Bach Notes No. 23
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T H O M a N E R C H
Thomanerchor LeIPZIG DerThomaner chor Der Thomaner chor ts n te on C F o able T Ta b l e o f c o n T e n T s Greeting from “Thomaskantor” Biller (Cantor of the St Thomas Boys Choir) ......................... 04 The “Thomanerchor Leipzig” St Thomas Boys Choir Now Performing: The Thomanerchor Leipzig ............................................................................. 06 Musical Presence in Historical Places ........................................................................................ 07 The Thomaner: Choir and School, a Tradition of Unity for 800 Years .......................................... 08 The Alumnat – a World of Its Own .............................................................................................. 09 “Keyboard Polisher”, or Responsibility in Detail ........................................................................ 10 “Once a Thomaner, always a Thomaner” ................................................................................... 11 Soli Deo Gloria .......................................................................................................................... 12 Everyday Life in the Choir: Singing Is “Only” a Part ................................................................... 13 A Brief History of the St Thomas Boys Choir ............................................................................... 14 Leisure Time Always on the Move .................................................................................................................. 16 ... By the Way -
Bach Notes No. 4 (Fall 2005)
No. 4 Fall 2005 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY FRANZ LISZT AND HIS EARLY RECEPTION OF BACH’S ORGAN WORKS* RUSSELL STINSON In the fall of 1857, some fifteen months after the death of her husband, Clara Schumann embarked on a lengthy concert tour of Germany and Switzerland. She performed first in Dresden and Leipzig, sharing the bill with the violinist Joseph Joachim. At some point during their stay in Dresden, the two artists were treated to a performance by Johann Gottlob Schneider on the sumptuous Silbermann organ at the court church, the same instrument on which Schneider had often played for Robert Schumann. Also present was arguably the era’s most famous musical personality, who had traveled to the Saxon capital to conduct the premiere performance of his Dante Symphony. We have no idea who invited Liszt to this with Liszt and Joachim firing salvos on gathering, but it seems unlikely that either the subject of Bach’s organ works. Our IN THIS ISSUE Clara or Joachim did. Clara had by this source is a letter written by Clara a week time developed a great animosity toward or two after Schneider’s performance and P. 1. Franz Liszt and His Early the man as well as his music, and in one addressed to her half brother, the com- Reception of Bach’s Organ Works of her letters to Joachim she went so far poser Woldemar Bargiel: by Russell Stinson as to say that she detested Liszt from the 1 depths of her soul. Joachim had likewise I had a pleasant time in Dresden 7. -
Bach Festival the First Collegiate Bach Festival in the Nation
Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr. -
Jahresbericht 2017
JAHRESBERICHT 2017 BACHS ERbe – EiN AUFTRAG FÜR DIE ZUKUNFT Unser herzlicher Dank gilt allen Förderern, Sponsoren und Partnern des Bachfestes 2017 sowie des Meisterkurses 2017 in Leipzig. • arcona LIVING BACH14 Leipzig • Hochschule für Technik, Wirtschaft • nextbike GmbH • Bärenreiter-Verlag und Kultur Leipzig (HTWK) • PROMENADEN Hauptbahnhof Leipzig Karl Vötterle GmbH & Co. KG • HypoVereinsbank – Member of • Sächsisches Staatsministerium für • Die Beauftragte der Bundesregierung UniCredit Wissenschaft und Kunst (SMWK) für Kultur und Medien • Institut Français • Seaside Park Hotel Leipzig • BMW Niederlassung Leipzig • Leipzig Hotel Alliance • Sparkasse Leipzig • Christa Bach-Marschall-Stiftung • Leipzig Tourismus und • Stadt Leipzig • Deutschlandradio Kultur Marketing GmbH • Stiftung Chorherren zu St. Thomae • DIE ZEIT • Leipziger Verkehrsbetriebe • Ströer Deutsche Städte • Evangelisch-Lutherische Landes- GmbH (LVB) Medien GmbH kirche Sachsens • Leipziger Volkszeitung • TOTAL Raffinerie • fairgourmet GmbH • MDR Kultur Mitteldeutschland GmbH • GENUIN Classics • Mitteldeutsche Barockmusik in • Turkish Airlines Inc. • Goethe-Institut e. V. Sachsen, Sachsen-Anhalt und • Vereinigung der Freunde des • Hochschule für Musik und Theater Thüringen e. V. Bach-Archivs Leipzig e. V. „Felix Mendelssohn Bartholdy“ • Musikschule Leipzig Leipzig (HMT) „Johann Sebastian Bach“ JAHRESBERICHT 2017 BACHS ERbe – EIN AUFTRAG FÜR DIE ZUKUNFT INHALT 1. GRUSSWORT 4 2. VORWORT 6 3. BACH-ARCHIV LEIPZIG – AUFGABEN UND ZIELE 9 4. DAS INKLUSIVE BACH-MUSEUM 12 5. AN BACH VERERBEn – NACHLASSSPENDEN FÜR DAS BACH-ARCHIV 16 6. TÄTIGKEITSBERICHTE UND PROJEKTE 19 6.1. Forschungsinstitut 19 6.2. Bibliothek 25 6.3. Museum 34 6.4. Bachfest Leipzig 46 6.5. Meisterkurs 51 6.6. Kommunikation und Vermittlung 52 7. KOOPERATIONEN 57 7.1. Das Bach-Archiv – Institut an der Universität Leipzig 57 7.2. Kooperation mit der Hochschule für Musik und Theater 58 „Felix Mendelssohn Bartholdy“ Leipzig (HMT) 7.3. -
A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-2-2014 A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Labadorf, Thomas A., "A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet" (2014). Doctoral Dissertations. 332. https://opencommons.uconn.edu/dissertations/332 A New Transcription and Performance Interpretation of J.S. Bach’s Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf, D. M. A. University of Connecticut, 2014 A new transcription of Bach’s Chromatic Fantasy is presented to offset limitations of previous transcriptions by other editors. Certain shortcomings of the clarinet are addressed which add to the difficulty of creating an effective transcription for performance: the inability to sustain more than one note at a time, phrase length limited by breath capacity, and a limited pitch range. The clarinet, however, offers qualities not available to the keyboard that can serve to mitigate these shortcomings: voice-like legato to perform sweeping scalar and arpeggiated gestures, the increased ability to sustain melodic lines, use of dynamics to emphasize phrase shapes and highlight background melodies, and the ability to perform large leaps easily. A unique realization of the arpeggiated section takes advantage of the clarinet’s distinctive registers and references early treatises for an authentic wind instrument approach. A linear analysis, prepared by the author, serves as a basis for making decisions on phrase and dynamic placement. -
Masaaki Suzuki Programme EDITED
19 JANUARY | THURSDAY Bach Cantatas with Masaaki Suzuki MASAAKI SUZUKI conductor / organ RYO TERAKADO concertmaster ZHANG YUCHEN (B.Mus1) violin MASAMITSU SAN’NOMIYA oboe YST VOICE STUDENTS CONSERVATORY CHAMBER ENSEMBLE J.S. BACH (1685 – 1750) Violin Concerto in A minor, BWV1041 I. Allegro moderato II. Andante III. Allegro Assai J.S. BACH Cantata “Ach Gott, wie manches Herzeleid”, BWV3 I. Chorus (“Ach Gott, wie manches Herzeleid”) II. Recitative and Chorale (“Wie schwerlich läßt sich Fleisch und Blut”) III. Aria (“Empfind ich Höllenangst und Pein”) IV. Recitative (“Es mag mir Leib und Geist verschmachten”) V. Aria Duetto (“Wenn Sorgen auf mich dringen”) VI. Chorale (“Erhalt mein Herz im Glauben rein”) INTERMISSION 15 mins J.S. BACH Organ Concerto in D minor (from Cantata BWV35) arr. Masaaki Suzuki I. Sinfonia IV. Aria V. Sinfonia J.S. BACH Cantata “Alles nur nach Gottes Willen”, BWV72 I. Chorus (“Alles nur nach Gottes Willen”) II. Recitative and Arioso (“O selger Christ, der allzeit seinen Willen”) III. Recitative (“So glaube nun”) IV. Aria (“Mein Jesus will es tun, er will dein Kreuz versüßen”) V. Chorale (“Was mein Gott will, das g'scheh allzeit”) MASAAKI SUZUKI conductor / organ Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained their Music Director ever since, taking them regularly to major venues and festivals in Europe and the USA and building up an outstanding reputation for the expressive refinement and truth of his performances. In addition to working with renowned period ensembles, such as Collegium Vocale Gent and Philharmonia Baroque, he is invited to conduct repertoire as diverse as Britten, Beethoven, Fauré, Mahler, Mendelssohn, Mozart and Stravinsky, with orchestras such as the Baltimore Symphony, Danish National Radio Symphony, Deutsches Symphonie Orchester Berlin, Leipzig Gewandhausorchester, New York Philharmonic and the San Francisco Symphony Orchestra, amongst others. -
Generalbaßlehre of 1738” by Thomas Braatz © 2012
The Problematical Origins of the “Generalbaßlehre of 1738” by Thomas Braatz © 2012 Near the end of 2011 a new volume of the NBA was released by Bärenreiter. It is called a supplement and includes notes and studies on thorough-bass, composition and counterpoint along with a section of Bach’s sketches and drafts and finally in the appendix the more recently discovered aria, BWV 1127. In addition to the well- researched and documented rules on thorough-bass found in the Anna Magdalena Bach’s notebooks, there is a presentation and critical discussion of the recently discovered (1999) counterpoint studies in the form of an exchange between Wilhelm Friedemann Bach and his father, all in autograph documents from the period 1736 to1739 when W. F. Bach was an organist in Dresden. Of great interest is the analysis and discussion of the Precepts and Principles for Playing the Thorough-Bass along with the complete text and musical examples. Below I will present the original German (Appendix 1) along with my English translation (Appendix 2) of the pertinent sections from the NBA editor’s introduction and the critical report covering this document. From this the reader will be able ascertain the spurious1 nature of its origin and claims of authenticity. The Precepts and Principles for Playing Four-Part Thorough-Bass or Accompaniment, or more commonly referred to in its short form as the “Generalbaßlehre of 1738”, has attained a false aura of authenticity since the appearance of Philipp Spitta’s monumental Bach biography in which Spitta printed the entire text of this document that he also analyzed and discussed in greater detail in a music journal in 1882.2 Spitta was the first Bach scholar to recognize the connection between this document and certain paragraphs contained in a treatise by Friedrich Erhard Niedt. -
Bach Notes No. 24
No. 24 Spring 2016 BACH NOTES NEWSLETTER OF THE AMERICAN BACH SOCIETY THE MAKING OF EXPLORING THE WORLD OF J. S. BACH: A TRAVELER’S GUIDE In spring of 2013, the American Bach Society com- are few images of pipe organs. missioned Robert and Traute Marshall to produce Our research entailed personally visit- a book that traced the various journeys of Johann ing all the sites, incorporating the pertinent Sebastian Bach. The happy result is Exploring findings within scholarly literature, and the World of J. S. Bach: A Traveler’s Guide, interviewing local historians and other which will be offered as the ABS membership gift well-informed experts. After completing later this year. As an appetizer in the meanwhile, the the research and field trips we addressed Marshalls have generously contributed this “behind the issue of how to organize and present the scenes” report on the book’s compilation. the material. Bachstätten adopted a straight- forward alphabetical order, ranging from Altenburg to Zschortau. The relevant sec- I tions of the organ handbook are similarly organized alphabetically. rom the outset our plan (indeed, our We quickly found a strictly alphabetical Fcharge, as communicated to us by George ordering of all fifty-one towns unsatisfactory, Stauffer on behalf of the editorial board however, since it failed to acknowledge the of the ABS) was to produce a survey of all cardinal importance of the eight places where the towns where J. S. Bach lived or visited. Bach actually resided, which no doubt would Our objective was to relate, in brief, their be of particular interest to many readers. -
Bach́s Family Choral Motets Kammerchor Stuttgart FRIEDER BERNIUS HC18014.Booklet.Chorales.Qxp PH????? Booklet Gamben/Handel 20.03.19 15:24 Seite 2
HC18014.Booklet.Chorales.qxp_PH?????_Booklet_Gamben/Handel 20.03.19 15:24 Seite 1 Johann Christoph ALTNICKOL Johann Christoph Friedrich BACH Bach́s Family Choral Motets Kammerchor Stuttgart FRIEDER BERNIUS HC18014.Booklet.Chorales.qxp_PH?????_Booklet_Gamben/Handel 20.03.19 15:24 Seite 2 Bachs Familie · Choral‐Motetten DEUTSCH Kein Komponist der Musikgeschichte hat „seines Vaters Claviercompositionen am so viele hochbegabte Schüler hervor ge- fertigsten vorgetragen“ habe. Anfang bracht wie Johann Sebastian Bach. Da er Januar 1750 erhielt er auf dessen Em- etliche von ihnen in seiner Wohnung pfehlung eine Anstellung als Kammermu- beherbergte, konnten sie tiefe Einblicke in siker am Hofe des Grafen Wilhelm von sein Schaffen gewinnen. Unter seinen Schaumburg-Lippe in Bückeburg, einem komponierenden Söhnen stand Johann der Aufklärung verpflichteten, sozial enga- Christoph Friedrich, der sogenannte „Bücke- gierten, charismatischen Adligen, dessen burger Bach“, am wenigsten im Rampen- Neigungen viel eher den schönen Künsten licht der Öffentlichkeit. Als „Externus“ be- als höfischem Repräsentationsbedürfnis suchte der zweitjüngste Sohn zunächst die galten. Mitunter dirigierte er die Kapelle Thomasschule, erhielt musikalischen Unter- seiner Residenz selbst. Seine Gattin ließ richt vom Vater und wurde darüber hinaus sich von Johann Christoph Friedrich Bach durch seinen entfernten Meininger Cousin unterrichten und beschenkte ihn reichlich. Johann Elias Bach in außermusikalischen Dessen Jahresgehalt belief sich zeitweise Fächern unterwiesen. An der Leipziger auf stolze 1.000 Reichstaler. Er blieb – ab- Universität immatrikulierte er sich für das gesehen von einer Reise nach London zum Fach der Jurisprudenz, doch brach er sein jüngeren Bruder Johann Christian – Zeit Studium schon vorzeitig wieder ab. Bereits seines Lebens in Bückeburg. Dort heiratete seit Mitte der 1740er Jahre zählte er zu er die Sopranistin Lucia Münchhausen. -
Johann Sebastian Bach 1685-1750
_l_ JOHANN SEBASTIAN BACH 1685-1750 Some Documentary Aspects of His Life. HowARD BRowN* N July 28, 1750, there died in Leipzig one of the greatest O musicians of all time, J ohann Sebastian Bach. The minutes of the town council record no particular regret over the passing of this man who, since 1723, had been their Cantor at the Thomas-Schule. At the burial three days later, the minister of the Thomaskirche merely announced from the pulpit: There has passed to his rest and now sleeps blessedly in God the right worthy and esteemed Herr Johann Bach, Composer to his Majesty the King of Poland and Prince-Elector of Saxony, Capellmeister to his Highness of Anhalt-Cothen and Cantor of the Thomas-Schule on the Thomash.irchhof. With the rites of Christian usa.ge his body this day has been committed to the earth. No one living at the time of his death recognized his supreme greatness, and, unfortunately, despite its uniformly excellent quality, his music was to undergo a period of obUvion. Although his treasure was opened in part to such musicians as Mozart and Beethoven, the latter gaining his first reputation in Vienna by his performance of the Well-tempered Clavier, the historical r-ediscovery may be taken as the year 1829. It was then that Mendelssohn's presentation of the St. Matthew Passion, one hundred years after its fu·st performance, kindled serious interest in a revival of Bach's music. Whereas in 1870 all of Bach's published works could have been contained in one volume, to-day the Bach-Gesellschaft, representing the com plete library of his works, numbers sixty-odd volumes, and there is scarcely a note in this tremendous output that we could lose without regret. -
Gedenkkonzert
Gedenkkonzert anlässlich der Zerstörung Dresdens am 13. Februar 1945 Sehr geehrte Konzertbesucher, wir begrüßen Sie sehr herzlich zu unserem heutigen Konzert. Bitte denken Sie vor dem Konzert daran, Mobiltelefone und Uhren mit Signalfunktion auszuschalten. Im Interesse der Künstler und der Konzertbesucher möchten wir außerdem darum bitten, während des Konzertes störende Hustengeräusche zu ver- meiden. Mit Hilfe eines Taschentuches lässt sich lautes Husten erheblich reduzieren. Darüber hinaus weisen wir darauf hin, dass aus urheberrechtlichen Gründen das Herstellen von Bild- und Tonaufzeichnungen nicht gestattet ist. Aus gegebenem Anlass bitten wir, auf Beifallsbekundungen zu verzichten. Kreuzkirche Dresden Sonntag 11. Februar 2007 17.00 Uhr Gedenkkonzert Wie liegt die Stadt so wüst Rudolf Mauersberger [1889 – 1971] Nr. 1 aus Zyklus Dresden RMWV 4 Ich hatte viel Bekümmernis Johann Sebastian Bach [1685 – 1750] Kantate BWV 21 Pause Requiem d-Moll KV 626 Wolfgang Amadeus Mozart [1756 – 1791] Barbara Christina Steude Sopran Elisabeth Wilke Alt Martin Petzold Tenor Jochen Kupfer Bass Kreuzorganist Holger Gehring Orgel Dresdner Kreuzchor Dresdner Philharmonie Kreuzkantor Roderich Kreile Leitung Einführung Im Jahre 1930 wurde der aus dem Erzgebirgsdorf Mauersberg stammende Rudolf Mauersberger zum 25. Kreuzkantor des Dresdner Kreuzchores berufen. In den 41 Jahren seiner Arbeit mit dem traditionsreichen Knabenchor prägte er nicht nur dessen spezifi- schen Klang, sondern vor allem auch das Musikleben der Stadt. Der Kreuzchor wurde besonders in den Kriegsjahren zu einer bedeutenden Institution für die Dresdner Bevölkerung, da er mit seiner bis Oktober 1944 nahezu uneingeschränk- ten Konzerttätigkeit vielfach Trost und Zuversicht gab. Am 9. Februar 1945 fand die letzte Vesper des Kreuzchores statt – vier Tage später sind elf der jungen Sänger unter den Tausenden Toten, die Dresden nach den Bombenangriffen zu beklagen hatte. -
Filf.Ch 9E Edition Festival International Du Lied De Fribourg Du 1Er Au 7 Juillet 2017
9e edition festival international du lied fribourg du 1er au 7 juillet 2017 filf.ch 9e edition Festival International du Lied de Fribourg du 1er au 7 juillet 2017 Muses & Musées 6 Ils se sont produits au festival AVEC LE SOUTIEN DE depuis sa création en 2001 9 Reto Bieri 10 Marie-Claude Chappuis 12 Le Chœur St-Michel 14 Silvia Fraser 16 Emiliano Gonzalez-Toro 20 Romain Hervé 22 Martin Hoepfner 24 Christian Immler 26 Monika Nagy 28 Programmation de la 9e édition 30 Martin Petzold 32 Luca Pianca 34 Dmitry Sinkovsky 36 Carte blanche à Nicolas Ruffieux 39 Programme du 1.07 41 Programme du 2.07 à 17h00 43 Programme du 2.07 à 20h30 45 Ravel et les Histoires naturelles de Jules Renard, texte de Frédéric Wandelère 48 Programme du 5.07 50 Programme du 7.07 54 Remerciements 57 9e edition Festival International du Lied de Fribourg du 1er au 7 juillet 2017 /05 « J’avouerai de bonne foi que j’aime beaucoup mieux ce qui me touche que ce qui me surprend. » « Ich gebe zu, dass ich lieber habe was mich berührt als was mich überrascht. » François Couperin (1668 – 1733) Muses & Musees 9e edition Festival International du Lied de Fribourg du 1er au 7 juillet 2017 Les Musées de la ville de Fribourg me fascinent depuis l’enfance. Ils reflètent /07 MUSES & MUSÉES la beauté de notre ville, ses aspects variés autant du point de vue artistique, géographique qu’historique. Il faut parfois de la distance pour apprécier les merveilles qui sont proches et c’est toujours avec émotion que je reviens dans la ville où je suis née.