, Bach-Studien, iv (1/Leipzig, 1951), pp.19-21; Mendel's review of this publication in Journal of the American Musicological Society, v (1952), pp.252-7, at p.252; and A.
cultivated personal connections with both authors, but he was already familiar with the more limited discussions of historical developments to be found, for instance, in some of Johann Mattheson's writings or in the more specialized Abhandlung von der Fuge (Berlin, 1753-54) (2) by Friedrich Wilhelm Marpurg.
CPEB:CW divides Bach
's keyboard output into ten volumes with eighteen fascicles, beginning with the works published in authorized editions during Bach
's lifetime through I/5, seven fascicles), followed by sonatas not published in Bach
's lifetime (I/6, five fascicles), variation sets (I/7, one fascicle), miscellaneous keyboard works (I/8, two fascicles), organ works (I/9, one fascicle), and arrangements of orchestral works (I/10, two fascicles).
6, contemplating its unique instrumentation, one can ponder and read about what sizes of violas da gamba Bach
might have had in mind.
Einfuhrung in Stil und Technik von Bach
's melodischer Polyphonie" ein Standardwerk seiner Zeit, das binnen zehn Jahren noch zwei weitere Auflagen erfuhr.
Beethoven called him an ocean--"not Bach
(stream) but Meer (ocean)." Johann Sebastian Bach
is surely one of the greatest figures in Western music.
As Koopman observes, Bach
's score notation, not to mention the words `a 2 Bassoni' in the notice at the end of the preceding movement, certainly implies that he expected two bassoonists to read from this music.
Elsewhere, although frequently citing the usual treatises and musical sources and presenting in music examples most of the loci dassici of Bach
performance practice, the book presents little new evidence or argumentation, particularly on the subject of ornaments.
The reception of Bach
's vocal music in Vienna is the subject of the following essay, Christine Blanken's 'Aspekte der Bach-Rezeption: Vokalwerke C.P.E.
Indeed, a page later he lauds the "brilliant achievement of positivistic musicology" accomplished "in an astonishing revision of their chronology [of Bach
's compositions]." But, this concession serves as a preamble to an excursus on "what it [positivistic musicology] has chosen not to do" (p.
Dirst does not present a comprehensive account of the reception of Bach
's keyboard works from 1750 to 1829, but rather engages six case studies that each provide a different perspective on this topic.
Rich with information on various aspects of the organ music of Bach
, the essays are of interest to Bach
researchers, organists, organ history specialists, and other musicians, and is a worthy addition to all libraries.
These include the date Bach
would have encountered the instrument, data on its construction, its condition during Bach
's lifetime and at present, and relevant primary source material.
While not all of Wollny's source assessments have gone undisputed, he has greatly simplified the editing problem by concluding that only two of the eighteen do not derive from Bach
's 1720 autograph, and that these are compromised in various ways as independent versions.
The Neue Bach
Ausgabe: Revidierte Edition will comprise twelve volumes of music, including early cantatas, the 1725 and 1749 versions .of the Si.