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| david ledbetter bach: Bach's Well-tempered Clavier David Ledbetter, 2002-01-01 Bach's Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance. |
| david ledbetter bach: Unaccompanied Bach - Performing the Solo Works David Ledbetter, 2019-11-27 This pioneering book by an acclaimed expert is the first to discuss all of Bach's unaccompanied pieces in one volume, including an examination of crucial issues of style and composition type and the options open to interpretation and performance. David Ledbetter, a leading expert on Bach, provides the historical background to Bach's instrumental works, as well as detailed commentaries on each work. Ledbetter argues that Bach's unaccompanied works--the six suites for solo cello, six sonatas and partitas for solo violin, seven works for lute, and the suite for solo flute--should be considered together to enable one piece to elucidate another. This illuminating and significant book is essential for professionals, performers, students, or anybody who wishes to learn more about Bach's music. |
| david ledbetter bach: Continuo Playing According to Handel George Frideric Handel, David Ledbetter, 1990 This book is an edition, with commentary, of Handel's exercises for continuo playing, which he wrote for the daughters of George II. The exercises, which until now have not been readily available, are supplemented by clear and concise commentary. Remaining faithful to his source, Ledbetter, who lectures in keyboard studies, has prepared an edition that will prove invaluable to students and performers of the music of Handel and his contemporaries. |
| david ledbetter bach: Bach and the Meanings of Counterpoint David Yearsley, 2002-11-14 In Bach's Germany musical counterpoint was an art involving much more than the sophisticated use of advanced compositional techniques. A range of theological, cultural, social and political meanings attached themselves to the use of complex procedures such as canon and double counterpoint. This book explores the significance of Bach's counterpoint in a range of interrelated contexts: its use as a means of reflecting on death; its parallels to alchemy; its vexed status in the galant music culture of the first half of the eighteenth century; its value as a representation of political power; and its central importance in the creation of Bach's image in the nineteenth and twentieth centuries. Touching on a wide array of contemporary literary, philosophical, critical, and musical texts, the book includes new readings of many of Bach's late works in order to re-evaluate the status and meaning of counterpoint in Bach's work and legacy. |
| david ledbetter bach: Interpreting Bach's Well-tempered Clavier Ralph Kirkpatrick, 1984-01-01 This book sets forth the provocative theories of a musician who has been called the outstanding harpsichordist of this century. The late Ralph Kirkpatrick reveals here his approach to a deeper comprehension of music, showing how his methods are applied to the preludes and fugues of the Well-Tempered Clavier of J.S. Bach. This book is brilliant and important.--Clavier All keyboardists performing classical repertoire can greatly benefit from Kirkpatrick's scholarship, dry wit, and stubborn dedication.--Keyboard That Mr. Kirkpatrick's extraordinarily perceptive mind knew the subject matter thoroughly is beyond dispute. . . Valuable insights into the analysis, teaching and performance of all Western music, especially Bach's monumental Well-Tempered Clavier.--Arthur Lawrence, The American Organist We are fortunate to have this book by Ralph Kirkpatrick. . . From it we gain insight into the musical mind of one of the outstanding performers of our century.--The Music Review The real matter of the book is good old-fashioned musicianship.--Denis Arnold, London Review of Books |
| david ledbetter bach: Bach and the Patterns of Invention Laurence Dreyfus, 2004-03-01 In this major new interpretation of the music of J. S. Bach, we gain a striking picture of the composer as a unique critic of his age. By reading Bach’s music “against the grain” of contemporaries, Laurence Dreyfus explains how Bach’s approach to musical invention posed a fundamental challenge to Baroque aesthetics. |
| david ledbetter bach: The Routledge Research Companion to Johann Sebastian Bach Robin Leaver, 2016-11-25 The Ashgate Research Companion to Johann Sebastian Bach provides an indispensable introduction to the Bach research of the past thirty-fifty years. It is not a lexicon providing information on all the major aspects of Bach's life and work, such as the Oxford Composer Companion: J. S. Bach. Nor is it an entry-level research tool aimed at those making a beginning of such studies. The valuable essays presented here are designed for the next level of Bach research and are aimed at masters and doctoral students, as well as others interested in coming to terms with the current state of Bach research. Each author covers three aspects within their specific subject area; firstly, to describe the results of research over the past thirty-fifty years, concentrating on the most significant and controversial, such as: the debate over Smend's NBA edition of the B minor Mass; Blume's conclusions with regard to Bach's religion in the wake of the 'new' chronology; Rifkin's one-to-a-vocal-part interpretation; the rediscovery of the Berlin Singakademie manuscripts in Kiev; the discovery of hitherto unknown manuscripts and documents and the re-evaluation of previously known sources. Secondly, each author provides a critical analysis of current research being undertaken that is exploring new aspects, reinterpreting earlier assumptions, and/or opening-up new methodologies. For example, Martin W. B. Jarvis has suggested that Anna Magdalena Bach composed the cello suites and contributed to other works of her husband - another controversial hypothesis, whose newly proposed forensic methodology requires investigation. On the other hand, research into Bach's knowledge of the Lutheran chorale tradition is currently underway, which is likely to shed more light on the composer's choices and usage of this tradition. Thirdly, each author identifies areas that are still in need of investigation and research. |
| david ledbetter bach: 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. |
| david ledbetter bach: Bach Perspectives, Volume 10 Matthew Dirst, 2016-04-30 The official publication of the American Bach Society, Bach Perspectives pioneers new areas of research into the life, times, and music of the master composer. In Volume 10 of the series, Matthew Dirst edits a collection of groundbreaking essays exploring various aspects of Bach's organ-related activities. Lynn Edwards Butler reconsiders Bach's report on Johann Scheibe's organ at St. Paul's Church in Leipzig. Robin Leaver clarifies the likely provenance and purpose of a collection of chorale harmonizations copied in Dresden. George Stauffer investigates the ways various independent trio movements served Bach as an artist and teacher. In separate contributions, Christoph Wolff and Gregory Butler seek the origins of concerted Bach cantata movements spotlighting the organ and propose family trees of both parent works and offspring. Finally, Matthew Cron provides a broad cultural frame for such pieces and notes how their components engage in a larger discourse about the German Baroque organ's intimation of heaven. |
| david ledbetter bach: The Music of Wilhelm Friedemann Bach David Schulenberg, 2010 The first book in nearly a century dedicated to a close examination of the musical works of Wilhelm Friedemann Bach, first son of Johann Sebastian Bach. |
| david ledbetter bach: The Keyboard Music of J.S. Bach David Schulenberg, 2006 Publisher description |
| david ledbetter bach: The Art of Fugue Joseph Kerman, 2015-06-23 A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier—C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on Jesus Christus unser Heiland, BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord. |
| david ledbetter bach: The Accompaniment in "Unaccompanied" Bach Stanley Ritchie, 2016-09-26 Known around the world for his advocacy of early historical performance and as a skilled violin performer and pedagogue, Stanley Ritchie has developed a technical guide to the interpretation and performance of J. S. Bach's enigmatic sonatas and partitas for solo violin. Unlike typical Baroque compositions, Bach's six solos are uniquely free of accompaniment. To add depth and texture to the pieces, Bach incorporated various techniques to bring out a multitude of voices from four strings and one bow, including arpeggios across strings, multiple stopping, opposing tonal ranges, and deft bowing. Published in 1802, over 80 years after its completion in 1720, Bach's manuscript is without expression marks, leaving the performer to freely interpret the dynamics, fingering, bowings, and articulations. Marshaling a lifetime of experience, Stanley Ritchie provides violinists with deep insights into the interpretation and technicalities at the heart of these challenging pieces. |
| david ledbetter bach: Bach's Solo Violin Works Jaap Schroder, 2007-06-01 Long admired for his interpretation of Bach's six 'Sonatas and Partitas' for unaccompanied violin, Jaap Schroder provides a detailed but informal guide to their performance. |
| david ledbetter bach: Bach's Major Vocal Works Markus Rathey, 2016-01-01 Every year, Johann Sebastian Bach's major vocal works are performed to mark liturgical milestones in the Christian calendar. Written by a renowned Bach scholar, this concise and accessible book provides an introduction to the music and cultural contexts of the composer's most beloved masterpieces, including the Magnificat, Christmas Oratorio, and St. John Passion. In addition to providing historical information, each chapter highlights significant aspects--such as the theology of love--of a particular piece. This penetrating volume is the first to treat the vocal works as a whole, showing how the compositions were embedded in their original performative context within the liturgy as well as discussing Bach's musical style, from the detailed level of individual movements to the overarching aspects of each work. Published in the approach to Easter when many of these vocal works are performed, this outstanding volume will appeal to casual concertgoers and scholars alike. -- Publisher's description |
| david ledbetter bach: Pound Foolish Helaine Olen, 2013-12-31 If you’ve ever bought a personal finance book, watched a TV show about stock picking, listened to a radio show about getting out of debt, or attended a seminar to help you plan for your retirement, you’ve probably heard some version of these quotes: “What’s keeping you from being rich? In most cases, it is simply a lack of belief.” —SUZE ORMAN, The Courage to Be Rich “Are you latte-ing away your financial future?” —DAVID BACH, Smart Women Finish Rich “I know you’re capable of picking winning stocks and holding on to them.” —JIM CRAMER, Mad Money They’re common refrains among personal finance gurus. There’s just one problem: those and many similar statements are false. For the past few decades, Americans have spent billions of dollars on personal finance products. As salaries have stagnated and companies have cut back on benefits, we’ve taken matters into our own hands, embracing the can-do attitude that if we’re smart enough, we can overcome even daunting financial obstacles. But that’s not true. In this meticulously reported and shocking book, journalist and former financial columnist Helaine Olen goes behind the curtain of the personal finance industry to expose the myths, contradictions, and outright lies it has perpetuated. She shows how an industry that started as a response to the Great Depression morphed into a behemoth that thrives by selling us products and services that offer little if any help. Olen calls out some of the biggest names in the business, revealing how even the most respected gurus have engaged in dubious, even deceitful, practices—from accepting payments from banks and corporations in exchange for promoting certain products to blaming the victims of economic catastrophe for their own financial misfortune. Pound Foolish also disproves many myths about spending and saving, including: Small pleasures can bankrupt you: Gurus popularized the idea that cutting out lattes and other small expenditures could make us millionaires. But reducing our caffeine consumption will not offset our biggest expenses: housing, education, health care, and retirement. Disciplined investing will make you rich: Gurus also love to show how steady investing can turn modest savings into a huge nest egg at retirement. But these calculations assume a healthy market and a lifetime without any setbacks—two conditions that have no connection to the real world. Women need extra help managing money: Product pushers often target women, whose alleged financial ignorance supposedly leaves them especially at risk. In reality, women and men are both terrible at handling finances. Financial literacy classes will prevent future economic crises: Experts like to claim mandatory sessions on personal finance in school will cure many of our money ills. Not only is there little evidence this is true, the entire movement is largely funded and promoted by the financial services sector. Weaving together original reporting, interviews with experts, and studies from disciplines ranging from behavioral economics to retirement planning,Pound Foolish is a compassionate and compelling book that will change the way we think and talk about our money. |
| david ledbetter bach: Experimental Affinities in Music Paulo de Assis , 2016-03-21 Exploring experimental attitudes in music Experimental Affinities in Music brings together diverse artistic, musicological, historical, and philosophical essays, enhancing a broad discourse on artistic experimentation, and exploring various experimental attitudes in music composed between the thirteenth and twentieth centuries. The golden thread running through the different chapters is the quest for inherently experimental musical practices, a quest pursued from interrogating, descriptive, or challenging perspectives, and always in relation to concrete music examples. Experimental is taken as an adventurous compositional, interpretive, or performative attitude that can cut across different ages and styles. Affinitiessuggest connectors and connections, convergences, contiguities, and adjacencies that are found in and through a diversity of approaches and topics. The texts share a common genesis: the lectures of the International Orpheus Academies for Music and Theory convened by Luk Vaes (2011) and Paulo de Assis (2012, 2013). The affinities found in this volume include essays by Lydia Goehr, Felix Diergarten, Mark Lindley, Martin Kirnbauer, Edward Wickham, Lawrence Kramer, Hermann Danuser, and Thomas Christensen, as well as interviews with pianist Leon Fleisher, with pianist-composer Frederic Rzewski, and with composer Helmut Lachenmann. Contributors Paulo de Assis (Orpheus Institute, Ghent), Thomas Christensen (University of Chicago), Hermann Danuser (Humboldt University), Felix Diergarten (Schola Cantorum Basiliensis), Leon Fleisher (pianist), Lydia Goehr (Columbia University), Martin Kirnbauer (University of Basel), Lawrence Kramer (Fordham University), Helmut Lachenmann (composer), Mark Lindley (University of Hyderabad), Frederic Rzewski (pianist-composer), Luk Vaes (Orpheus Institute, Ghent), Edward Wickham (St Catharine’s College, Cambridge) |
| david ledbetter bach: The Creative Development of Johann Sebastian Bach, Volume II: 1717-1750 Richard D. P. Jones, 2007 This last in a two-volume study examines Bach's musical compositional development in his later years, including his time at Cðthen and Leipzig. |
| david ledbetter bach: 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. |
| david ledbetter bach: The Keyboard in Baroque Europe Christopher Hogwood, 2003-06-12 Table of contents |
| david ledbetter bach: Liner Notes On Parents, Children, Exes, Excess, Decay & A Few More Of My Favourite Things Loudon Wainwright III, 2017-10-02 ‘Liner Notes is, unsurprisingly, as good as its author’s songs, with moments of sharp humor alternating with real-life pain, and vivid reflections on love, death, and the whole damn thing. Loudon Wainwright is a true original: not like anyone else, just as he set out to be.’ Salman Rushdie In the late 1960s, Loudon Wainwright III established himself as a loner, deliberately standing outside the conventional. He recorded his first album in 1969, full of raw, angry poetry, but it was the 1972 novelty song ‘Dead Skunk’ that brought him popular recognition. Wainwright’s songs are as hilarious as they can be painful. In Liner Notes, he details the family history and fractured relationships that have informed him: the alcoholism, infidelities and competitiveness; the successes, joys and love. Wainwright writes poignantly about being a son, a parent, a brother and a grandfather while re-printing selections from his father’s columns and meditating upon family, inspiration and art. As plain-speaking on the page as in his songs, Wainwright lays everything bare in this heartfelt memoir of music and family. His lyrics adorn and inform the text, amplifying his prose and connecting his songs to the life he led. ‘He is unafraid and clear-eyed about the events of his life – and utterly engaging.’ Rosanne Cash ’Fans of the self-lacerating, painfully funny Wainwright III will find the memoir they want here’ Kirkus Reviews |
| david ledbetter bach: On Bach's Rhythm and Tempo Ido Abravaya, 2006 |
| david ledbetter bach: Harmony, Counterpoint, Partimento Job IJzerman, 2018-11-26 A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes: · the hardcopy text, providing essential stylistic and technical information and repertoire discussion; · an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions; · an online instructor's manual providing additional information and realizations of all exercises. Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint. |
| david ledbetter bach: J. S. Bach at His Royal Instrument Russell Stinson, 2012-11-15 In this wide-ranging set of original essays, musicologist and organist Russell Stinson investigates Johann Sebastian Bach's compositions for the organ, opening up a wealth of perspectives on the stylistic orientation and historical context of these timeless masterpieces. With a sweeping hand, Stinson sheds light on the entire corpus of Bach's organ chorales, and considers the reception of particular pieces not only by various luminaries in the classical music world, but also those within such disparate contexts as film, literature, politics, and rock music. Stinson's investigations include a revealing focus on a previously unpublished fugue by Bach pupil J. G. Schübler, unexplored techniques found in over twenty of Bach's chorale preludes, and the diverse ways in which Bach's organ works have been received from the composer's own lifetime to the present day. Individual essays are also devoted to Felix Mendelssohn as a performer; to Robert Schumann as an editor and critic; to César Franck as a performer, pedagogue, and composer; and to Edward Elgar as a performer, critic, and transcriber. Rich in archival data and filled with fascinating anecdotes, J. S. Bach at His Royal Instrument is entirely up-to-date, meticulously annotated and indexed, and eminently readable. This book is essential reading for anyone at all interested in Bach and the king of instruments. |
| david ledbetter bach: Continuo Realization in Handel's Vocal Music Patrick J. Rogers, 2010-04-01 |
| david ledbetter bach: The Cambridge Companion to the Harpsichord Mark Kroll, 2019-01-03 Covers every aspect of the harpsichord and its music, including composers, genres, national styles, tuning, and the art of harpsichord building. |
| david ledbetter bach: J.S. Bach's 'Das Wohltemperierte Clavier II': Autograph manuscripts Yo Tomita, 1993 |
| david ledbetter bach: Shostakovich's Preludes and Fugues Mark Mazullo, 2010-01-01 An outstanding piece of work---illuminating, attractively written, and stimulating. It is a book that will be welcomed by scholars of Russian music, readers interested in the cultural life of the Soviet Union, and interested listeners to a remarkable body of repertory. Michael Steinberg --Book Jacket. |
| david ledbetter bach: Bach's Well-Tempered Clavier Paul Walker, 2025-02-05 Bach's Well-Tempered Clavier forms part of the series American Bach Society Guides for the introduction of Johann Sebastian Bach's most important works and collections to a wider audience. Although the topic of this book is some of the most compostionally sophisticated music ever written, it avoids musical notation, explains necessary technical terminology, and assumes only basic knowledge of music history. This book presents the context, history, and music of Bach's Well-Tempered Clavier based on the latest musicological research. It appeals to those who desire an introduction to the collectionor a refresher on its salient characteristics. The main topics include: definitions, descriptions, and history of Prelude, Fugue, Temperament, and Tonal Harmony; Bach's motivation for writing the collection and his compositional process; the work's reception history; and the philosophies and issues of performance practice. |
| david ledbetter bach: Bach Studies Robin A. Leaver, 2021-03-30 This volume draws together a collection of Robin A. Leaver’s essays on Bach’s sacred music, exploring the religious aspects of this repertoire through consideration of three core themes: liturgy, hymnology, and theology. Rooted in a rich understanding of the historical sources, the book illuminates the varied ways in which Bach’s sacred music was informed and shaped by the religious, ritual, and intellectual contexts of his time, placing these works in the wider history of Protestant church music during the Baroque era. Including research from across a span of forty years, the chapters in this volume have been significantly revised and expanded for this publication, with several pieces appearing in English for the first time. Together, they offer an essential compendium of the work of a leading scholar of theological Bach studies. |
| david ledbetter bach: Bach’s Cycle, Mozart’s Arrow Karol Berger, 2007-10-02 Uses the works of Monteverdi, Bach, Mozart, and Beethoven to support the claims that it was only in the later eighteenth century that music began to take the flow of time from the past to the future seriously. |
| david ledbetter bach: The Cambridge Haydn Encyclopedia Caryl Clark, Sarah Day-O'Connell, 2019-04-30 For well over two hundred years, Joseph Haydn has been by turns lionized and misrepresented - held up as celebrity, and disparaged as mere forerunner or point of comparison. And yet, unlike many other canonic composers, his music has remained a fixture in the repertoire from his day until ours. What do we need to know now in order to understand Haydn and his music? With over eighty entries focused on ideas and seven longer thematic essays to bring these together, this distinctive and richly illustrated encyclopedia offers a new perspective on Haydn and the many cultural contexts in which he worked and left his indelible mark during the Enlightenment and beyond. Contributions from sixty-seven scholars and performers in Europe, the Americas, and Oceania, capture the vitality of Haydn studies today - its variety of perspectives and methods - and ultimately inspire further exploration of one of western music's most innovative and influential composers. |
| david ledbetter bach: Bach's Legacy Russell Stinson, 2020-04-27 Johann Sebastian Bach's legacy is undeniably one of the richest in the history of music, with a vast influence on posterity that has only grown since his rediscovery in the early nineteenth century. In this latest addition to his long list of Bach studies, renowned Bach scholar Russell Stinson examines how four of the greatest composers of the nineteenth and twentieth centuries - Felix Mendelssohn, Robert Schumann, Richard Wagner, and Edward Elgar - engaged with Bach's legacy, not only as composers per se, but also as performers, conductors, scholars, critics, and all-around musical ambassadors. Detailed analyses of both musical and epistolary sources shed light on how these later masters heard and received Bach's music within their musical circles, while colorful anecdotes about their Bach reception help humanize them, reconstructing the intimate social circumstances in which they performed and discussed Bach's music. Stinson focuses on Mendelssohn's and Schumann's reception of Bach's organ works, Schumann's encounter with the St. Matthew and St. John Passions, Wagner's musings on the Well-Tempered Clavier, and Elgar's (resoundingly negative) thoughts on Bach as a vocal composer. Engagingly written, copiously annotated, and thoroughly up to date, Bach's Legacy traces the historical afterlife of Bach's music and offers fascinating insights into how these later masters defined it for their audiences and beyond. |
| david ledbetter bach: Playing the Cello, 1780-1930 George Kennaway, 2016-04-22 This innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By placing an awareness of this diversity at the centre of an historical narrative, George Kennaway has produced a unique cultural history of performance practices. In addition to drawing upon an unusually wide range of source materials - from instructional methods to poetry, novels and film - Kennaway acknowledges the instability and ambiguity of the data that supports historically informed performance. By examining nineteenth-century assumptions about the very nature of the cello itself, he demonstrates new ways of thinking about historical performance today. Kennaway’s treatment of tone quality and projection, and of posture, bow-strokes and fingering, is informed by his practical insights as a professional cellist and teacher. Vibrato and portamento are examined in the context of an increasing divergence between theory and practice, as seen in printed sources and heard in early cello recordings. Kennaway also explores differing nineteenth-century views of the cello’s gendered identity and the relevance of these cultural tropes to contemporary performance. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike. |
| david ledbetter bach: The Musician in Literature in the Age of Bach Stephen Rose, 2011-02-24 Analysing novels and autobiographies from Bach's Germany, this book presents new insights into the lives, mindset and status of musicians. |
| david ledbetter bach: Variations on the Canon Robert Curry, David Gable, Robert Lewis Marshall, 2008 Masterful essays honoring the great pianist and critic Charles Rosen, on masterpieces from Bach and Beethoven to Chopin, Verdi, and Stockhausen. Charles Rosen, the pianist and man of letters, is perhaps the single most influential writer on music of the past half-century. While Rosen's vast range as a writer and performer is encyclopedic, it has focused particularly on theliving canonical repertory extending from Bach to Boulez. Inspired in its liveliness and variety of critical approaches by Charles Rosen's challenging work, Variations on the Canon offers original essays by some of the world's most eminent musical scholars. Contributors address such issues as style and compositional technique, genre, influence and modeling, and reception history; develop insights afforded by close examination of compositional sketches; and consider what language and metaphors might most meaningfully convey insights into music. However diverse the modes of inquiry, each essay sheds new light on the works of those composers posterity has deemed central to the modern Western musical tradition. Contributors: Pierre Boulez, Scott Burnham, Elliott Carter, Robert Curry, Walter Frisch, David Gable, Philip Gossett, Jeffrey Kallberg, Joseph Kerman, Richard Kramer, William Kinderman, Lewis Lockwood, Sir Charles Mackerras, Robert L. Marshall, Robert P. Morgan, Charles Rosen, Julian Rushton, David Schulenberg, László Somfai, Leo Treitler, James Webster, and Robert Winter. Robert Curry is principalof the Conservatorium High School and honorary senior lecturer in the Centre for Medieval Studies, University of Sydney; David Gable is Assistant Professor of Music at Clark-Atlanta University; Robert L. Marshall is Louis, Frances, and Jeffrey Sachar Professor Emeritus of Music at Brandeis University. |
| david ledbetter bach: Musical Authorship from Schütz to Bach Stephen Rose, 2019-05-30 Explores the meanings of the term 'author' for seventeenth-century German musicians, examining how compositions were made and used. |
| david ledbetter bach: The Routledge Research Companion to Johann Sebastian Bach Robin Leaver, 2016-11-25 The Ashgate Research Companion to Johann Sebastian Bach provides an indispensable introduction to the Bach research of the past thirty-fifty years. It is not a lexicon providing information on all the major aspects of Bach's life and work, such as the Oxford Composer Companion: J. S. Bach. Nor is it an entry-level research tool aimed at those making a beginning of such studies. The valuable essays presented here are designed for the next level of Bach research and are aimed at masters and doctoral students, as well as others interested in coming to terms with the current state of Bach research. Each author covers three aspects within their specific subject area; firstly, to describe the results of research over the past thirty-fifty years, concentrating on the most significant and controversial, such as: the debate over Smend's NBA edition of the B minor Mass; Blume's conclusions with regard to Bach's religion in the wake of the 'new' chronology; Rifkin's one-to-a-vocal-part interpretation; the rediscovery of the Berlin Singakademie manuscripts in Kiev; the discovery of hitherto unknown manuscripts and documents and the re-evaluation of previously known sources. Secondly, each author provides a critical analysis of current research being undertaken that is exploring new aspects, reinterpreting earlier assumptions, and/or opening-up new methodologies. For example, Martin W. B. Jarvis has suggested that Anna Magdalena Bach composed the cello suites and contributed to other works of her husband - another controversial hypothesis, whose newly proposed forensic methodology requires investigation. On the other hand, research into Bach's knowledge of the Lutheran chorale tradition is currently underway, which is likely to shed more light on the composer's choices and usage of this tradition. Thirdly, each author identifies areas that are still in need of investigation and research. |
DAVID Functional Annotation Bioinformatics Microarray Analysis
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DAVID Functional Annotation Bioinformatics Microarray Analysis
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