This collection of essays explores the literary and aesthetic contexts of C. P. E. Bachs later work, focussing on his activity in Hamburg from 1767 until his death in 1788. It includes essays on Bachs position on contemporary concepts of sensibility, his sacred music and views on religion, and on the contemporary and posthumous reception of his music. This volume, the first English-language collection of essays devoted to C. P. E. Bach since 1988, seeks to re-establish the centrality of Bachs music in late 18th-century German culture.
This collection of essays explores the literary and aesthetic contexts of C. P. E. Bachs later work, focussing on his activity in Hamburg from 1767 until his death in 1788. It includes essays on Bachs position on contemporary concepts of sensibility, his sacred music and views on religion, and on the contemporary and posthumous reception of his music. This volume, the first English-language collection of essays devoted to C. P. E. Bach since 1988, seeks to re-establish the centrality of Bachs music in late 18th-century German culture.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Annette Richards is Associate Professor of Music and University Organist at Cornell University. She is the author of The Free Fantasia and the Musical Picturesque (Cambridge, 2001), and co-editor of Acting on the Past: Historical Performance Across the Disciplines (2000). An active performer, she has won prizes at the Dublin International Organ Competition and the Bruges Early Music Festival, and has recorded the complete works of Melchior Schildt at the historic organ in Roskilde Cathedral.
Inhaltsangabe
Introduction; 1. Diderot's Paradoxe and C. P. E. Bach's Empfindungen Richard Kramer; 2. Dark fantasies and the dawn of the self: Gerstenberg's monologues for C. P. E. Bach's C Minor Fantasia Tobias Plebuch; 3. Sources of C. P. E. Bach's solo keyboard works in the Sing-Akademie archives Darrell M. Berg; 4. Reason and revelation in C. P. E. Bach's Resurrection Oratorio Richard Will; 5. C. P. E. Bach and C. C. Sturm: sacred song, public church service, and private devotion Ulrich Leisinger; 6. An enduring moment: C. P. E. Bach and the musical sublime Annette Richards; 7. C. P. E. Bach and the living traditions of learned counterpoint David Yearsley; 8. Plates for sale: C. P. E. Bach and the story of Die Kunst der Fuge David Ferris; 10. 'Our old great favourite': Burney, Bach and the Bachists Christopher Hogwood.
Introduction; 1. Diderot's Paradoxe and C. P. E. Bach's Empfindungen Richard Kramer; 2. Dark fantasies and the dawn of the self: Gerstenberg's monologues for C. P. E. Bach's C Minor Fantasia Tobias Plebuch; 3. Sources of C. P. E. Bach's solo keyboard works in the Sing-Akademie archives Darrell M. Berg; 4. Reason and revelation in C. P. E. Bach's Resurrection Oratorio Richard Will; 5. C. P. E. Bach and C. C. Sturm: sacred song, public church service, and private devotion Ulrich Leisinger; 6. An enduring moment: C. P. E. Bach and the musical sublime Annette Richards; 7. C. P. E. Bach and the living traditions of learned counterpoint David Yearsley; 8. Plates for sale: C. P. E. Bach and the story of Die Kunst der Fuge David Ferris; 10. 'Our old great favourite': Burney, Bach and the Bachists Christopher Hogwood.
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