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
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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. -
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. -
Bach Notes No. 9
No. 9 Spring 2008 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY BACH AND CHROMATIC COMPLETION: A NEW FIELD FOR ANALYTIC RESEARCH EDWARD GREEN There were advocates of dodecaphonic serialism, Schönberg and Webern most clearly, who wished to present Bach as a musical John the Baptist, announcing (centuries in advance) the advent of a new tonal dispensation.1 No longer would diatonicism rule, but chromaticism—moreover, a chromaticism of great density. Consider the subject of the Fugue in B Minor from the first book of The Well-Tempered Clavier, which is given in Example 1 below. In the course of a mere twenty notes, and in a completely linear manner, all twelve members of the chromatic aggregate present themselves, as indicated below. ����� Ÿ LSO N HIS SSUE # A I T I # c ‰ œ nœ œ nœ # œ #œ œ œ & œ œ œ #œ œ œ #œ œ œ #˙ œ œ œ #œ P. 8. Book Review: � � � �� �� � � � � � � �� Christoph Wolff and Markus Zepf’s Die Orgeln Johann Sebastian Bachs. Ein Example 1: Fugue in B Minor, The Well-Tempered Clavier, Book I, mm. 1-3. Handbuch by Jason Grant There has been speculation that Bach generis, a unique technical response 9. Tanya Kevorkian awarded the designed this subject as a subtle reas- appropriate for the symbolism of a 2008 Scheide Prize sertion of the principal idea behind fugue that stands at the completion the collection: the relative equality of of a set honoring the chromatic uni- 10. Message from Gregory Butler, all twelve key centers. The subject of verse—a technique, therefore, that Society President, 2004-2008 this fugue states this idea in terms of one would not expect to encounter individual pitches—although from a elsewhere in Bach’s work. -
Exploring Bach's B-Minor Mass
Cambridge University Press 978-1-107-00790-1 - Exploring Bach’s B-Minor Mass Edited by Yo Tomita, Robin A. Leaver and Jan Smaczny Frontmatter More information Exploring Bach’s B-minor Mass The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed over the course of Johann Sebastian Bach’s life, it is considered by many to be the composer’s greatest and most complex work. The fourteen essays assembled in this volume originate from the international symposium ‘Understanding Bach’s B-minor Mass’ at which scholars from eighteen countries gathered to debate the latest topics in the field. In revised and updated form, they comprise a thorough and systematic study of Bach’s opus ultimum, including a wide range of discussions relating to the Mass’s historical background and contexts, structure and proportion, sources and editions, and the reception of the work in the late eighteenth century and the nineteenth century. In the light of important new developments in the study of the piece, this collection demonstrates the innovation and rigour for which Bach scholarship has become known. yo tomita is Professor of Musicology at Queen’s University Belfast. His publications include essays in The Piano in Nineteenth-Century British Culture (ed. Therese Ellsworth and Susan Wollenberg, 2007) and The English Bach Awakening: Knowledge of J. S. Bach and his Music in England 1750–1830 (ed. Michael Kassler, 2004). His research focuses on Bach studies, manuscript studies, piano education, text-critical analysis using Artificial Intelligence techniques and the development of computer software and tools for musicology. -
Bach Notes No. 11
No. 11 Spring 2009 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY WILLIAM H. SCHEIDE, SCHOLAR, MUSICIAN, PHILANTHROPIST – A TRIBUTE FROM THE AMERICAN BACH SOCIETY the genius of the Leipzig Director musices in the United States of America. An only child, Bill Scheide grew up surrounded by rare books in a household passionate about music, culture, learning, and the well-being of humanity. His father played the piano; his mother was a singer. Bill, who began piano lessons at age six, still plays both IN THIS ISSUE: PAGE 1. William H. Scheide – Scholar, Musician, Philanthropist by Teri Noel Towe 4. Bill Scheide: Supreme Encourager of Others by Robin A. Leaver 5. Bill and His (Bach) Arias by Carol K. Baron 7. Bill Scheide: Pioneer and Promoter of Bach’s Music by Don O. Franklin 8. Bill Scheide: A Multifaceted Man by Christoph Wolff 9. Wolfram Enßlin’s Catalog of the Berlin Sing-Akademie Sources Book Review by Mary Oleskiewicz 10. News from Members; Johann Sebastian Bach has no January 6, 2009. Without fear of Officers, Advisory Board & Membership Information advocate more committed challenge or refutation, it can be than William H. Scheide, who asserted that he has done more © 2009 celebrated his 95th birthday on than anyone else to publicize the The American Bach Society 2 the piano and the organ. A graduate of Princeton University, repertory that they had not sung before and were not to sing Class of 1936, he majored in history because, at that time, again, and posterity is fortunate that Bill arranged for many of there was no music department at Princeton. -
BACH NOTES the Journal of the London Bach Society Spring 2013
BACH NOTES The Journal of the London Bach Society Spring 2013 Farlau’s copy the differences between Bach’s early version “About the and the version with which we are most familiar today are St. Matthew Passion” revealed. Notably there is only one continuo section; the setting of the Passion chorale (No. 17) has different words. No recorders are present for the tenor recitative (No 19). It f anyone enjoys detective work, then tracing the is a simple chorale “Jesum laß ich nicht von mir” that closes 4 origins of the St. Matthew Passion is just the job for Part I, not “O Mensch bewein….” . The opening aria in Iyou! The existence of a surviving score and parts for Part II is allocated to the Bass in Chorus I, not the Alto; there Bach’s 1736 performance might well suggest to you that this are significant differences in the vocal line of the tenor aria is the year of its public debut, but it has been a long held (No 35) “Geduld, geduld…” and a lute replaces the viola view that the origins were earlier and so, for the moment, da gamba. In rehearsals we have had to be alert to the our journey of discovery begins at Leipzig in the 1720s. changes in phrasing and slurring in this version to those in the more familiar 1736 score and in our preparations The detective work done already that attributes the date of its debut as Leipzig on Good Friday 1727 uses fragments we have also noticed that Farlau might have been thinking of music that date from 1724 onwards to draw some contemporarily while copying the recitative with recorders conclusions, yet keeps an open mind. -
(Re)Constructing Johann Sebastian Bach: Reception History and Performance Practice in New York City During
(RE)CONSTRUCTING JOHANN SEBASTIAN BACH: RECEPTION HISTORY AND PERFORMANCE PRACTICE IN NEW YORK CITY DURING THE GREAT WAR A THESIS IN Musicology Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By THOMAS JARED MARKS B.M. University of Missouri-Kansas City, 2010 Kansas City, Missouri 2013 ©2013 THOMAS JARED MARKS ALL RIGHTS RESERVED (RE)CONSTRUCTING JOHANN SEBASTIAN BACH: RECEPTION HISTORY AND PERFORMANCE PRACTICE IN NEW YORK CITY DURING THE GREAT WAR Thomas Jared Marks, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2013 ABSTRACT The perception of Johann Sebastian Bach (1685-1750) in New York City during the time of the Great War can be illuminated through two threads: 1) reception history and reputation, and 2) contemporary performance practices. Between 1914 and 1927, the reputation of Bach migrated away from one having nationalistic and Romantic associations to one embodying both a “universal” objectivity and a distinctly American subjectivity. Similarly, the manner in which Bach’s music was performed also changed. Before the Great War, transcribing and arranging Bach’s music was common. After the war, some New York City critics began to advocate for Bach’s music to be played as historical reconstructions. Transcriptions and arrangements continued to be performed alongside historical reconstructions, and both a subjective and historically “objective” approaches to performing the composer’s music existed. New York City musician William Henry Humiston (1869-1923) and his idea of Bach provides a useful case study of one musician’s approach to understanding the composer. -
Doctor of Musical Arts
A Conductor’s Guide to J. S. Bach’s Quinquagesima Cantatas A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2012 by Jung Jin Baek B.M., Presbyterian College & Theological Seminary, 2001 M.M., University of Cincinnati, 2008 Committee Members: Earl Rivers, D.M.A. (Chair) Matthew Peattie, Ph.D. Brett L. Scott, D.M.A. ABSTRACT Johann Sebastian Bach’s cantatas occupy a significant portion of his output. This document focuses on his four cantatas written for the Quinquagesima Sunday in Leipzig. The first two cantatas (BWV 22 and BWV 23), which were audition pieces for the cantor position in Leipzig (1723), were performed again in the following year as part of his first cantata cycle. The other two surviving cantatas for this Sunday (BWV 127 and BWV 159) are found in his second (1724–25) and fourth (1728–29) cantata cycles. Not only for his audition, but also for the special context of the Quinquagesima Sunday, (the last major religious musical event in Leipzig before the Passion at the Good Friday Vespers), Bach carefully constructed these cantatas to display his considerable musical ability, his attention to text expression, and his knowledge of liturgical and theological issues for the preparation of the Lenten season. This document will provide a conductor’s guide to preparing and conducting these cantatas and examine how Bach achieves his goals of musical and liturgical function within the Lutheran tradition. -
Bach Notes No. 5
No. 5 Spring 2006 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY BACH AND THE “THEATRALISCHER STIL”1 HANS JOACHIM MARX Bach research, as far as I have seen, has said practically nothing about Bach’s relationship to the opera of his day. In my view, this restraint stems from the fact that until now little doubt has been raised concerning the “Kirchenstil” of the sacred cantatas and oratorios, which have stood at the forefront of the efforts surrounding the formulation of a philologically safeguarded picture of Bach. But then the questions arises, what is to be understood by the term “Kirchenstil,” and how does “Kirchenstil” stand in relation to the “theatralischer Stil,” which, since Giovanni Battista Doni, had become the most important of the Baroque stylistic terms. Philipp Spitta has already pursued this dramatic sections of Bach’s early canta- question in his monumental Bach biog- tas, maintaining that solo song must not IN THIS ISSUE raphy, and if Spitta had not had an aver- express individual feelings, but rather sion to opera in general, which inevitably common feelings. Spitta had a negative influenced his interpretation of Bach’s view of early eighteenth-century opera P. 1. Bach and the “Theatralischer Stil” works, I could restrict myself here to because he believed it was “a plant of the by Hans Joachim Marx his assessment of certain Bach compo- German soil that was rich with leaves sitions. A learned theologian, Spitta but bore no fruit” (“ein blattreiches, 7. Biennial Meeting of the saw, as formulated by Wilibald Gurlitt, doch fruchtloses Gewächs auf deutschem American Bach Society: 3 “the essence of Bach’s art in its sym- Boden”). -
Bach Notes No. 3
No. 3 Spring 2005 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY DID BACH PERFORM SACRED MUSIC BY JOHANN MATTHESON IN LEIPZIG? STEFFEN VOSS Unlike Bach’s first two Leipzig cantata cycles, of 1723-24 and 1724-25, which include a sacred can- tata for almost every occasion of the liturgical year, the third cycle, of 1725-27, contains numerous, substantial breaks in the continuity.1 The first of these breaks occurs at the very beginning of the cycle, between the concluding work of the second cycle, the 1725 Trinity cantata Es ist ein trotzig und verzagt Ding, BWV 176, to a text by Mariane von Ziegler, and the first known work of this cycle, Tue Rechnung! Donnerwort, BWV 168, for the ninth Sunday after Trinity. Some light was shed on the identity of the cantatas that preceded Tue Rechnung! Donnerwort by Wolf Hobohm’s discovery in the Saltykov-Shtshedrin The remaining text from this printed col- Library in Leningrad (today, the Russian lection, for Visitation, is an anonymous IN THIS ISSUE: National Library, St. Petersburg) of a 1725 poetic paraphrase of the Magnificat, the PAGE Texte zur Leipziger Kirchen-Music forfor Virgin Mary’s hymn of praise to God from the third, fifth, and sixth Sundays after Luke 1: 46-55, which forms the central 1. Did Bach Perform Sacred Music Trinity and for the feasts of St. John’s and part of the Gospel associated with this by Johann Mattheson in Leipzig? by Steffen Voss Visitation.2 These five texts represent the feast.4 Because the paraphrase preserves complete repertory of church cantatas per- the original Lutheran translation in the 6. -
Bach Notes No. 15
No. 15 Fall 2011 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY IN MEMORIAM: ALFRED DÜRR (MARCH 3, 1918—APRIL 7, 2011) works editions of the post-war period. Mendel. Its title: “Recent Develop- Apart from his editorial work, Dürr’s ments in Bach Chronology.” accomplishments and contributions to The object of Mendel’s article was to Bach research are legendary—above report to the larger musicological com- all, no doubt, his establishment, to- munity—especially to American schol- gether with Georg von Dadelsen (they ars—on the revolutionary re-dating of are the “Crick and Watson” of Bach re- Bach’s vocal music that had been estab- search) of a precise chronology of the lished over the course of the previous vast majority of Bach’s vocal music. decade—most of it, in fact, in just the Dürr is also the author of monographs last two years—as an almost accidental on the Bach cantatas, the St. John Pas- outgrowth of the preparatory ground- sion, the Well-Tempered Clavier, and work for the NBA. numerous specialized articles. The re- Mendel’s report is still worth reading cipient of honorary degrees from Ber- lin, Oxford, and Baldwin-Wallace Col- IN THIS ISSUE: lege, he was elected a Corresponding Member of the American Musicologi- PAGE cal Society in 1988. 1. In Memoriam: Alfred Dürr. Dürr’s “Zur Chronologie der Leipziger Tributes, Reminiscences, and Observations on His Influence Vokalwerke J. S. Bachs,” was pub- by Robert L. Marshall and lished in the Bach-Jahrbuch 1957. (It ap- Joshua Rifkin peared in 1958, the same year as von Alfred Dürr, arguably the most signifi- Dadelsen’s monograph). -
Bach Notes, Dards,” in the Musical Times 161/1952 Ex Officio Will Be Reissued in Paperback This Fall
BNewsletterACH ofN theOTES American Bach Society FALL 2020 • No. 33 2020 • No. FALL TINY BACH CONCERTS he American Bach Society New England Conservatory), and Tis pleased to introduce Tiny by Paul Walker (ABS board mem- Bach Concerts, a new video series ber and retired faculty member at launched in September 2020. Each Notre Dame). episode, planned for monthly re- The ABS welcomes suggestions lease on our new YouTube channel, from its members for future epi- will feature a video performance of sodes of Tiny Bach Concerts. Please a Bach work and a spoken introduc- get in touch with Carrie Tipton at tion by an ABS expert. Our aim is [email protected] to pair well-informed and engaging to suggest performances we should presentations about Bach’s music consider featuring, or if you are in a with compelling performances of position to offer commentary in an the repertory. episode. Please also share the series The series is meant to help with friends and colleagues. the ABS reach a broader constitu- ency, including general audiences and performing organizations. We also hope to promote the work of performers and ensembles cultivating “Dona nobis pacem” from the Mass in B In This Issue: Bach’s music. Recent pandemic-imposed Minor are introduced in a talk by former limitations on concerts have shown that ABS president George Stauffer. Tiny Bach Concerts 1 there is a large appetite for music online, The ABS is fortunate to have Car- Barbara Wolff (1936–2020) 2 and it seems likely that this interest will rie Allen Tipton serving as coordinator continue.