DOCSLIB.ORG

BACH and TUNING by Johnny Reinhard

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BACH and TUNING by Johnny Reinhard BACH and TUNING By Johnny Reinhard © 2009 Bust of Johann Sebastian Bach in a small park in Anhalt-Cöthen Photo: Johnny Reinhard Dedicated to Ted Coons Palace entrance in Anhalt-Cöthan Photo: Johnny Reinhard Bach and Tuning by Johnny Reinhard © 2009 212-517-3550 / [email protected] www.afmm.org American Festival of Microtonal Music 318 East 70th Street, Suite 5-FW New York, New York 10021 USA 2 FOREWORD A new Baroque chromaticism was born in the late 17th century, and Johann Sebastian Bach was its master. Following the needs and interests of organists, and as a natural consequence of the obsolescence of meantone, an original tuning emerged. Keyboardists have since transitioned from supporting artists into virtuosic soloists. The irregular-sized steps of well temperament, not equal temperament, was the compromise entered upon to cement chromaticism to the Baroque. Among the heroes in this endeavor is Andreas Werckmeister, the pioneer who ushers in the concept of a closed circle of twelve major and twelve minor keys in music. Other protagonists include: Johann Gottfried Walther, Johann Philipp Kirnberger, Princess Anna Amalia van Preussen, and Johann Nicolaus Forkel. Irregularly shaped scales provide resources for a different narrative, a catalyst to perceiving a missing dimension in Johann Sebastian Bach’s music. The aim here is to return lost color to Bach’s music which has been stripped away by equal temperament hegemony. Finally, there is good reason to re-record the masterworks. 3 Foreword 3 CONTENTS 4 Chapter 1: Johann Gottfried Walther 7 Walther was like a brother to J.S. Bach throughout his lifetime, an eyewitness to his cousin’s musical world, and author of the first music lexicon of the German Baroque. Chapter 2: Dieterich Buxtehude 17 Buxtehude was renowned for his organ improvisations, and had a profound influence on J.S. Bach. This chapter examines the primacy of virtuosic improvisation in necessitating a circle of keys. Chapter 3: Andreas Werckmeister 31 Werckmeister was responsible for a revolution in tuning through his published temperaments as alternatives to the limitations of meantone, and in spite of the obviousness of equal temperament. Chapter 4: Tuning 47 The twelve major and minor keys are examined, key by key, in cents (1200 cents to the octave). Comparison is made between quarter and sixth comma meantone, Werckmeister III, IV, V & VI tunings, Kirnberger II & III tunings, Trost tuning, and Neidhardt I, II & III tunings. 4 Chapter 5: Bach Cities 73 Bach worked prominently in Arnstadt, Mühlhausen, Anhalt-Cöthen, and Leipzig. The primary church organs in these cities were tuned prior to Bach’s employment and appear to have retained their tuning. Chapter 6: Thuringian Aesthetic 93 The Bach family belonged to the Thuringian tribe in central Germany. Thuringians were notably fascinated with tuning keyboard instruments and who often praised the benefits of the unequalness of the scale. Chapter 7: Notation 110 Notation gives valuable clues for identifying an intended tuning system, while the compositional usage of the notes in indicative of aesthetic prerogatives. Works examined include The Well-Tempered Clavier, Six Brandenburg Concertos, St. Matthew’s Passion, and A Musical Offering. Chapter 8: Johann Philipp Kirnberger 130 Kirnberger, a former private student of Bach’s in Leipzig, was a tuning pedagogue notorious for his promulgation of the Bach legacy. Kirnberger introduced his own tuning innovations for the Classical era. Chapter 9: Refreshed Perspectives 141 After arranging the prevailing possibilities for Bach’s tuning, categorically, a multiple choice question is constructed that by definition can leave only one single answer, the direct result of eliminating all other possibility. Appendix I Hehr Translation of Werckmeister’s Musicalische Temperatur 155 Appendix II Compact Disc Early Liner Notes (PITCH 200202) 215 Appendix III Glossary 217 Bibliography 218 Acknowledgements 229 Endnotes 231 5 6 A pleasant brook may well the ear’s delight inspire. 7 Johann Gottfried Walther He should have been called ‘ocean’ instead of brook. Ludwig van Beethoven CHAPTER 1 Johann Gottfried Walther Johann Gottfried Walther The reason I chose to begin this book with Johann Gottfried Walther (1684-1748) is his lifelong relationship with Johann Sebastian Bach (1685-1750). Walther, as both blood relative and close friend, was an especially close eyewitness to Bach’s private musical world. Walther was a keen participant, an acute observer of his musical times, and a thorough researcher for the historical record in music. Only a half year apart in age,1 Walther and Bach shared similar interests in musical pedagogy and performance. There was obvious chemistry between them, and genuine respect, which all points to their being the best of friends. Indeed, it could be said Johann Sebastian and Johann Gottfried were as close as brothers: in fact, Johann Sebastian Bach was godfather to Walther’s first son, Johann Gottfried Walther II. Walther and Bach shared the honors of being godfathers to Heinrich Nicolaus Trebs’s son. It may be said that Johann Sebastian was probably closer to Walther than he was to his own flesh and blood brothers. The oldest Bach brother had a rocky start with the youngest brother, eldest brother Johann Christoph seems to have genuinely annoyed Johann Sebastian when he stole away his baby brother’s recopying studies of earlier composers. Middle brother Johann Jacob put a great physical distance between himself and his siblings; Johann Jacob first apprenticed as a piper in the tradition of his late father, Johann Ambrosius, and then went off to join the Swedish military, eventually to find himself in Istanbul studying flute privately with Johann Joachim Quantz’s teacher. 8 It actually makes more sense to consider Walther as more of a “brother” than as a distant cousin. Walther was actually related to Johann Sebastian in different ways due to the complex business of how wives were chosen at that time and how families were constituted.2 Walther’s mother was of the Lämmerhirt family which earlier joined the Bach family when Walther’s aunt Hedwig Lämmerhirt married Johann Bach of Erfurt in 1637. Bach’s mother was Hedwig’s half- sister. More to the point, Johann Sebastian married his second cousin, Maria Barbara Bach (1684-1720). They had already resided together in the very same Arnstadt building, popularly known as “The Golden Crown,” where the Mayor of Arnstadt, Maria Barbara’s uncle Martin Feldhaus, also lived. The cousins, both orphaned, lived within the warm bosom of the greater Bach family. Maria Barbara’s father died in 1694, the same year as Johann Sebastian’s mother. In Bach’s mind, childhood friend Georg Erdmann (1682-1736) was a “brother.” They had become close friends soon after Johann Sebastian arrived in Ohrdruf, following the death of his father in 1695. Later, they traveled together as friends north to Lüneburg for further academic studies. Georg Erdmann grew up in Leina in Thuringia, near Gotha, and later joined the Russian army as a diplomat for a Russian prince in Riga. Soon after securing his Leipzig position, Johann Sebastian actually addressed his old friend as “brother” on July 28, 1726: “Noble and Most Honored Sir and (If Still Permissible) Esteemed Mr. Brother” (Bach Reader, p. 125). In the letter, Bach basically wrote about the challenge of relocating to Leipzig. Bach clearly had an expandable view of what constituted a brother, not concerned with a mere blood relation technicality. At the beginning of his own contribution to Johann Mattheson’s book of musician autobiographies, Grundlage einer Ehren-Pforte (1740), Walther acknowledged that he was both a distant relative of the Bach family through Hedwig Lämmerhirt, and a cousin through Maria Elisabetha Lämmerhirt. Inexplicably, J.S. Bach refused requests to send his own autobiography for publication to Johann Mattheson (1681-1764), arguably the most prolific writer on music in his time. Mattheson referred to Walther as “my honored friend” in his book, Der vollkommene Capellmeister (p. 76). The Lämmerhirt family of Erfurt provided the maternal bloodline to J.S. Bach’s genetic makeup and played an important role in his eventual success, in addition to a great many other Bachs and Walthers. Johann Sebastian received a financial inheritance from the Lämmerhirt side of the family. This money came from the very same uncle, Tobias Lämmerhirt, Bach shared with Walther. Uncle Tobias’ Last Will and Testament also provided money for Walther’s mother.3 The Lämmerhirts were apparently very close as a family, many of whom were in the furrier business. And their women were unusually attracted to musicians. Johann Gottfried Walther’s mother, Martha Dorothea Lämmerhirt (1655-1727), was the rare Lämmerhirt woman who married a non-musician, Johann Stephen Walther (1650-1731). The renowned Albert Schweitzer explained that Walther originally “was intended for the study of law” but escaped that destiny thanks to his obvious musical talent (Schweitzer, I:43). Walther was appointed in 1707 to a lifetime post as organist at the Church of St. Peter and Paul in Weimar (now called the Herderkirche), not too long after Bach received his Arnstadt post. 9 Johann Sebastian Bach’s maternal grandfather, Valentin Lämmerhirt (1585-1665), was Johann Gottfried Walther’s maternal great-grandfather. To add to the complexity, he had a son also named Valentin Lämmerhirt (1608-1665). This younger Valentin would be J.G. Walther’s grandfather. Both Valentins died in 1665, about twenty years before either J.S. Bach or J.G. Walther were born. Walther’s extensive study of organ performance and composition in Erfurt with his cousin Johann Bernard Bach was another personal connection to the Bach tradition. Johann Bernhard Bach’s father was brother to Maria Barbara’s father. Johann Sebastian Bach’s mother, Maria Elisabetha Lämmerhirt (1644-1694), in conjunction with her niece, Walther’s mother, eleven years younger than Maria Elisabetha, would together connect the greatest German music scholar of his time with its greatest composer of music.
Load more

Recommended publications
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
    The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely.
    [Show full text]
  • Kūnqǔ in Practice: a Case Study
    KŪNQǓ IN PRACTICE: A CASE STUDY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US.
    [Show full text]
  • Download the Just Intonation Primer
    THE JUST INTONATION PPRIRIMMEERR An introduction to the theory and practice of Just Intonation by David B. Doty Uncommon Practice — a CD of original music in Just Intonation by David B. Doty This CD contains seven compositions in Just Intonation in diverse styles — ranging from short “fractured pop tunes” to extended orchestral movements — realized by means of MIDI technology. My principal objectives in creating this music were twofold: to explore some of the novel possibilities offered by Just Intonation and to make emotionally and intellectually satisfying music. I believe I have achieved both of these goals to a significant degree. ——David B. Doty The selections on this CD pro­­cess—about synthesis, decisions. This is definitely detected in certain struc- were composed between sampling, and MIDI, about not experimental music, in tures and styles of elabora- approximately 1984 and Just Intonation, and about the Cageian sense—I am tion. More prominent are 1995 and recorded in 1998. what compositional styles more interested in result styles of polyphony from the All of them use some form and techniques are suited (aesthetic response) than Western European Middle of Just Intonation. This to various just tunings. process. Ages and Renaissance, method of tuning is com- Taken collectively, there It is tonal music (with a garage rock from the 1960s, mendable for its inherent is no conventional name lowercase t), music in which Balkan instrumental dance beauty, its variety, and its for the music that resulted hierarchic relations of tones music, the ancient Japanese long history (it is as old from this process, other are important and in which court music gagaku, Greek as civilization).
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E
    Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves) w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9 ? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'flat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a flatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9 ? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the fifth omitted.
    [Show full text]
  • Spiegel Der Orgelmacher Und Organisten" Z 1511 Roku
    Piotr Towarek Arnolta Schlicka traktat "Spiegel der Orgelmacher und Organisten" z 1511 roku Studia Elbląskie 6, 191-216 2004/2005 Ks. Piotr TOW AREK Sliulia Elbląskie Lublin V1/2004-2005 ARNOLTA SCHLICKA TRAKTAT SPIEGEL DER ORGELMACHER UND ORGANISTEN Z 1511 ROKU Organy — odwieczny „król instrumentów” — zrośnięte z wnętrzami monumen­ talnych katedr, wiejskich kościołów i sal koncertowych, są największym i najbar­ dziej skomplikowanym narzędziem muzycznym. Zadziwiają swymi rozmiarami, strukturą architektoniczną, precyzją konstrukcji licznych mechanizmów, bogact­ wem i potęgą brzmienia1. Stanowią przedmiot zainteresowań specjalistów wielu dziedzin, głównie muzykologów, muzyków i historyków sztuki. Ich wykonanie zawsze wymagało bardzo rozległej wiedzy teoretycznej i praktycznej. Przekazywa­ nie tych umiejętności odbywało się najczęściej w ramach rodziny organmistrzow- skiej, z drugiej zaś strony w ujęciu systematycznym poprzez traktaty i opracowania teoretyczne, które są niezwykle cennym źródłem wiedzy o dawnych organach i sposobie ich budowania. Już w starożytnej Grecji i w Rzymie technika budowy organów stała na wysokim poziomie2. O greckich organach, jak również wzorowanych na nich udoskonalonych organach rzymskich, pisał w I w. po Chr. Witruwiusz w traktacie Dc Architectura libri decem, a także Martianus Felix Capella w swym encyk­ lopedycznym dziele De nuptiis z V w. po Chr.1 Także w Europie Zachodniej od VI w. wraz z zainteresowaniem się muzyką organową i organami, zaczynają stopniowo powstawać traktaty teoretyczne. W cią­ gu kilku następnych wieków, szczególnie IX-XI w„ kształtuje się średniowieczna teoria budowy organów4. Żyjący na przełomie wieku XI i XII Teofil Presbiter pisze dzieło Diversarum Artium Schedula\ Z tego okresu pochodzą również traktaty: De m ensura (1037) Notkera Labeo oraz De mensuris organicarum fistularum Hucbal- da6.
    [Show full text]
  • The Unexpected Number Theory and Algebra of Musical Tuning Systems Or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72
    The Unexpected Number Theory and Algebra of Musical Tuning Systems or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72 Matthew Hawthorn \Music is the pleasure the human soul experiences from counting without being aware that it is counting." -Gottfried Wilhelm von Leibniz (1646-1716) \All musicians are subconsciously mathematicians." -Thelonius Monk (1917-1982) 1 Physics In order to have music, we must have sound. In order to have sound, we must have something vibrating. Wherever there is something virbrating, there is the wave equation, be it in 1, 2, or more dimensions. The solutions to the wave equation for any given object (string, reed, metal bar, drumhead, vocal cords, etc.) with given boundary conditions can be expressed as a superposition of discrete partials, modes of vibration of which there are generally infinitely many, each with a characteristic frequency. The partials and their frequencies can be found as eigenvectors, resp. eigenvalues of the Laplace operator acting on the space of displacement functions on the object. Taken together, these frequen- cies comprise the spectrum of the object, and their relative intensities determine what in musical terms we call timbre. Something very nice occurs when our object is roughly one-dimensional (e.g. a string): the partial frequencies become harmonic. This is where, aptly, the better part of harmony traditionally takes place. For a spectrum to be harmonic means that it is comprised of a fundamental frequency, say f, and all whole number multiples of that frequency: f; 2f; 3f; 4f; : : : It is here also that number theory slips in the back door.
    [Show full text]
  • Onomastica Uralica 8
    ONOMASTICA PatrocinySettlementNames inEurope Editedby VALÉRIA TÓTH Debrecen–Helsinki 2011 Onomastica Uralica President of the editorial board István Nyirkos, Debrecen Co-president of the editorial board Ritva Liisa Pitkänen, Helsinki Editorial board Terhi Ainiala, Helsinki Sándor Maticsák, Debrecen Tatyana Dmitrieva, Yekaterinburg Irma Mullonen, Petrozavodsk Kaisa Rautio Helander, Aleksej Musanov, Syktyvkar Guovdageaidnu Peeter Päll, Tallinn István Hoffmann, Debrecen Janne Saarikivi, Helsinki Marja Kallasmaa, Tallinn Valéria Tóth, Debrecen Nina Kazaeva, Saransk D. V. Tsygankin, Saransk Lyudmila Kirillova, Izhevsk The articles were proofread by Terhi Ainiala, Helsinki Andrea Bölcskei, Budapest Christian Zschieschang, Leipzig Lector of translation Jeremy Parrott Technical editor Valéria Tóth Cover design and typography József Varga The work is supported by the TÁMOP 4.2.1./B-09/1/KONV-2010-0007 project. The project is implemented through the New Hungary Development Plan, co-financed by the European Social Fund and the European Regional Development Fund. The studies are to be found at the Internet site http://mnytud.arts.unideb.hu/onomural/ ISSN 1586-3719 (Print), ISSN 2061-0661 (Online) ISBN 978-963-318-126-3 Debreceni Egyetemi Kiadó University of Debrecen Publisher: Márta Virágos, Director General of University and National Library, University of Debrecen. Contents Foreword ................................................................................................... 5 PIERRE -HENRI BILLY Patrociny Settlement Names in France ..............................................
    [Show full text]
  • 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.
    [Show full text]
  • A Study of Microtones in Pop Music
    University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion.
    [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]