Wolfram Ensslin and Tobias Rimek ('Der Choral bei Carl Philipp Emanuel Bach
und das Problem der Zuschreibung') discuss a strangely neglected area of Bach
scholarship: his use of the chorale.
This year commemorates the 250th anniversary of the death of Johann Sebastian Bach
, a man who was little known outside Germany in his lifetime but whose music, written "for the greater glory of God," has become ubiquitous and immortal.
In a typical modern violin 1 part for the B minor Mass we find the music presented in the same score notation that Bach
employed for the bassoons in the `Quondam'; the part thus enables two players to read from it, one performing the solo, the other taking the ripieno line--the conventional arrangement in modern orchestral practice.
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.
40 and 63 below); and Durr, Studien uber die fruhen Kantaten Johann Sebastian Bachs
(2nd edn), p.
6, contemplating its unique instrumentation, one can ponder and read about what sizes of violas da gamba Bach
might have had in mind.
In addition to its value as an insightful historical account of the reception of Bach
's keyboard works in the century following the composer's death, Dirst's Engaging Bach
provides thoughtful connections to the present day.
No one has yet ventured an explanation for this change, although Marshall later remarked that "it is hard to imagine what may have led Bach
even to have considered G major as the opening tonality for this recitative at all" (Cantata Autographs, x).
While several recent editions have emerged in response to dilemmas found in editions of the major choral works in the Neue Bach
-Ausgabe, and thus resolving some long-standing textual issues (discussed in my review of other Bach
editions in Notes 63, no.
and the Musical Sublime" concentrates on Bach
's stylistic achievement of sublimity.
John Passion within the surviving manuscript score and performing parts--one of the greatest accomplishments of Bach
scholarship in the preceding century.
Johannespassion: Passio secundum Joannem, Fassung II (1725), BWV 245/BC D 2b, fur Soli (SATBB), Chor (SATB), 2 Traversfloten, 2 Oboen/Oboen da caccia, Oboe d'amore, Viola da gamba, 2 Violinen, Viola und Basso continuo
What was obvious and straightforward to Bach
as composer, as well as to the members of the congregations who first heard his music, is often obscure or totally unrecognized in the twenty-first century.
The book is formatted in eleven sections that lead us from the basic bibliographic tools of Bach
research, biography, and context through studies of sources, transmission, and editions.
Like no other work of Johann Sebastian Bach
, the B Minor Mass has enjoyed constant scholarly attention for many decades, enabling it to become the touchstone for Bach
Such subdivision is understandable in an index like this, but rather than creating another numbering scheme, it would have been more helpful to have followed the example of the Bach
Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs