Rethinking J.S. Bach's Musical Offering
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The Organ Ricercars of Hans Leo Hassler and Christian Erbach
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Introduction
INTRODUCTION Carl Philipp Emanuel Bach wrote the two keyboard con- composed the concertos for performance by or with the certos contained in the present volume—the Concerto princess’s musical establishment, or she herself may have in G Major, Wq 34 and the Concerto in E-flat Major, commissioned them directly from Bach. There is, however, Wq 35—in 1755 and 1759, respectively. They are listed on no explicit evidence that confirms this supposition. Bach pages 32–33 in NV 1790: subsequently adapted both works for harpsichord for his No. 35. G. dur. B. 1755. Orgel oder Clavier, 2 Violinen, own use and also arranged the G-major concerto for flute 4 Bratsche und Baß; ist auch für die Flöte gesetzt. (Wq 169). Neither work was published in Bach’s lifetime. No. 36. Es. dur. B. 1759. Orgel oder Clavier, 2 Hörner, The source record for both Wq 34 and 35 is good. Au- 2 Violinen, Bratsche und Baß. tograph or partly autograph scores and parts survive for both works. These indicate that Bach made alterations and Except for the Concerto in E-flat Major for Harpsichord improvements at a somewhat later time after the works and Fortepiano, Wq 47, these two concertos are the only were composed. In addition, more than a dozen contem- keyboard concertos for which a keyboard instrument porary copies of each work exist, indicating that they were other than the harpsichord is noted in NV 1790. The fact both well-known and popular with the North German that the organ is listed before the harpsichord in the de- musical public. -
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. -
Bach: Goldberg Variations
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BACH GOLDBERG VARIATIONS Parker Ramsay | harp PARKER RAMSAY Parker Ramsay was the first American to hold the post of Organ Scholar at King’s, from 2010–2013, following a long line of prestigious predecessors. Organ Scholars at King’s are undergraduate students at the College with a range of roles and responsibilities, including playing for choral services in the Chapel, assisting in the training of the probationers and Choristers, and conducting the full choir from time to time. The position of Organ Scholar is held for the duration of the student’s degree course. This is Parker’s first solo harp recording, and the second recording by an Organ Scholar on the College’s own label. 2 BACH GOLDBERG VARIATIONS Parker Ramsay harp 3 CD 78:45 1 Aria 3:23 2 Variatio 1 1:57 3 Variatio 2 1:54 4 Variatio 3 Canone all’Unisono 2:38 5 Variatio 4 1:15 6 Variatio 5 1:43 7 Variatio 6 Canone alla Seconda 1:26 8 Variatio 7 al tempo di Giga 2:24 9 Variatio 8 2:01 10 Variatio 9 Canone alla Terza 1:49 11 Variatio 10 Fughetta 1:45 12 Variatio 11 2:22 13 Variatio 12 Canone alla Quarta in moto contrario 3:21 14 Variatio 13 4:36 15 Variatio 14 2:07 16 Variatio 15 Canone alla Quinta. Andante 3:24 17 Variatio 16 Ouverture 3:26 18 Variatio 17 2:23 19 Variatio 18 Canone alla Sesta 1:58 20 Variatio 19 1:45 21 Variatio 20 3:10 22 Variatio 21 Canone alla Settima 2:31 23 Variatio 22 alla breve 1:42 24 Variatio 23 2:33 25 Variatio 24 Canone all’Ottava 2:30 26 Variatio 25 Adagio 4:31 27 Variatio 26 2:07 28 Variatio 27 Canone alla Nona 2:18 29 Variatio 28 2:29 30 Variatio 29 2:04 31 Variatio 30 Quodlibet 2:38 32 Aria da Capo 2:35 4 AN INTRODUCTION analysis than usual. -
BACH IS BACK in BERLIN: the Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics
BACH IS BACK IN BERLIN: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics Patricia Kennedy Grimsted Harvard Ukrainian Research Institute The National Council for Eurasian and East European Research 910 17th Street, N.W. Suite 300 Washington, D.C. 20006 TITLE VIII PROGRAM Project Information* Contractor: Harvard University Principal Investigator: Patricia Kennedy Grimsted Council Contract Number: 816-03g Date: June 9, 2003 Copyright Information Individual researchers retain the copyright on their work products derived from research funded through a contract or grant from the National Council for Eurasian and East European Research (NCEEER). However, the NCEEER and the United States Government have the right to duplicate and disseminate, in written and electronic form, reports submitted to NCEEER to fulfill Contract or Grant Agreements either (a) for NCEEER’s own internal use, or (b) for use by the United States Government, and as follows: (1) for further dissemination to domestic, international, and foreign governments, entities and/or individuals to serve official United States Government purposes or (2) for dissemination in accordance with the Freedom of Information Act or other law or policy of the United States Government granting the public access to documents held by the United States Government. Neither NCEEER nor the United States Government nor any recipient of this Report may use it for commercial sale. * The work leading to this report was supported in part by contract or grant funds provided by the National Council for Eurasian and East European Research, funds which were made available by the U.S. -
Matt Machemer
GRADUATE ORGAN RECITAL Matthew A. Machemer In partial fulfillment of the requirements for the degree Master of Church Music June 25, 2021 7:00 P.M. Chapel of Christ Triumphant Concordia University Wisconsin Praeludium in G Nicolaus Bruhns 1665 – 1697 While Nicolaus Bruhns was not blessed with a long life, he was gifted with incredible musical abilities and a keen compositional sense. He was both a gifted violinist and viola de gamba player as well as an acclaimed organist. By his mid-twenties, Bruhns had studied with some of the most celebrated musicians of his time, most notably Dietrich Buxtehude, who was particularly fond of the young musician and whose influence can be seen in Bruhn’s own compositions. One such example is Bruhns’ Praeludium in G: an excellent example of the Stylus Phantasticus made famous under by Buxtehude himself. The Praeludium in G is perhaps Bruhns’ most structurally significant work. The praeludium is ordered according to the common five-part structure indicative of most north German organ praeludia of the time. The piece opens with a virtuosic fanfare section, interspersing manual and pedal flourishes with more structured motivic material. This motivic material forms the basis of the first fugal section, which features six voices: four in the manuals and two in the pedals. One can imagine young Nicolaus, who was known to play the violin and the organ pedals simultaneously, delighting in this masterful display. A middle improvisatory section follows featuring pedal solos and manual figurations reminiscent of a fiery violin solo. The fourth section is the final fugue, which closely mirrors the first, though the subject is presented in a different time signature and features only five voices instead of six. -
The Bible in Music
The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
Spread the Word • Promote the Show
Program No. 1409 3/3/2014 E. T. PAULL: Napoleon’s Last Charge –Nathan BACH: Trio Sonata No. 2 in c, BWV 526 –Edie Sibling Rivals . though Wilhelm Friedemann Bach Avakian (1928 Kimball/Cleveland High School Johnson (1998 Fisk/Furman University, Greenville, was reputed the finest organist of his era, he died penniless Auditorium, Portland, OR) Avakian Creative SC) Pipedreams Archive (r. 1/27/11) while his younger brother, Carl Philip Emmanuel Bach, Works 709-01 J. S. BACH: Prelude & Fugue in e, BWV 548 – prospered as harpsichordist to Frederick the Great and DAVID FULLER: The Fifty-Years March – Wyatt Smith (2010 Schantz/Martin Luther College, later as Music Director for the city of Hamburg. Christopher Howerther (1990 Fisk/Slee Hall, New Ulm, MN) Pipedreams Archive (r. 2/12/12) SUNY-Buffalo, NY) Pipedreams Archive W.F. BACH: Fantasie in d –Friedhelm Flamme BACH: Ricercare a 6, fr The Musical Offering, CHARLES-MARIE WIDOR: Marche Nuptiale – BWV 1079 –Michel Bouvard (1987 Kney/Uni- (2008 Hillebrand/Münsterkirche St. Alexandri, Herman van Vliet (1890 Cavaillé-Coll/St. Ouen, Einbeck, Germany) cpo 777.527 versity of St. Thomas, Saint Paul, MN) Pipedreams Rouen, France) Festivo 149 Archive (r. 3/17/13) C.P.E. BACH: Sonata No. 1 in A, Wq 70, no. 1 – J. P. SOUSA (arr. Faxon): The Stars and Stripes Roland Münch (1755 Marx/Evangelical Church Forever –Erik Suter & Scott Hanoian (Aeolian- Program No. 1412 3/24/2014 ‘Zur frohen Botschaft’, Berlin-Karlshorst, Skinner/Washington National Cathedral, DC) Conventional Wisdom: A Chicago Collection Germany) Christophorus 0110-2 WNC 501 . unique recital performances from the 2006 W.F. -
JB17 Poeschel 2018 10 30 Familie Graun in Preußen Manuskript WP2
Wilhelm Poeschel – Familie Graun in Preußen 3. Quellen zu biografischen Daten der Familien Johann Gottlieb und Carl Heinrich Graun (Auswahl) Samuel Schmiel Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 107 (*1658; †1.9.1734) 1734 I September I 1. Herr Samuel Schmiel, Königl. Geheimer Kammer Diener, 77. Jahr, am Schlagfluß, den 5. Anna Regina Schmiel, Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 8 geb. Thering 1704 Aug. 15. Hr. Geheimer Cammerdiener Schmieles Ehe Frau, in S.P. (*um 1680; †15.8.1704) Friederich Schmiel Taufbuch St. Petri, ELAB Sig. 5789-2, S. 596 (*17.5.1700; †2.8.1700) Pr: Herr Samuel Schmiel Ser: churfürstlichen Herrn (?) brandng geheimer Cammer-Diener I Mr: Fr: Anna Regina geborene Theringen laßen Tauffen am 17 May ihr am 14 deßelbh Monath zwischen 3 und ½ 4 Uhr geborenes Söhn- lein mit dem Nahmen I Friedrich I Die Gevattern waren I S: Churfürstl. Durch- laucht Friederich an deßen Platz der Hoffmarschall Excellents d(er) Herr von Wusrau (?) zugegen gewest. I Herr Lucas Heinrich Therig Archediaconus d(er) Peter Kirch. Die Fr: Kriegs Rähtin v. Kraut, geborene Schindlern, Die Frau Mommortin, Loff […][…] (?) Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 1536 1700, Augt. 2. Herr Geheimer Cammerdiener Schmiels Kind, zu S.P. Anna Theodora Schmiel, Taufbuch Friedrich Werdersche Kirche, ELAB Sig. 5117-1, S. 151 geb. Simonetti, 1684, 27 December Inf: Anna Theodora I Pat: Johann Simonetti, Stucator156 I Mat: Euphrosina Hoffekuntzin I Pathen I 1 Hr. Christian Kuntzleben. 2 Hr. (#27.12.1684; †15.5.1708) Peter Jenicke. 3 Jfr: Scharlotta …(?) 4 Fr […] 5 Fr. -
Some Viewpoints to the Private Theoretical Library of Johann Gottfried Walther (1684–1748) Dmus, Lic.Phil.Tommi Harju University of Arts Helsinki 19.06.2017 2
Some Viewpoints to the Private Theoretical Library of Johann Gottfried Walther (1684–1748) DMus, Lic.Phil.Tommi Harju University of Arts Helsinki 19.06.2017 2 Who was J. G. Walther (1684-1748)? Erfurt-born Stadtorganist in Weimar during so called ”Bach era”. Distant relative to Johann Sebastian Bach through their mothers (both part of famous Lämmerhirt-family) Walther as - A composer: organ chorales (282), concerto arrangements to organ, individual preludes and fugues - A lexicograph: first music encyclopaedia in German Musicalisches Lexicon (published 1732) - A theorist: developed the musical rhetorics (affects and figures) in his theoretical Praecepta der Musicalischen Composition (ms. 1708). Musical rhetorics also visible in the definitions of Lexicon (1732) 3 Walther’s letters and his library J. G. Walther was an avid letter writer He corresponded thoroughly with his contemporaries. Lorenz Christoph Mizler Johan Mattheson Andreas Werckmeister (correspondence lost) Most letters to Heinrich Bokemeyer, a cantor in Wolfenbüttel Together 47 letters from Walther has survived 4 Walther’s letters and his library ”Catalogus librorum theoretico-musicorum quos possiedo” is presented in the letter to Bokemeyer 4.4.1729 In that letter Walther lists his bookshelf to Bokemeyer, all together 147 titles Titles aren’t equal as the actual books: Opera omnia (all books) of Andreas Werckmeister, Johann Mattheson and Wolfgang Caspar Printz. Also references to owned books in other letters were added and some duplicates removed Total amount of books in Walther’s theoretical library is then 246. There were also 147 tractates mentioned in his catalogue 5 Theoretical framework from musicological aspect The great name in music historiography of 18th century in Germany is Johann Sebastian Bach (1685-1750) This canonical structure of music history unfavourable to the contemporaries of J. -
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. -
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.