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Inquiry Into J.S. Bach's Method of Reworking in His Composition of the Concerto for Keyboard, Flute and Violin, Bwv 1044, and Its
INQUIRY INTO J.S. BACH'S METHOD OF REWORKING IN HIS COMPOSITION OF THE CONCERTO FOR KEYBOARD, FLUTE AND VIOLIN, BWV 1044, AND ITS CHRONOLOGY by DAVID JAMES DOUGLAS B.A., The University of British Columbia, 1994 A THESIS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming tjjfe required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1997 © David James Douglas, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ZH t/S fC The University of British Columbia Vancouver, Canada Date . DE-6 (2788) Abstract Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. -
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. -
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 ............................................................................................... -
Vocalsacred Vocal Music Stuttgarter Bach-Ausgaben Urtext Im Dienste Historisch Informierter Complete Edition in 23 Volumes Aufführungspraxis
Kantaten · Messen · Oratorien Passionen · Motetten Bach The vocalSacred Vocal Music Stuttgarter Bach-Ausgaben Urtext im Dienste historisch informierter Complete Edition in 23 volumes Aufführungspraxis Attractive introductory price! valid through 31.1.2019 for study & performance Johann Sebastian Bach The Sacred Vocal Music Complete Edition in 23 volumes Edited by Ulrich Leisinger and Uwe Wolf in collaboration with the Bach-Archiv Leipzig I unreservedly recommend this to Bach lovers everywhere. Choir & Organ • For study and performance: the authoritative Urtext of the Stuttgart Bach Edition • Each volume contains a preface reflecting the latest state of Bach research • Complete performance material for all works available for sale: full score, vocal score, choral score, and the complete orchestral parts • Reader-friendly format, also suitable for conducting (19 x 27 cm, like a vocal score) Carus has placed great importance on scholarly new editions of the music. But the editions always have the performance in mind. Schweizer Musikzeitung With the Bach vocal project, we have published ‘mixed’ version as well as all complete surviving ver- Johann Sebastian Bach’s complete sacred vocal sions. Also, nine cantatas – such as the famous “Ein music in modern Urtext editions geared towards feste Burg” BWV 80/80b – are available in several historically- informed performance practice. We are versions. convinced that the needs of performing musicians Wherever the source material allowed a reconstruc- are best met by a scholarly authoritative music text, tion to be made, and the works were also relevant which neither patronizes the interpreters nor leaves for practical performance, Bach’s fragmentary them perplexed by decisions they need to make. -
Bach Notes No. 14
No. 14 Spring 2011 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY A NEWLY EXPANDED RESEARCH LIBRARY RENOVATIONS AT THE BACH-ARCHIV LEIPZIG has grown steadily. The primary emphasis on books and scores is supplemented by numerous special collections, including recordings, images, sculptures, posters, programs, coins, and medals, for a total of more than fifty thousand items. The constant growth of the collection over the past few decades eventually led to a lack of space. This problem was temporarily solved by removing certain materials to repositories outside After two years of renovations, the of documents and materials IN THIS ISSUE: Bach-Archiv Leipzig has moved pertaining to the life and works of PAGE back into the Bosehaus on the Johann Sebastian Bach and other 1. A Newly Expanded Research Library Thomaskirchhof. The house was musicians of his family. The core by Kristina Funk-Kunath originally built in the 16th century of the holdings consist of valuable and renovated in 1711 by J.S. manuscripts and early prints of the 2. The Bach-Jahrbuch 2010 Bach’s neighbor, Georg Heinrich 18th and 19th centuries, including by Peter Wollny Bose, who lived there with his wife the original performing materials 3. Raymond Erickson’s The Worlds of and their many musically inclined for the cycle of chorale cantatas Johann Sebastian Bach children. The renovations, which Bach composed during his second by Jason B. Grant took place under the auspices of the year in Leipzig (1724-25). Bach-Archiv’s Director, Christoph Initially conceived as an aid for 5. Markus Rathey’s book on C. -
Vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 Volumes Urtext for Historically Informed Performance
Cantatas · Masses · Oratorios Bach Passions · Motets vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 volumes Urtext for historically informed performance • The complete sacred vocal music by J. S. Bach • Musicologically reliable editions for the practical pursuit of music, taking into account the most current state of Bach research • Informative forewords on the work’s history, reception and performance practice • Complete performance material available: full score, vocal score, choral score, and orchestral parts • carus plus: innovative practice aids for choir singers (carus music, the choir app, Carus Choir Coach, practice CDs) and vocal scores XL in large print for the major choral works available • With English singable texts www.carus-verlag.com/en/composers/bach available from: for study & performance Johann Sebastian Bach: The Sacred Vocal Music Carus has placed great importance on scholarly new editions of the music. But the editions always have the performance in mind. Complete Edition in 23 volumes Schweizer Musikzeitung Edited by Ulrich Leisinger and Uwe Wolf in collaboration with the Bach-Archiv Leipzig With the Bach vocal project, we have published Wherever the source material allowed a reconstruc- • Reader-friendly and handy format Reconstructions Johann Sebastian Bach’s complete sacred vocal tion to be made, and the works were also relevant (like a vocal score) Pieter Dirksen: BWV 1882 music in modern Urtext editions geared towards for practical performance, Bach’s fragmentary Andreas Glöckner / Diethard Hellmann: BWV 2473 historically- informed performance practice. We are surviving vocal works have been included in the • User-friendly order following the Diethard Hellmann: BWV 186a3, 197a3 convinced that the needs of performing musicians Bach vocal publishing project, and some have been Bach Works Catalogue Klaus Hofmann: BWV 80b3, 1391, 1573 are best met by a scholarly authoritative music text, published for the first time in performable versions. -
Schweigt Stille, Plaudert Nicht Be Silent, Not a Word Kaffeekantate/Coffee Cantata BWV 211
Johann Sebastian BACH Schweigt stille, plaudert nicht Be silent, not a word Kaffeekantate/Coffee Cantata BWV 211 für Soli (STB), Flöte 2 Violinen, Viola und Basso continuo herausgegeben von Uwe Wolf for soli (STB), flute 2 violins, viola and basso continuo edited by Uwe Wolf English version by Henry S. Drinker Stuttgarter Bach-Ausgaben · Urtext In Zusammenarbeit mit dem Bach-Archiv Leipzig Klavierauszug /Vocal score Andreas Gräsle C Carus 31.211/03 Vorwort doppeldeutige Aussage (Satz 6). Der Vater verkündet, dass Liesgen, lässt es nicht vom Kaffee ab, niemals einen Mann Im Jahr 1729 übernahm Bach die Leitung des einst von erhalten soll. Das wirkt: „Nun! Coffee, bleib nur immer Telemann gegründeten „Collegium musicum“ von Georg liegen! Herr Vater, hört, ich trinke keinen nicht“ (Satz 7). Balthasar Schott (1686–1736), der auf das Stadt-Kantorat Dann kann es Liesgen aber nicht schnell genug gehen: nach Gotha berufen worden war. Zu den Aufgaben des Col- „Heute noch, lieber Vater, tut es doch. Ach, ein Mann! legium musicum – ein studentisches Laienensemble beacht- Wahrlich, dieser steht mir an“ (Satz 8). Mit dieser etwas licher Größe – gehörten seit 1723 wöchentliche Auftritte plumpen Wendung endet Picanders Libretto,7 nicht jedoch im Kaffeehaus von Gottfried Zimmermann „Sommers-Zeit Bachs Kantate. In dieser tritt nun erneut der Erzähler auf Mittwochs, auf der Wind-Mühl-Gasse, im Garten, von und berichtet, dass der „alte Schlendrian“ „nun geht und 4 bis 6 Uhr, und Winters-Zeit Freitags im Caffée-Hause, sucht“, wie er „vor seine Tochter Liesgen bald einen Mann auf der Cather[inen]-Straße, von 8 bis 10 Uhr“.1 Während verschaffen kann“. -
Dear Colleague
Thank you for your interest in the summer Institute for School Teachers, “Johann Sebastian Bach: Music of the Baroque and the Enlightenment.” The Institute is hosted by Moravian College and is funded by the National Endowment for Humanities. The institute will take place in three German cities: Eisenach, Bach’s birthplace; Leipzig, Bach’s longest musical post; and Potsdam, where Bach met Frederick the Great. The NEH institute participants, also designated as NEH Summer Scholars, will arrive on Sunday, July 6, 2014, and leave Potsdam after noon on Friday, August 1, 2014. The first day of the Institute is July 7. Each summer scholar will receive a stipend of $3300, which will defray many of the expenses. The primary focus of this Institute is to understand the intellectual and musical worlds of J. S. Bach. We will investigate the aesthetic and spiritual systems of knowledge and belief of the eighteenth century as mirrored in Bach's music. Participating teachers from a wide variety of disciplines will gain a deeper understanding of Bach's musical universe and a more profound awareness of the various approaches to interpreting his music and setting it in context. Although the major focus will be on Bach's own world, we will also examine how Bach's music has been interpreted in recent times, showing how it has taken on new life in ways that respond to the cultural assumptions of the modern world. If this topic interests you, we welcome you to sit back and take some time to read this letter. Although it may seem a bit long, we are hoping that by the end of this introduction, you’ll be as excited by the prospect of this NEH summer Institute as we are. -
The Relationship Between BWV 244A
The Relationship between BWV 244a (Trauermusik) and BWV 244b (SMP Frühfassung) Copyright © 2006, Thomas Braatz1 This paper proposes to unravel some of the numerous complications that arise from the fact that the autograph score and the original set of parts of the first version (BWV 244b) of the St. Matthew Passion (BWV 244) as well as the music for the Trauermusik (BWV 244a) are missing. These missing parts could have rather easily solved many of the issues which still remain open to debate and speculation today, particularly the one that could settle the question: “Which of these works came first, the funeral music (Trauermusik) for Prince Leopold of Anhalt-Cöthen or the early version (Frühfassung) of the St. Matthew Passion (henceforth simply referred to as ‘SMP’)?” An attempt will also be made to present the historical sequence of the discovery of the relationship between these two works and to give a summary of the tentative conclusions that some Bach experts have reached. At the end, a summary will attempt to reach a tentative conclusion. Included in an appendix, there will also be a quick summary comparing the main differences between the Frühfassung and the final version of the SMP (clean-copy score of 1736 with the revisions that followed it in the form of additional parts). 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 1 The Hard Evidence BWV 244b (SMP Early Version) The most important document that gives direct insight into Bach’s original concept of the SMP is a copy of the original score (the latter no longer extant). -
Biffi, Bach, and the E-Minor Violin Sonata BWV 1023 David Schulenberg
Biffi, Bach, and the E-Minor Violin Sonata BWV 1023 David Schulenberg Despite intense research on the textual history of individual works, much of Bach’s development as a musician and composer has remained a matter of speculation due to the loss of composing scores and other relevant documents. This is particularly true for the early part of his career, up to his appointment as Concertmeister to the court of Weimar in spring 1714. We have ample quantities of keyboard music that originated before that date—enough to furnish the basis for plausible theories of his evolution as a player and writer of music for organ and harpsichord—even if the absolute chronologies postulated by scholars for various works must be regarded as hypothetical.1 We have far less early vocal music and essentially nothing for instrumental ensemble; the handful of vocal compositions that can be placed at earlier stations of Bach’s life (especially at Mühlhausen in the years 1707 and 1708) stands in no clear stylistic relationship to his later cantatas, concertos, and sonatas, including individual instrumental movements within the Weimar cantatas. Vocal works of an up-to-date Italianate type seem to emerge fully formed around the middle of Bach’s Weimar period (1708–17) with the so-called Hunt Cantata, BWV 208, which probably dates from February 1713.2 Regular composition of sacred cantatas in the same style began about a year later, preceded possibly by BWV 21 and perhaps a few others.3 How Bach accomplished the transition from the middle-Baroque style of his first vocal compositions to one broadly echoing, or inspired by, that of contemporary Venetian and German composers, including Vivaldi and Telemann, is a mystery of which this essay attempts to illuminate one or two small facets. -
JOHANN SEBASTIAN BACH Neue Ausgabe Sämtlicher Werke (Abschlussbericht)
Musikwissenschaftliche Editionen – Jahresbericht 2007 JOHANN SEBASTIAN BACH Neue Ausgabe sämtlicher Werke (Abschlussbericht) Träger: Verein Johann-Sebastian-Bach-Institut e.V., Göttingen (Ende 2007 liquidiert), unter Vorsitz von Professor Dr. Dr. h.c. Bernd Moeller und Stiftung Bach-Archiv Leipzig unter Leitung von Professor Dr. Dr. h.c. mult. Christoph Wolff. Herausgeber: Johann-Sebastian-Bach-Institut Göttingen und Bach-Archiv Leipzig. Direktor des Johann-Sebastian-Bach-Instituts Göttingen war bis zu dessen Schließung zum 31. Dezember 2006 Professor Dr. Martin Staehelin, Göttingen. Direktor des Bach- Archivs Leipzig ist Professor Dr. Dr. h.c. mult. Christoph Wolff, Cambridge (Massachu- setts)/Leipzig. Anschrift: Bach-Archiv Leipzig, Thomaskirchhof 15/16, 04109 Leipzig, Tel.: 0341/9137-0, Fax: 0341/9137-105, e-mail: [email protected], Internet: www.bach- leipzig.de. Verlag: Bärenreiter-Verlag, Kassel. Umfang der Ausgabe: 103 Notenbände, 101 Kritische Berichte, 1 Supplementband, 5 Addenda-Bände, 1 Registerband, 8 Dokumenten-Bände. Das Johann-Sebastian-Bach-Institut Göttingen wurde mit Abschluss der Neuen Bach- Ausgabe zum 31. Dezember 2006 geschlossen. In einer festlichen Veranstaltung am 18. Dezember 2006 in der Aula der Universität Göttingen wurden die jahrzehntelange Arbeit des 1951 gegründeten Editionsinstituts und seine Leistungen für die Bach-For- schung gewürdigt. Grußworte sprachen Prof. Dr. Bernd Moeller, Vorsitzender des Vereins Johann-Sebastian-Bach-Institut, und Prof. Dr. Joachim Münch, Vizepräsident der Universität, sodann referierte Prof. Dr. Staehelin über „Bach in Göttingen.“ Den musikalischen Rahmen bildete Bachs Partita I in B-Dur (BWV 825) für Cembalo, ge- spielt von Stefan Kordes. Der wissenschaftliche Nachlass des Göttinger Instituts ging in das Eigentum der Aka- demie der Wissenschaften und der Literatur, Mainz, über und befindet sich seit Anfang 2007 im Bach-Archiv Leipzig. -
Cantors, Schoolmasters, and Directors of Music: New Research on Bach’S Students
Understanding Bach, 10, 161–170 © Bach Network UK 2015 Report Cantors, Schoolmasters, and Directors of Music: New Research on Bach’s Students BERND KOSKA The school and church of St Thomas’s in Leipzig were the focal point for Johann Sebastian Bach’s music in the 27 years from 1723 to 1750. Bach had to provide a cantata every Sunday. This involved the St Thomas School students, the Thomaner,1 and the musical preparation for it was part of the normal school timetable. Bach also gave private instrumental and composition lessons to the most talented, and some of the boys even helped him by copying the instrumental or vocal parts for his newly-composed cantatas. Since the Thomaner were closer to the composer and his music than the majority of his contemporaries, their lives and experiences reveal some important facts about their great teacher. To date, scholarship has concentrated on the Thomaner, who have been identified as copyists and scribes in extant original performing materials of Bach’s church music.2 Some of these musically talented students were assigned the role of prefect, which gave them responsibility for conducting one of the four choirs, or Kantoreien, or even substituting Bach during the main cantata performances on Sundays. We know too that some students were later employed in central German towns as cantors or organists, like Bach himself. On the whole, though, until recently very little was known about the later careers of the Thomaner, who attended St Thomas School during Bach’s 27-year tenure as Thomaskantor. In a research project (January 2012–December 2014) entitled ‘Bachs Thomaner’, supported by the Gerda Henkel Stiftung, the Leipzig Bach-Archiv has systematically searched the archives for original documents and biographical information about the lives and later careers of Bach’s 300 Thomaner.