental accompaniment, usually in discrete sections, and employing the ‘theatrical’ style of opera, the Italian cantata it was originally modest in scope—usually comprising no more than a couple of recitative-aria pairs, with an accompaniment of basso continuo. By the 1700s, however, it had begun to include other instruments, and had grown to include multiple, contrasting movements. Italian composers occasionally wrote sacred cantatas, though not for liturgical use. In Germany, however, Lutheran composers adapted the genre for use in the main weekly service, where it subsumed musical elements already present: the concerted motet and the chorale. -
Musiker-Lexikon Des Herzogtums Sachsen-Meiningen (1680-1918)
Maren Goltz Musiker-Lexikon des Herzogtums Sachsen-Meiningen (1680 - 1918) Meiningen 2012 Impressum urn:nbn:de:gbv:547-201200041 Titelbild Karl Piening mit Fritz Steinbach und Carl Wendling vor dem Meininger Theater, Photographie, undatiert, Meininger Museen B 617 2 Vorwort Das Herzogtum Sachsen-Meiningen (1680–1918) besitzt in kultureller Hinsicht eine Sonderstellung. Persönlichkeiten wie Hans von Bülow, Johannes Brahms, Richard Strauss, Fritz Steinbach und Max Reger verankerten es in der europäischen Musikgeschichte und verhalfen ihm zu einem exzellenten Ruf unter Musikern, Musikinteressierten und Gelehrten. Doch die Musikgeschichte dieser Region lässt sich nicht allein auf das Werk einzelner Lichtgestalten reduzieren. Zu bedeutsam und nachhaltig sind die komplexen Verflechtungen, welche die als überlieferungswürdig angesehenen Höchstleistungen erst ermöglichten. Trotz der Bedeutung des Herzogtums für die europäische Musikgeschichte und einer erstaunlichen Quellendichte standen bislang immer nur bestimmte Aspekte im Blickpunkt der Forschung. Einzelne Musiker bzw. Ensembles oder zeitliche bzw. regionale Fragestellungen beleuchten die Monographien „Die Herzogliche Hofkapelle in Meiningen“ (Mühlfeld, Meiningen 1910), „Hildburghäuser Musiker“ (Ullrich, Hildburghausen 2003), „Musiker und Monarchen in Meiningen 1680–1763“ (Erck/Schneider, Meiningen 2006) oder „Der Brahms- Klarinettist Richard Mühlfeld“ (Goltz/Müller, Balve 2007). Mit dem vorliegenden „Musiker-Lexikon des Herzogtums Sachsen-Meiningen“ wird erstmals der Versuch unternommen, -
1 Freitag, 18. Dezember 2015 SWR2 Treffpunkt Klassik – Neue Cds
1 Freitag, 18. Dezember 2015 SWR2 Treffpunkt Klassik – Neue CDs: Vorgestellt von Susanne Stähr Die maskierte Violine Antonio Vivaldi: Teatro alla moda Violinkonzerte RV 228, 282, 313, 314a, 316, 322, 323, 372a und 391; Sinfonia „L„Olimpiade”; Ballo primo de “Arsilda Refina di Ponto” Gli Incogniti, Amandine Beyer (Violine und Leitung) HMC 902221 Frau Musicas Himmelschöre Antonio Vivaldi: Geistliche Werke Gloria RV 589; Laetatus sum RV 607; Magnificat RV 610a; Lauda Jerusalem RV 609 Le Concert Spirituel, Hervé Niquet (Leitung) Alpha 222 Du angenehme Nachtigall Birds: Vögel in der Barockmusik Werke von Rameau, Händel, Arne, Vivaldi, Keiser, Couperin u.a. Dorothee Mields (Sopran), Stefan Temmingh (Blockflöte), The Genteman‟s Band, La Folia Barockorchester Deutsche Harmonia Mundi 88875141202 Atemloser Schöngesang Julia Lezhneva: Händel Frühe italienische Werke Julia Lezhneva (Sopran), Il Giardino Armonico, Giovanni Antonini (Leitung) Decca 478 9230 „Gross Wunderding sich bald begab“ A Wondrous Mystery Renaissancemusik zu Weihnachten Werke von Clemens non Papa, Johannes Eccard, Jacobus Gallus, Hans Leo Hassler, Hieronymus Praetorius, Michael Praetorius und Melchior Vulpius Stile Antico HMU 807575 Fürs Gemüt O heilige Nacht Romantische Chormusik zur Weihnachtszeit Werke von Franz Wüllner, Johannes Brahms, August von Othegraven, Gustav Schreck, Carl Loewe, Carl Gottlob Reißiger, Robert Fuchs, Max Bruch, Max Reger und Carl Reinthaler Dresdner Kammerchor, Hans-Christoph Rademann (Leitung) Carus 83.392 Am Mikrophon begrüßt Sie herzlich: Susanne Stähr. Sechsmal werden wir noch wach – doch was gibt es bis dahin nicht noch alles zu erledigen! Festtagseinkäufe, Weihnachtsbäckerei, letzte Geschenke, die besorgt werden wollen … Aber vielleicht können wir Ihnen wenigstens dabei helfen, mit ein paar CD-Empfehlungen nämlich. Sechs neue Platten möchte ich Ihnen gleich vorstellen: passend zur Saison mit viel Barockmusik, mit himmlischen Chören und englischen Stimmen. -
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. -
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. -
Bach Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat Mp3, Flac, Wma
Bach Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat Country: UK Released: 1992 Style: Classical, Baroque MP3 version RAR size: 1627 mb FLAC version RAR size: 1860 mb WMA version RAR size: 1357 mb Rating: 4.7 Votes: 513 Other Formats: DXD WAV AAC VQF APE WMA MP4 Tracklist Hide Credits Gloria In D Major Rv. 589 Alto Vocals – Alison BrownerComposed By – Antonio VivaldiSoprano Vocals – Lynda Russell 1 Gloria In Excelsis Deo (Chorus) 2:28 2 Et In Terra Pax Hominibus (Chorus) 4:53 3 Laudamus Te (Sopranos I & Ii) 2:12 4 Gratias Agimus Tibi (Chorus) 0:27 5 Propter Magnam Gloriam (Chorus) 0:53 6 Domine Deus (Soprano) 3:31 7 Domine Fili Unigenite (Chorus) 2:10 8 Domine Deus, Agnus Dei (Alto & Chorus) 4:09 9 Qui Tollis Peccata Mundi (Chorus) 1:04 10 Qui Sedes Ad Dexteram (Alto) 2:06 11 Quoniam Tu Solus Sanctus (Chorus) 0:45 12 Cum Sancto Spiritu (Chorus) 2:43 Stabat Mater Alto Vocals – Caroline TrevorComposed By – Antonio Caldara 13 Stabat Mater Dolorosa (Chorus & Soli) 2:35 14 Quis Est Homo, Qui Non Fleret? (Soli) 3:18 15 Sancta Mater (Chorus & Tenor) 2:18 16 Fac Me Tecum Pie Flere (Chorus & Soli) 1:47 17 Virgo Virginum Praeclara (Chorus) 1:28 18 Fac Ut Portem (Alto) 1:17 19 Flammis Ne Urar Succensus (Soprano & Bass) 0:59 20 Christe, Cum Sit Hinc Exire (Chorus) 1:53 21 Fac Ut Animae Donetur (Chorus) 1:29 Magnificat In D Major, BWV 243 Alto Vocals – Alison BrownerSoprano Vocals – Lynda Russell 22 Magnificat Anima Mea (Chorus) 2:52 23 Et Exultavit (Soprano Ii) 2:23 24 Quia Respexit (Soprano I) 2:12 25 Omnes Generationes (Chorus) 1:11 26 Quia Fecit Mihi Magna (Bass) 2:10 27 Et Misericordia (Alto, Tenor) 3:36 28 Fecit Potentiam (Chorus) 1:51 29 Deposuit Potentes (Tenor) 1:59 30 Esurientes (Alto) 2:55 31 Suscepit Israel (Chorus) 2:08 32 Sicut Locutus Est (Chorus) 1:32 33 Gloria (Chorus) 2:20 Companies, etc. -
Rethinking J.S. Bach's Musical Offering
Rethinking J.S. Bach’s Musical Offering Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Anatoly Milka All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3706-4 ISBN (13): 978-1-5275-3706-4 TABLE OF CONTENTS List of Figures........................................................................................... vii List of Schemes ....................................................................................... viii List of Music Examples .............................................................................. x List of Tables ............................................................................................ xii List of Abbreviations ............................................................................... xiii Preface ...................................................................................................... xv Introduction ............................................................................................... -
JOHANN SEBASTIAN BACH an Italian Journey
JOHANN SEBASTIAN BACH an italian journey The real voyage of discovery consists not in seeking new landscapes, but in having new eyes. Marcel Proust TRACKLIST P. 2 ENGLISH P. 4 FRANÇAIS P. 9 ITALIANO P. 14 A 443 2 Menu JOHANN SEBASTIAN BACH 1685-1750 AN ITALIAN JOURNEY Concerto in D major, BWV 972, after the Violin Concerto, Op. 3 No. 9 (RV 230) by Antonio Vivaldi 1 [Allegro] 2’12 2 Larghetto 2’37 3 Allegro 2’24 Fantasia and fugue in A minor, BWV 904 4 Fantasia 3’31 5 Fuga 5’16 Concerto in D minor, BWV 974, after the Oboe Concerto, S D935 by Alessandro Marcello 6 [Andante spiccato] 3’12 7 Adagio 4’22 8 Presto 4’05 Capriccio sopra la lontananza del suo fratello dilettissimo in B-flat major, BWV 992 9 Arioso: Adagio. Ist eine Schmeichelung der Freunde, um denselben von seiner Reise abzuhalten. 2’16 10 Ist eine Vorstellung unterschiedlicher Casuum, die ihm in der Fremde könnten vorfallen. 1’36 11 Adagiosissimo. Ist ein allgemeines Lamento der Freunde. 3’16 12 Allhier kommen die Freunde (weil sie doch sehen, dass es anders nicht sein kann) und nehmen Aschied. 1’02 13 Aria di Postiglione. Allegro poco. 1’28 14 Fuga all’imitatione di Posta. 2’56 Aria variata alla maniera italiana in A minor, BWV 989 15 Aria 2’22 16 Variatio 1. Largo 2’12 17 Variatio 2 1’55 18 Variatio 3 1’54 19 Variatio 4. Allegro 1’11 20 Variatio 5. Un poco Allegro 1’16 21 Variatio 6. -
A Non-Definitive List of Most of the Concerts and Work (And the Odd Function) Presented, Promoted and Performed by the Bach Society of Queensland and the Bach Choir
A non-definitive list of most of the concerts and work (and the odd function) presented, promoted and performed by The Bach Society of Queensland and the Bach Choir. Regular occasions such as The Annual Bach Prizes, some Messiah Performances, Carol Singing and Soirees have not all been listed individually each and every year. Blue denotes items of significance. 1971 8 Jul First Fundraising Concert: JS Bach Sonata No 2 for Violin and Harpsichord; Granados Six Tornadillas; German lieder songs; Prokofiev 4th Piano Sonata 1 Aug The Inaugural Bach Society Concert JS Bach Fifth Brandenburg Concerto, the B-Minor Flute Suite, The Coffee Cantata 1972 18 Jun The Bach Choir under John Thompson: Vivaldi Four Violin Concertos, Klavier Concerto in B Minor; JS Bach Sinfonia Concertante in A Minor Plus three items by (their premier performance) Aug/Sept Sponsored Recitals by internationally acclaimed harpsichordist Dorothy White 27 Nov “Monday-Evening-with-Bach” free 1973 18 Feb JS Bach Concerto in F Major; Telemann Concerto in C Minor 15 Apr QYO Brass Ensemble: two Gabrieli Canzone; JS Bach Sonata No 3 for unaccompanied ‘Cello, Brandenburg Concerto No 3 21 July An instructive evening on Bach’s Preludes and Fugues 10/11 Aug JS Bach St Matthew Passion: rarely heard in Brisbane before 11 Nov JS Bach Cantata #10 Meine Seel erhebt den Herren, Brandenburg Concerto No 5 in D 1974 21 Apr At home - soiree. The first of many. JS Bach Ah My Savior from Christmas Oratorio, Have Mercy Lord from St Matthew Passion 1975 26 May Together with Concert Society Orchestra - JS Bach Magnificat : (the biggest challenge the choir had yet faced); Johann Christian Bach Sinfonia in E for Two Orchestras, Op 18 No 5; JS Bach The Third Brandenburg Concerto in G for Strings 16 Jun Bach-B-Que at Rosevale, near Ipswich the first of many. -
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. -
Anmerkungen Einleitung
),- 7dc[hakd][d ;_db[_jkd] 1 Erdmann Neumeister hatte in Leipzig Poetik-Vorlesungen gehalten, die er Hu- nold zur Verfügung stellte, da er sie als Pfarrer nicht selbst publizieren wollte. Hunold bringt diese Poetik unter seinem Pseudonym Menantes 1707 erstmals heraus. Menan- tes: Die Allerneueste Art, zur Reinen und Galanten Poesie zu gelangen. Allen Edlen und die- ser Wissenschafft geneigten Gemühtern, zum vollkommenen Unterricht, mit überaus deutlichen Regeln und angenehmen Exempeln ans Licht gestellet. Hamburg 1728/1707. Siehe das ge- samte Kapitel XIX. Von der Opera. S. 394–414, hier S. 412. Zur Würdigung und Analy- se dieser Poetik siehe Viswanathan, Ute-Maria Suessmuth: Die Poetik Erdmann Neu- meisters und ihre Beziehung zur barocken und galanten Dichtungslehre. University of Pittsburgh 1989, S. 86f. Im Folgenden werden die Quellentexte bei der Erstzitation aus- führlich mit bibliographischen Angaben versehen, danach gibt es Kurztitel. 2 Neumeister hat das Libretto von Thomas Corneille zur Oper Bellerophon Paris 1679 übersetzt. Diese Übersetzung haben Hunold und Barthold Feind rezipiert, die beide zwischen 1702 und 1706 in Hamburg in derselben Wohnung lebten. Zu dieser Zeit war Hunold im Besitz von Neumeisters Manuskript. Vgl. Viswanathan, 1989, S. 92f und FN 108, S. 144. Feind arbeitete Bellerophon um zu einer Huldigungsoper an- lässlich der Hochzeit des preußischen Königs Friedrichs I. mit der Mecklenburgischen Prinzessin Sophie Louise. D-Hs 124 in MS 639/3:7. Vgl. Marx, Hans Joachim; Schrö- der, Dorothea: Die Hamburger Gänsemarkt-Oper. Katalog der Textbücher (1678– 1748). Laaber 1995, S. 80. 3 Vgl. Martens, Wolfgang: Die Botschaft der Tugend. Die Aufklärung im Spiegel der deutschen Moralischen Wochenschriften.