Bach and the Baroque


Book Description

First published in 1985. A handbook and text for the performance of Bach's music and Baroque music in general, also serving as an assessment of current trends in historical performance practice by an important American practitioner. Newman clearly presents problems and their solutions, with examples and regular assignments throughout. Paper edition (unseen), $32. Annotation copyright by Book News, Inc., Portland, OR




Ornamentation in Baroque and Post-baroque Music


Book Description

Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period. The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.




Did Bach Really Mean That?


Book Description




Sebastian


Book Description

Describes how Johann Sebastian Bach survived the sorrows of his childhood and composed the music the world has come to love.




Music and Urban Life in Baroque Germany


Book Description

Music and Urban Life in Baroque Germany offers a new narrative of Baroque music, accessible to non-music specialists, in which Tanya Kevorkian defines the era in terms of social dynamics rather than style and genre development. Towns were crucial sites of music-making. Kevorkian explores how performance was integrated into and indispensable to everyday routines, celebrations such as weddings, and political culture. Training and funding likewise emerged from and were integrated into urban life. Ordinary artisans, students, and musical tower guards as well as powerful city councilors contributed to the production and reception of music. This book illuminates the processes at play in fascinating ways. Challenging ideas of "elite" and "popular" culture, Kevorkian examines five central and southern German towns—Augsburg, Munich, Erfurt, Gotha, and Leipzig—to reconstruct a vibrant urban musical culture held in common by townspeople of all ranks. Outdoor acoustic communication, often hovering between musical and nonmusical sound, was essential to the functioning of these towns. As Kevorkian shows, that sonic communication was linked to the music and musicians heard in homes, taverns, and churches. Early modern urban environments and dynamics produced both the giants of the Baroque era, such as Johann Sebastian Bach and Georg Philipp Telemann, and the music that townspeople heard daily. This book offers a significant rediscovery of a rich, unique, and understudied musical culture. Received a subvention award from the Margarita M. Hanson Fund and the Donna Cardamone Jackson Fund of the American Musicological Society.




A History of Baroque Music


Book Description

"A History of Baroque Music is a detailed treatment of the music of the Baroque era, with particular focus on the seventeenth century. The author's approach is a history of musical style with an emphasis on musical scores. The book is divided initially by time period into early and later Baroque (1600-1700 and 1700-1750 respectively), and secondarily by country and composer. An introductory chapter discusses stylistic continuity with the late Renaissance and examines the etymology of the term "Baroque." The concluding chapter on the composer Telemann addresses the stylistic shift that led to the end of the Baroque and the transition into the Classical period."--Jacket.




Bach's Musical Universe: The Composer and His Work


Book Description

A concentrated study of Johann Sebastian Bach’s creative output and greatest pieces, capturing the essence of his art. Throughout his life, renowned and prolific composer Johann Sebastian Bach articulated his views as a composer in purely musical terms; he was notoriously reluctant to write about his life and work. Instead, he methodically organized certain pieces into carefully designed collections. These benchmark works, all of them without parallel or equivalent, produced a steady stream of transformative ideas that stand as paradigms of Bach’s musical art. In this companion volume to his Pulitzer Prize–finalist biography, Johann Sebastian Bach: The Learned Musician, leading Bach scholar Christoph Wolff takes his cue from his famous subject. Wolff delves deeply into the composer’s own rich selection of collected music, cutting across conventional boundaries of era, genre, and instrument. Emerging from a complex and massive oeuvre, Bach’s Musical Universe is a focused discussion of a meaningful selection of compositions—from the famous Well-Tempered Clavier, violin and cello solos, and Brandenburg Concertos to the St. Matthew Passion, Art of Fugue, and B-minor Mass. Unlike any study undertaken before, this book details Bach’s creative process across the various instrumental and vocal genres. This array of compositions illustrates the depth and variety at the essence of the composer’s musical art, as well as his unique approach to composition as a process of imaginative research into the innate potential of his chosen material. Tracing Bach’s evolution as a composer, Wolff compellingly illuminates the ideals and legacy of this giant of classical music in a new, refreshing light for everyone, from the amateur to the virtuoso.




Essay on the True Art of Playing Keyboard Instruments


Book Description

J. S. Bach's musician son explains the technique for performing eighteenth-century compositions, discussing fingering, embellishments, bass, and accompaniment




Big Bangs


Book Description

The dramatic story of five key turning points in a thousand years of Western music - discoveries that changed the course of history. Who first invented 'Doh Re Mi...'? What do we mean by "in tune"? Looking back down the corridor of a thousand years, Howard Goodall guides us through the stories of five seismic developments in the history of Western music. His "big bangs" may not be the ones we expect - some are surprising and some are so obvious we overlook them - but all have had an extraordinary impact. Goodall starts with the invention of notation by an 11th-century Italian monk, which removed the creation of music from the hands of the players to the pens of the composers; moves on to the first opera; then to the invention of the piano, and ends with the story of the first recording made in history. Howard Goodall has the gift of making these complicated musical advances both clear and utterly fascinating. Racy and vivid in a narrative full of colourful characters and graphic illustrations of technical processes, he also gives a wonderful sense of the culture of trial and error and competition, be it in 11th-century Italy or 19th-century America, in which all progress takes place. Big Bangs opens a window on the crucial moments in our musical culture - discoveries that made possible everything from Bach to the Beatles - and tells us a riveting story of a millennium of endeavour.




Dance and the Music of J. S. Bach, Expanded Edition


Book Description

Johann Sebastian Bach devoted a significant portion of his life to the composition of stylized dance music and music based on dance rhythms. Although the music of this very special genre has long been a part of every serious musician's repertoire, very little has been written about it. In Part I, the authors describe the French dance practices in the cities and courts in which Bach lived. It also introduces terminology and analytical tools necessary for discussing dance music of Bach's time. Part II presents the dance forms used by Bach, annotating all of his named dances. It offers information from choreographies, studies of harmony, theorists' writings, and the music of many 17th- and 18th-century composers in order to arrive at a model for each dance type. In Appendix I all of Bach's named dances are listed in convenient tabular form; included are the BWV number for each piece, the date of composition, the larger work in which it appears, the instrumentation, and the meter. Appendix II supplies the same data for pieces clearly recognizable as dance types but not named as such. This volume will stimulate both the musical scholar and the performer with a new look at the rhythmic lifeblood of Bach's remarkable repertoire of dance based music.