Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Cambridge
Cambridge University Press
2016
|
| Subjects: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028870552&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Summary: | J. S. Bach composed some of the best-loved and most moving music in Western culture. Surviving mostly in manuscript collections, his music also exists in special and unique publications that reveal much about his life and thoughts as a composer. In this book, Peter Williams, author of the acclaimed J. S. Bach: A Life in Music, revisits Bach's biography through the lens of his music. Reviewing all of Bach's music chronologically, Williams discusses the music collection by collection to reveal the development of Bach's interests and priorities. While a great deal has been written about the composer's vocal works, Williams gives the keyboard music its proper emphasis, revealing it as crucial to Bach's biography, as a young organist and a mature composer, as a performer in public and teacher in private, and as a profound thinker in the language of music. - Peter Williams (1937-2016) held the first Chair in Performance Practice in Britain at the University of Edinburgh, where he was first Director of the Russell Collection of Harpsichords and latterly Dean of Music. He was also the first Arts and Sciences Distinguished Chair at Duke University, North Carolina. His first book on Bach was for the BBC in 1970. After then, he focused chiefly on music for the organ (with the three-volume Organ Music of J. S. Bach, Cambridge, 1980-84); on music for the harpsichord (with Art of Fugue, 1986, and Bach: The Goldberg Variations, Cambridge, 2001); and on music for ensemble (with Musical Offering, 1986). In more recent years, he focused on biography, with The Life of Bach (Cambridge, 2003) and J. S. Bach: A Life in Music (Cambridge, 2007). |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | xiv, 704 Seiten Karten, Notenbeispiele |
| ISBN: | 9781107139251 9781316504864 |
Staff View
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Record in the Search Index
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| adam_text | Contents
Preface [page ix]
Acknowledgements [xiv]
Map of northern Germany in the time of J. S. Bach [xv]
Map of Thuringia and Saxony in the time of J. S. Bach [xv]
PART I LIFE AND WORKS [1]
1 Early years, 1685-1703: background, family, studies [3]
‘Honourable Thuringians [8]
Birth, family [12]
Loss of parents [16]
Earliest musical activities? [19]
Copying music and the ‘moonlight episode’ [22]
The move to Lüneburg [27]
Composing in Lüneburg? [32]
Visits to Hamburg [36]
Influential composers: Böhm and Reinken [39]
Johann Christoph’s albums and some early compositions [42]
French and Italian tastes [49]
2 First appointments, 1703-1708: a young musician’s activities and
early works [54]
First Weimar appointment [54]
The Arnstadt appointment [58]
A further note on ‘early works’ [65]
Further influences, 1700-1715 [69]
The visit to Buxtehude, and the ‘Arnstadt Chorales’ [75]
Lübeck, the cantatas, Passacaglia and other works [80]
The Mühlhausen appointment [87]
Mühlhausen and ‘early cantatas’ [92]
The Mühlhausen letter and other writing [96]
First marriage, and some cantatas of the time [99]
Letters and writing [103]
3 Weimar, 1708-1717: the gifted player at a ducal court [110]
Heard by a duke [110]
The Weimar appointment [112]
Early years in Weimar [115]
v
VI
Contents
Cantatas in Weimar, 1 [123]
Musical development: counterpoint, variations, concertos [129]
Musical development: strategy, tactics [134]
Some Weimar music: more on Italian and French tastes [138]
The Halle audition [145]
The Orgelbuchlein: for Halle? [150]
Cantatas in Weimar, 2: the promotion to concertmaster [155]
Pupils in Weimar [166]
The competition with Marchand [172]
4 Cothen, 1717-1723: other opportunities for the maturing
composer [179]
The call to Cothen [179]
The move to Cothen [182]
The Cothen appointment and musical opportunities [184]
Cantatas in Cothen [189]
Violin concertos, the Clavierbiichlein, Inventions [191]
The solo works for violin and cello [197]
Death of Maria Barbara [205]
The Hamburg recital (an audition?) [208]
A note on adapting works [214]
A note on the ‘English Suites’ [217]
A note on the ‘Brandenburg Concertos’ [219]
Second marriage [227]
The Anna Magdalena books and the ‘French Suites’ [231]
A note on The Well-tempered Clavier, ‘Book f (WTC1) [234]
A note on French interests [241]
The family [243]
5 Leipzig, the first years: a cantor’s life, his duties, cantatas, Passions,
publications [246]
The call to Leipzig [246]
The appointment procedure [251]
On accepting the position [255]
New life in Leipzig: personal [259]
New life in Leipzig: background to cantatas, motets, etc. [263]
The church cantatas, earlier years [273]
Further on cantatas: other works, the Magnificat, chorales [279]
Subsequent cantata-cycles [284]
How many cantatas and Passions? [296]
Further on the St John Passion [300]
Further on the St Matthew Passion [304]
Further on the two Passions [309]
The first publications: Six Harpsichord Partitas [316]
Other instrumental music: Six Violin Sonatas, Six Organ Sonatas [322]
‘Secular cantatas’ and other activities [327]
Contents
vii
6 Leipzig, the middle years: other activities [335]
The Collegium musicum [336]
Collegium repertory — concertos, sonatas, songs? [341]
The royal title and the Missa [347]
A note on the Christmas Oratorio [356]
A note on the Keyboard Practice volumes, especially
Clavierubung II [360]
The set of harpsichord concertos [364]
Major organ works [371]
Published organ music: Clavierubung III [377]
Developments other than keyboard music [383]
7 Leipzig, the final years: a concentration on the language
of music [388]
Other musical activities: copying, performing, selling [389]
A note on the ‘Goldberg Variations’ [400]
A note on the ‘Well-tempered Clavier, Book 2’ (WTC2) [407]
Concerning the last decade [412]
The Art of Fugue [417]
The visit to Potsdam and the Musical Offering [427]
Four late chorale collections for organ [438]
The ‘Mass in B minor: origins [444]
The ‘Mass in B minor’: music [450]
Blindness [455]
Deathbed and death [459]
PART II OBSERVATIONS ON THE LIFE AND WORKS [465]
8 What was said, what can be inferred [467]
‘Hidden secrets of harmony’ [467]
‘Serious and profound music’ [472]
‘A light and playful manner of thinking’ [478]
Opera [484]
Choir-size at the Thomaskirche [489]
The memorandum of 23 August 1730 [492]
The letter to Georg Erdmann of 28 October 1730 [496]
The Leipzig Collegium obsolescent? [498]
Organs [501]
Other keyboards [506]
The ensemble-director and score-reader [511]
The keyboard-player [519]
A note on string instruments and continuo [525]
The organ expert [528]
Scheibe’s criticism, 1 [533]
Scheibe’s criticism, 2 [538]
Character, quarrels [543]
Vlll
Contents
Moments of contention [549]
‘Theoretical speculations’ [559]
Tuning and temperament [566]
The teacher [573]
What was taught (musical grammar, composition) [578]
What was taught (keyboard-playing) [589]
A pupil: W. F. Bach and the Clavierbiichlein [593]
A pupil: Anna Magdalena Bach Books of 1722 and 1725 [596]
A pupil: C. P. E. Bach and his book of 1753/1762 [597]
A note on the four-part chorales [600]
A speculation concerning W. F. Bach [606]
9 An epilogue [610]
Concerning the composer’s priorities [610]
Concerning Bach the performer [617]
Concerning certain music [620]
Texts, appropriate music, parodies: sacred versus secular [631]
A brief note on aesthetics [638]
Glossary [645]
List of references [656]
Index of works [664]
General index [671]
|
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