In Bach in America, volume 5 of Bach Perspectives, nine scholars track Johann Sebastian Bach's reputation in America from an artist of relative obscurity to a cultural mainstay whose music has spread to all parts of the population, inspired a wealth of scholarship, captivated listeners, and inspired musicians. More than a hundred years passed after Bach's death in 1750 before his music began to be known and appreciated in the United States. Barbara Owen surveys Bach's early reception in America and Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers the ways Bach's music came to be known in Boston and Mary J. Greer offers a counterpoint in her study of Bach's reception in New York. The volume continues with Hans-Joachim Schulze's essay linking the American descendants of August Reinhold Bach to J. S. Bach through a common sixteenth-century ancestor. Christoph Wolff focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son, Wilhelm Friedemann. Peter Wollny evaluates several manuscripts not included in Gerhard Herz's study of Bach Sources in America. Bach in America concludes with examinations of Bach's considerable influence on American composers. Carol K. Baron compares the music of Bach and Charles Ives and Stephen A. Crist measures Bach's influence on the jazz pianist and composer Dave Brubeck.
Main description: This volume documents the contributions of the conference "Digital Editions between Experiment and Standardization", which took place on December 6?8, 2007 in the Heinz Nixdorf Museum Forum in Paderborn. It contains the written versions of the oral presentations ? here for the most part greatly expanded ? as well as summaries of the panel discussions of the three conference sections: concepts of digital editions,data formats for written music, and problems of encoding letters, diaries etc.
An exploration into the question of greatness from the Chief Classical Music Critic of the New York Times When he began to listen to the great works of classical music as a child, Anthony Tommasini had many questions. Why did a particular piece move him? How did the music work? Over time, he realized that his passion for this music was not enough. He needed to understand it. Take Bach, for starters. Who was he? How does one account for his music and its unshakeable hold on us today? As a critic, Tommasini has devoted particular attention to living composers and overlooked repertory. But, like all classical music lovers, the canon has remained central for him. In 2011, in his role as the Chief Classical Music Critic for the New York Times, he wrote a popular series in which he somewhat cheekily set out to determine the all-time top ten composers. Inviting input from readers, Tommasini wrestled with questions of greatness. Readers joined the exercise in droves. Some railed against classical music’s obsession with greatness but then raged when Mahler was left off the final list. This intellectual game reminded them why they loved music in the first place. Now in THE INDISPENSABLE COMPOSERS, Tommasini offers his own personal guide to the canon--and what greatness really means in classical music. What does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it? To make his case, Tommasini draws on elements of biography, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time. Because he has spent his life contemplating these titans, Tommasini shares impressions from performances he has heard or given or moments when his own biography proves revealing. As he argues for his particular pantheon of indispensable composers, Anthony Tommasini provides a masterclass in what to listen for and how to understand what music does to us.
The Neumeister Collection of chorale preludes by J.S. Bach was newly discovered in 1985 by researchers at Yale University where, incredibly, it lay unnoticed for 112 years! Quite remarkably, nothing in these works needed to be altered to accommodate the guitar. Indeed, each part lies upon the guitar fingerboard as if it has been composed for the instrument. This book is an excellent resource for teaching alyrical, contrapuntal style of playing at any technical level and provides a wealth of new concert material for guitar duos.
J. S. Bach's sonatas and partitas for solo violin have been central to the violin repertoire since the mid-eighteenth century. This engaging volume is the first comprehensive exploration of the place of these works within Bach's music: it focuses on their structural and stylistic features as they have been perceived since their creation. Joel Lester, a highly regarded scholar, teacher, violinist, and administrator, combines an analytical study, a full historical guide, and an insightful introduction to Bach's style. Individual movements are related to comparable movements by Bach in other media and are differentiated from superficially similar works from later eras. Lester employs descriptions of historical and contemporary recordings, as well as accounts of nineteenth-century performances and commentaries on historical editions, to explore these works as they evolved through the centuries. Wherever possible, he uses analytic tools culled from eighteenth-century ideas, key notions originally developed for the specific purpose of describing the repertoire under consideration. Beginning with an overview of the solo violin music's place within Bach's oeuvre, this study takes the Sonata No. 1 in G minor as the paradigm of Bach's compositional strategy, examining each movement in detail before enlarging the discussion to cover parallel and contrasting features of the A-minor and C-minor sonatas. Next, a chapter is devoted to the three partitas and their roots in various dance-music traditions. The book concludes with a summary of form, style, and rhetoric in Bach's music, in which Lester muses on these masterpieces with an overall command of the music, criticism, and history of the 1700s that is quite rare among scholars. A novel and unprecedented investigation of a particular portion of Bach's accomplishment and a particular aspect of his universal appeal, Bach's Works for Solo Violin will help violinists, students, scholars, and other listeners develop a deeper personal involvement with these wonderful pieces.