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'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
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 -
JS BACH (1685-1750): Violin and Oboe Concertos
BACH 703 - J. S. BACH (1685-1750) : Violin and Oboe Concertos Johann Sebastian Bach was born on March 21 st , l685, the son of Johann Ambrosius, Court Trumpeter for the Duke of Eisenach and Director of the Musicians of the town of Eisenach in Thuringia. For many years, members of the Bach family throughout Thuringia had held positions such as organists, town instrumentalists, or Cantors, and the family name enjoyed a wide reputation for musical talent. By the year 1703, 18-year-old Johann Sebastian had taken up his first professional position: that of Organist at the small town of Arnstadt. Then, in 1706 he heard that the Organist to the town of Mülhausen had died. He applied for the post and was accepted on very favorable terms. However, a religious controversy arose in Mülhausen between the Orthodox Lutherans, who were lovers of music, and the Pietists, who were strict puritans and distrusted art. So it was that Bach again looked around for more promising possibilities. The Duke of Weimar offered him a post among his Court chamber musicians, and on June 25, 1708, Bach sent in his letter of resignation to the authorities at Mülhausen. The Weimar years were a happy and creative time for Bach…. until in 1717 a feud broke out between the Duke of Weimar at the 'Wilhelmsburg' household and his nephew Ernst August at the 'Rote Schloss’. Added to this, the incumbent Capellmeister died, and Bach was passed over for the post in favor of the late Capellmeister's mediocre son. Bach was bitterly disappointed, for he had lately been doing most of the Capellmeister's work, and had confidently expected to be given the post. -
Magna Sequentia I Is a Unique Sequencing of Dance Movements Drawn from Bach’S Key - X O O S Board Works Featuring Pieces from the French Suites and the Partitas
N N A A X Magna Sequentia I is a unique sequencing of dance movements drawn from Bach’s key - X O O S board works featuring pieces from the French Suites and the Partitas . Whereas Bach’s suites S typically comprise six to eight movements, Sonia Rubinsky has selected 19, compiled with a tonal logic that still keeps the structure of a suite. She has chosen several examples of each J J . of the dance forms used by Bach so one can appreciate the dazzling variety of both style 8.574026 S S . and mood. Enhanced by her historically informed performance, Magna Sequentia I offers B B fresh insights into Bach performance on a modern grand piano. DDD A A C C Playing Time H H Johann Sebastian 7 71:08 : : M M BACH 4 7 a a (168 5–1750) 3 g g 1 n n 3 a a Magna Sequentia I 4 S S A Grand Suite of Dances compiled by Sonia Rubinsky 0 e e 1 @ 2 q q 6 u u Ouverture from Partita No. 4 6:30 Bourrée from Keyboard Suite in 2 7 e e Allemande from Partita No. 4 12:34 E minor 1:08 n n 3 # 0 t t Allemande from Partita No. 6 2:54 $ Loure from French Suite No. 5 1:49 i i 4 a a B M Corrente from Partita No. 6 4:51 Gavottes I –II from Overture in w ൿ 5 o a I I w o & d the French Style 3:30 Courante from French Suite No. -
The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries. -
Document Cover Page
A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Gregory Butler. Bach's Clavier-Ubung III: the Mak Ing of a Print
Gregory Butler. Bach's Clavier-Ubung III: The Mak ing of a Print. With a Companion Study of the Canonic Variations on "Vom Himmel Hoch," BWV 769. Durham and London: Duke University Press, 1990. 139 pp. When I read Gregory Butler's Bach's Clavier-Ubung III' The Making of a Print, I could not help but think of a remark made by Arthur Mendel at the first meeting of the American Bach Society some twenty years ago. At the conclusion of a round table on post-World War II developments in Bach research, a long session in which the manuscript studies of Alfred Durr, Georg von Dadelsen, and Robert Marshall were discussed in some detail, Mendel quipped, with a wry smile: "And if the original manuscripts have revealed a lot about Bach's working habits, wait until we take a closer look at the original prints!" The remark drew laughter, as Mendel intend ed, and struck one at the time as facetious, for how could the prints of Bach's works ever show as much about chronology and the compositional process as the manuscripts? The surviving manuscript materials, written by Bach and his copyists, display a wealth of information that can be unrav eled through source-critical investigation: revisions, corrections, organiza tional second thoughts. The prints, by contrast, appear inscrutable. Uni form and definitive in appearance, made by engravers rather than Bach or his assistants, they seem to be closed books, telling little-if anything about the genesis of the texts they contain. In the earliest volumes of the Neue Bach-Ausgabe (NBA), the original prints were viewed in precisely that way. -
Christoph Graupner (1683-1760) a Contextual Study of Cantata Gwv 1127/19 O Welt Sieh Hier Dein Leben
Bulletin of the Transilvania University of Braşov - Supplement Series VIII: Performing Arts • Vol. 8 (57) No. 2 - 2015 CHRISTOPH GRAUPNER (1683-1760) A CONTEXTUAL STUDY OF CANTATA GWV 1127/19 O WELT SIEH HIER DEIN LEBEN 1 Marius BAHNEAN Abstract: Christoph Graupner (1683-1760) was a High Baroque composer who worked primarily in Darmstadt, Germany. He was a student of both Johann Schelle (1648-1701) and Johann Kuhnau (1660-1722) while studying at the University of Leipzig from 1696 to 1707. For the duration of these formative years, Graupner developed a compositional style influenced by the Italian and French masters of the time. At the time of his 1712 Kapellmeister appointment at the court of Darmstadt, Grauper was an established composer and keyboardist. His reputation as an important composer of the time is evident in his appointment as Kapellmeister in 1724 at the Thomaskirche, Leipzig; Graupner, however, opted to remain at Darmstadt when the Darmstadt court increased his salary. During his tenure at Darmstadt, Graupner composed over 1400 cantatas and many instrumental works. One cantata representative of this period is GWV 1127/19 O Welt siehhierdein Leben used as the starting point of placing Graupner’s works in the context of the compositional techniques of the eighteenth century. A detailed textual and musical analysis is presented, together with major compositional influences and performance considerations of the Baroque period. Key-words: Christoph Graupner, Baroque, Passio, Cantata 1. Introduction Over the past decades, the focus of musicological research on historically informed performance practice has shed much light on the great Western composers and their music. -
Trevor Pinnock Journey
TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music ANTONIO DE CABEZÓN (c.1510–1566) GIROLAMO FRESCOBALdi (1583–1643) 1. Diferencias sobre 15. Toccata nona ................................ 4:32 ‘El canto del caballero’ .................. 3:10 16. Balletto primo e secondo .............. 5:39 from Toccate d’intavolatura di cimbalo et WILLIAM BYRD (c.1540–1623) organo,1637 2. The Carman’s Whistle .................. 3:58 GEORGE FRIDERIC HAndel (1685–1759) THOMAS TaLLIS (c.1505–1585) 17. Chaconne in G major, HWV 435 ... 6:36 3. O ye tender babes ........................ 2:37 DOMENICO SCARLAtti (1685–1757) JOHN Bull (1562/3–1628) Three Sonatas in D major, K. 490–92 4. The King’s Hunt ............................ 3:25 18. Sonata, K. 490: Cantabile ............ 5:02 JAN PIETERSZOON SWEELINCK 19. Sonata, K. 491: Allegro ................ 4:57 (1562–1621) 20. Sonata, K. 492: Presto ................. 4:17 5. Variations on ‘Mein junges Leben hat ein End’, SwWV 324 .............. 6:10 Total Running Time: 68 minutes JOHANN SEBASTIAN BACh (1685–1750) French Suite No. 6 in E major, BWV 817 6. Prélude ......................................... 1:31 7. Allemande .................................... 3:28 8. Courante ...................................... 1:47 9. Sarabande ................................... 3:22 10. Gavotte ........................................ 1:07 11. Polonaise ...................................... 1:20 12. Bourrée ........................................ 1:41 13. -
Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
Presenting a comprehensive picture of Bach’s creative genius is one of the chief objectives of the Baldwin Wallace Bach Festival. The list that follows records works performed on Festival programs since its inception in 1933. VOCAL WORKS LARGE CHORAL WORKS BWV 232, Messe in h-moll. 1935, 1936, 1940, 1946, 1947, 1951,1955, 1959, 1963, 1967, 1971, 1975, 1979, 1983, 1985, 1989, 1993, 1997, 2001, 2005, 2007, 2011, 2015, 2019. BWV 245, Johannespassion. 1937, 1941, 1948, 1952, 1956, 1960, 1964, 1968, 1972, 1976, 1980, 1984, 1990, 1994, 1998, 2002, 2006, 2010, 2014, 2018. BWV 248, Weihnachts-Oratorium. 1938, 1942, 1949, 1953, 1957, 1961, 1965, 1969, 1973, 1977, 1981, 1986, 1991, 1995, 1999, 2003, 2009, 2013. BWV 244, Matthäuspassion. 1939, 1950, 1954, 1958, 1962, 1966, 1970, 1974, 1978, 1982, 1987, 1992, 1996, 2000, 2004, 2008, 2012. BWV 243, Magnificat in D-Dur. 1933, 1934, 1937, 1939, 1943, 1945, 1946, 1950, 1957, 1962, 1968, 1976, 1984,1996, 2006, 2014. BWV 249, Oster-Oratorium. 1962, 1990. MOTETS BWV 225, Singet dem Herrn ein neues Lied. 1940, 1950, 1957, 1963, 1971, 1976, 1982, 1991, 1996, 1999, 2006, 2017, 2019. BWV 226, Der Geist hilft unsrer Schwachheit auf. 1937, 1949, 1956, 1962, 1968, 1977, 1985, 1992, 1997, 2003, 2007, 2019. BWV 227, Jesu, meine Freude. 1934, 1939, 1943, 1951, 1955, 1960, 1966, 1969, 1975, 1981, 1988, 1995, 2001, 2005, 2019. BWV 228, Fürchte dich nicht, ich bin bei dir. 1936, 1947, 1952, 1958, 1964, 1972, 1979, 1995, 2002, 2016, 2019. BWV 229, Komm, Jesu, komm. 1941, 1949, 1954, 1961, 1967, 1973, 1992, 1993, 1999, 2004, 2010, 2019. -
Graduate Piano Recital
Pittsburg State University Pittsburg State University Digital Commons Electronic Thesis Collection 5-2016 GRADUATE PIANO RECITAL Nan Sun Pittsburg State University Follow this and additional works at: https://digitalcommons.pittstate.edu/etd Part of the Music Commons Recommended Citation Sun, Nan, "GRADUATE PIANO RECITAL" (2016). Electronic Thesis Collection. 90. https://digitalcommons.pittstate.edu/etd/90 This Thesis is brought to you for free and open access by Pittsburg State University Digital Commons. It has been accepted for inclusion in Electronic Thesis Collection by an authorized administrator of Pittsburg State University Digital Commons. For more information, please contact [email protected]. GRADUATE RECITAL A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements For the Degree of Master of Music Nan Sun Pittsburg State University Pittsburg, Kansas May, 2016 GRADUATE PIANO RECITAL Nan Sun APPROVED: Thesis Advisor __________________________________________________________ Reena Natenberg, Department of Music Committee Member______________________________________________________ John Ross, Department of Music Committee Member __________________________________________________________ Ray Willard, Department of Teaching and Leadership GRADUATE PIANO RECITAL An Abstract of the Thesis by Nan Sun This thesis contains information pertaining to my Graduate Piano Recital. The recital consists of the following works: Piano Sonata Op. 26 by Ludwig Van Beethoven; French Suite No. 2 by Johann Sebastian -
J.S. Bach by Elias Gottlob Haussmann (1695-1774)
J.S. Bach French Suites BWV 812-817 Julian Perkins clavichord RES10163 Disc One Disc Two (1685-1750) Johann Sebastian Bach Johann Jakob Froberger (1616–1667) Georg Philipp Telemann (1681–1767) Partita No. 2 in D minor, FbWV 602 Suite in A major, TWV 32:14 French Suites BWV 812-817 From Libro Secondo (1649), dedicated to 1. Allemande [2:32] Emperor Ferdinand III von Habsburg 2. Courante [2:27] 1. Allemanda [3:47] 3. Sarabanda, TWV 41: A1 † [2:15] 2. Courant [1:25] 4. Gigue [3:00] 3. Sarabanda [3:25] 4. Gigue [1:15] Johann Sebastian Bach Julian Perkins Suite No. 4 in E-flat major, BWV 815 Johann Sebastian Bach (1685-1750) 5. Prélude, BWV 815a [1:43] clavichord Suite No. 1 in D minor, BWV 812 6. Allemande [2:51] 5. Allemande [4:19] 7. Courante [2:02] 6. Courante [2:31] 8. Sarabande [3:24] 7. Sarabande [2:54] 9. Gavotte & Menuet [2:39] Tracks 1–9 (disc one) and 12–26 (disc two) 8. Menuet I & II [2:48] 10. Air [1:55] Diatonically fretted clavichord by Peter Bavington (London, 2008) 9. Gigue [3:48] 11. Gigue [2:37] after an instrument made in Nürnberg c. 1785 by Johann Jacob Bodechtel (1768–1831) Suite No. 2 in C minor, BWV 813 Suite No. 5 in G major, BWV 816 Tracks 10–21 (disc one) and 1–11 (disc two) 10. Allemande [2:58] 12. Allemande [3:39] Unfretted clavichord made by Peter Bavington (London, 2005) 11. Courante [2:22] 13. Courante [1:49] after a late-eighteenth-century German instrument probably by Johann Heinrich Silbermann (1727–1799) 12.