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| clavierubung iii: Bach Clavier Ubung III Open Score Edition Kendall Durelle Briggs, 2013-08 An open score edition of Bach's famous Clavier Ubung III, his great German Organ Mass. |
| clavierubung iii: Bach's Clavier-übung III Gregory Butler, 1990 In his study of Bach's Clavier-Ubung III, Gregory Butler makes a major contribution to organ music and Bach studies by giving to original printed copies of this work the kind of attention normally reserved for manuscripts. He details the work's chronology, production, aim, and even spiritual program, treating the prints as unique documents with discernible variants and readings. The need to examine early printed copies of music is being recognized as an important tool which can reveal as much as the study of early manuscripts. Composers themselves frequently took a major role in the preparation of the engraving. Clavier-Ubung III--arguably the most carefully planned, intellectually conceived, and challenging volume of organ music ever published--is a particularly useful example of Bach's printed works known chiefly from the print itself. The print is richer in information than any of the other original prints of Bach's music, making it a distinctly suitable repertory for the author's innovative treatment. Butler reveals fascinating new information on the genesis and history of the collection's composition, finding, in part, that sections of the work were composed considerably earlier than previously was believed. |
| clavierubung iii: Johann Sebastian Bach's Clavier-Übung III Joyce Shupe Kull, 1983 |
| clavierubung iii: Bach Christoph Wolff, 1991 More than two centuries after his lifetime, J. S. Bach's work continues to set musical standards. Noted Bach scholar Christoph Wolff offers new perspectives on the composer's life and remarkable career. |
| clavierubung iii: Bach's Clavier-Übung III. The Making of a Print. With a Companion Study of the Canonic Variations on "Vom Himmel Hoch", BWV 769. [Mit Noten.] Gregory Butler, 1990 |
| clavierubung iii: The Esoteric Structure of Bach's Clavierübung III David Humphreys, 1983 |
| clavierubung iii: A History of Baroque Music George J. Buelow, 2004-11-23 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. |
| clavierubung iii: J. S. Bach as Organist George B. Stauffer, Ernest May, 2000-05-22 ... a valuable book of scholarly yet highly readable studies... every organist and anyone interested in the music of J. S. Bach should have it. --Early Keyboard Journal ... a very perceptive and informative guide... --Early Music ... this book is a must. --The American Organist ... invaluable and entertaining... --American Music Teacher ... among the most important and accomplished studies on eighteenth-century performance. Its comprehensiveness, clarity, and scholarship make it indispensable. --Performance Practice Review In J. S. Bach as Organist, specialists from six countries explore Bach's relationship to his favorite instrument during all periods of his career. J. S. Bach as Organist is a book for scholars, performers, and students. Authoritative and wide-ranging. |
| clavierubung iii: Keyboard Instruments in Eighteenth-century Vienna C. R. F. Maunder, 1998 Although eighteenth-century Viennese keyboard music, especially by such composers as Haydn, Mozart, and Beethoven, is among the most popular ever written, there has been surprisingly little serious research into the instruments for which it was composed. Consequently myths and guesses abound, while accurate and reliable information is hard to come by. This book fills that gap. Based on evidence from primary source material, much of it previously undiscovered or neglected, Maunder traces the history and development of the various keyboard instruments available in Vienna throughout the eighteenth century--harpsichords, clavichords, and pianos--and their use by composers and performers. There are detailed descriptions of many surviving Viennese instruments, several of which have only recently come to light; contemporary newspaper advertisements for over 1200 keyboard instruments are reproduced, in the original German as well as in English translation; and an alphabetical list of eighteenth-century Viennese makers includes much newly-discovered biographical information as well as some previously unknown names. |
| clavierubung iii: Bach's Musical Universe: The Composer and His Work Christoph Wolff, 2020-03-24 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. |
| clavierubung iii: Bach Malcolm Boyd, 2001-01-18 Published in its first edition in 1983, Boyds treatment of this canonical composer is essential reading for students, scholars, and everyone interested in Baroque music. In this third edition, biographical chapters alternate with commentary on the works, to demonstrate how the circumstances of Bachs life helped to shape the music he wrote at various periods. We follow Bach as he travels from Arnstadt and Muhlhausen to Weimar, Cothen, and finally Leipzig, these journeys alternating with insightful discussions of the great composers organ and orchestral compositions. As well as presenting a rounded picture of Bach, his music, and his posthumous reputation and influence, Malcolm Boyd considers the sometimes controversial topics of parody and arrangement, number symbolism, and the style and meaning of Bachs late works. Recent theories on the constitution of Bachs performing forces at Leipzig are also present. The text and the appendixes (which include a chronology, personalia, bibliography, and a complete catalogue of Bachs works) were thoroughly revised in this edition to take account of more recent research undertaken by Bach scholars, including the gold mine of new information uncovered in the former USSR. |
| clavierubung iii: J. S. Bach George B. Stauffer, 2024 J.S. Bach's 250 extant organ works represent the greatest body of music for the pipe organ, and during his lifetime Bach was able to combine great virtuosity--daring passages for the feet as well as the hands--with bold, dramatic gestures to produce music that dazzled contemporary audiences. In this book, leading musicologist George B. Stauffer shows that Bach focused steadily on organ composition for more than fifty years, and that his unending quest for novelty, innovation, and refinement resulted in pieces that continue to reward and awe listeners today. |
| clavierubung iii: Part Two of the Clavier Ubung 1735 Johann Sebastian Bach, 1985 |
| clavierubung iii: The Keyboard Music of J.S. Bach David Schulenberg, 2013-05-13 The Keyboard Music of J.S. Bach provides an introduction to and comprehensive discussion of all the music for harpsichord and other stringed keyboard instruments by Johann Sebastian Bach (1685-1750). Often played today on the modern piano, these works are central not only to the Western concert repertory but to musical pedagogy and study throughout the world. Intended as both a practical guide and an interpretive study, the book consists of three introductory chapters on general matters of historical context, style, and performance practice, followed by fifteen chapters on the individual works, treated in roughly chronological order. The works discussed include all of Bach's individual keyboard compositions as well as those comprising his famous collections, such as the Well-Tempered Clavier, the English and French Suites, and the Art of Fugue. |
| clavierubung iii: Giovanni Pierluigi da Palestrina Clara Marvin, 2013-10-15 First Published in 2002. This guide introduces students and scholars to the literature on Palestrina as well as the complicated history of the publication of his works. This bibliography is divided into four primary sections: historical background on musical, social, and cultural life; biographical literature; studies of sources, music, and style; and reception history. They are divided roughly into the periods dating from Palestrina's lifetime to about 1750; from about 1750 to about 1914; from 1914 to the present. This title also contains historical research on performance conditions and practices as they would have applied in Palestrina's time. |
| clavierubung iii: Bach Perspectives, Volume 6 Gregory Butler, 2007-01-02 The sixth volume in the Bach Perspectives series opens with Joshua Rifkin's seminal study of the early source history of the B-minor orchestral suite. Rifkin elaborates on his discovery that the work in its present form for solo flute goes back to an earlier version in A minor, ostensibly for solo violin. He also takes the discovery as the point of departure for a wide-ranging discussion of the origins and extent of Bach's output in the area of concerted ensemble music. In other essays, Jeanne Swack presents an enlightening comparison of Georg Phillip Telemann's and Bach's approach to the French overture as concerted movements in their church cantatas. Steven Zohn views the B-minor orchestral suite from the standpoint of the concert en ouverture. In addition, Zohn responds to Rifkin by suggesting Bach may have scored the early version of the B-minor orchestral suite for flute. |
| clavierubung iii: Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach Frederick Neumann, 2020-05-05 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. |
| clavierubung iii: Consort Suites and Dance Music by Town Musicians in German-Speaking Europe, 1648–1700 Michael Robertson, 2016-04-28 This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance. |
| clavierubung iii: Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2000 |
| clavierubung iii: Early Keyboard Studies Newsletter , 1991 |
| clavierubung iii: Gramophone Classical Good CD Guide 2001 Gramophone, 2000 Due to be published in September 2000, this essential guide contains reviews by the world's leading writers on classical music. Whether you're looking for a Mozart symphony or a Turnadge opera, a Liebermann concerto or a Haydn string quartet, the Gramophone Classical Good CD Guide provides you with access to the expertise to ensure that the choices you make are the best possible. With a Suggested Basic Library, ratings for the best discs and over 5,000 reviews, the Gramophone Classical Good CD Guide is the essential buy for anyone interested in classical music. |
| clavierubung iii: Bach's Numbers Ruth Tatlow, 2015-08-06 In the eighteenth century the universal harmony of God's creation and the perfection of the unity (1:1) were philosophically, morally and devotionally significant. Ruth Tatlow employs theoretical evidence and practical demonstrations to explain how and why Bach used numbers in his published compositions. |
| clavierubung iii: Complete Organ Works, Volume VI Johann Sebastian Bach, 1999-12-21 34 Chorale Preludes (Moderately Difficult) |
| clavierubung iii: The Cambridge Companion to Bach John Butt, 1997-06-26 The Cambridge Companion to Bach, first published in 1997, goes beyond a basic life-and-works study to provide a late twentieth-century perspective on J. S. Bach the man and composer. The book is divided into three parts. Part One is concerned with the historical context, the society, beliefs and the world-view of Bach's age. The second part discusses the music and Bach's compositional style, while Part Three considers Bach's influence and the performance and reception of his music through the succeeding generations. This Companion benefits from the insights and research of some of the most distinguished Bach scholars, and from it the reader will gain a notion of the diversity of current thought on this great composer. |
| clavierubung iii: Music Literature Outlines Harold Gleason, 1958 |
| clavierubung iii: The English Bach Awakening Michael Kassler, 2017-07-05 The English Bach Awakening concerns the introduction into England of J.S. Bach's music and information about him. Hitherto this subject has been called 'the English Bach revival', but that is a misnomer. 'Revival' implies prior life, yet no reference to Bach or to his music is known to have been made in England during his lifetime (1685-1750). The book begins with a comprehensive chronology of the English Bach Awakening. Eight chapters follow, written by Dr Philip Olleson, Dr Yo Tomita and the editor, Michael Kassler, which treat particular parts of the Awakening and show how they developed. A focus of the book is the history of the manuscripts and the printed editions of Bach's '48' - The Well-tempered Clavier - in England at this time, and its culmination in the 'analysed' edition that Samuel Wesley and Charles Frederick Horn published in 1810-1813 and later revised. Wesley's multifaceted role in the Bach Awakening is detailed, as are the several efforts that were made to translate Forkel's biography of Bach into English. A chapter is devoted to A.F.C. Kollmann's endeavour to prove the regularity of Bach's Chromatic Fantasy, and the book concludes with a discussion of portraits of Bach in England before 1830. |
| clavierubung iii: Bach The Borrower Norman Carrell, 2024-11-01 Originally published in 1967, in this book the author delves deeply into the fascinating field of Bach’s music and the reasons for his ‘borrowing’, and adaptation within his oeuvre. This book, scrupulously uncontroversial in its manner, contains evidence which upends many established judgements. Whether concerned with Bach’s artistic personality or with details of his performance, this voluminous record, with commentary, of his adaptations, recompositions or transcriptions is an essential work of reference. When it was first published much of the information on the Choralgesänge and the chorals contained in or intended for the Orgelbüchlein was available for the first time in English. |
| clavierubung iii: Schwann Opus Vol. 10 Becky Barnhart, 1999-12 |
| clavierubung iii: Johann Sebastian Bach Johann Nikolaus Forkel, 1920 |
| clavierubung iii: New York Magazine , 1987-08-10 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| clavierubung iii: Dictionary Catalog of the Music Collection New York Public Library. Reference Department, 1964 |
| clavierubung iii: Music in the Baroque Harold Gleason, 1958 |
| clavierubung iii: J.S. Bach Malcolm Boyd, John Butt, 1999 As well as being an authoritative and convenient resource for scholars, students, and performers, the Oxford Composer Companion to Bach provides the ordinary Bach/Baroque music enthusiast with information not usually found in programme or sleeve notes, exploring the life and works of Bach andthe historical context in which he lived. Topics covered include: genres (eg chorales), structures (eg fugue), individual works (eg St John Passion), compositional practices and techniques, people and places, institutinos, instruments, performing practice, festivals and performers, reception ofBach's music, stylistic influence and parodies, and Bach scholarship. The main alphabetical text is supplemented by useful endmatter, including a family tree, chronology, list of works, openings of vocal works, and a glossary of specialist terms. |
| clavierubung iii: Bach: The Goldberg Variations Peter Williams, 2001-09-27 Many listeners and players are fascinated by Bach's Goldberg Variations. In this wideranging and searching study, Professor Williams, one of the leading Bach scholars of our time, helps them probe its depths and understand its uniqueness. He considers the work's historical origins, especially in relation to all Bach's Clavierübung volumes and late keyboard works, its musical agenda and its formal shape, and discusses significant performance issues. In the course of the book he poses a number of key questions. Why should such a work be written? Does the work have both a conceptual and a perceptual shape? What other music is likely to have influenced the Goldberg and to what extent is it trying to be encyclopedic? What is the canonic vocabulary? How have contemporaries or musicians from Beethoven to the present day seen this work and, above all, how has its mysterious beauty been created? |
| clavierubung iii: Bach Yo Tomita, 2017-07-05 For nearly two centuries Johann Sebastian Bach has been regarded as a cornerstone of Western musical culture. His music inspired subsequent generations of composers and philosophers alike, and continues to capture our imaginations in many ways. Bach studies is part of this picture, often seen as providing excellent examples of musicological scholarship. The volume editor has chosen thirty-one published articles which, in his view, not only represent a broad spectrum of the scholarly discussions on Bach's life and works, but will also facilitate the on-going study of Bach's creative genius. The articles have been selected to ensure that this volume will be considered useful for not only those students who are currently engaging in Bach studies at universities but also for more seasoned Bach scholars as they consider the future direction of Bach studies. |
| clavierubung iii: A Bach Tribute Paul Brainard, Ray Robinson, 1993 |
| clavierubung iii: The National Union Catalog, Pre-1956 Imprints Library of Congress, American Library Association. Committee on Resources of American Libraries. National Union Catalog Subcommittee, 1969 |
| clavierubung iii: The Music of Johann Sebastian Bach Robert Lewis Marshall, 1989 The 16 essays collected here of two kinds: stylistic and historical inquiries, and studies of the original sources. The articles deal with the music and shed new light on the composer's life. Part 1 reconsiders Bach's historical position and assesses the cultural significance of his achievement; Parts 2, 3 and 4 draw upon the original sources to explore the compositional process, questions of authenticity and chronology, and controversial issues of performance practice. |
| clavierubung iii: The English Harpsichord Magazine , 1981 |
| clavierubung iii: A History of the Concerto Michael Thomas Roeder, 1994 A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text. |
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