In J. S. Bach at His Royal Instrument, author Russell Stinson delves into various unexplored aspects of the organ works of Johann Sebastian Bach. Drawing on previous research and new archival sources, he sheds light on many of the most mysterious aspects of these masterpieces, and their reception, and shows how they have remained a fixture of Western culture for nearly three hundred years.
In J. S. Bach at His Royal Instrument, author Russell Stinson delves into various unexplored aspects of the organ works of Johann Sebastian Bach. Drawing on previous research and new archival sources, he sheds light on many of the most mysterious aspects of these masterpieces, and their reception, and shows how they have remained a fixture of Western culture for nearly three hundred years.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Russell Stinson is the Josephine Emily Brown Professor of Music and College Organist at Lyon College in Batesville, Arkansas. He is the author of The Reception of Bach's Organ Works from Mendelssohn to Brahms (OUP, 2006), J. S. Bach's Great Eighteen Organ Chorales (OUP, 2001), Bach: The Orgelbüchlein (reissued by OUP, 1999), and The Bach Manuscripts of Johann Peter Kellner and His Circle.
Inhaltsangabe
Contents INTRODUCTION ONE Studies and Discoveries TWO Bach and the Varied Stollen THREE Some Observations on Mendelssohn's Reception of Bach's Organ Works FOUR Bach's Organ Works and Schumann's Neue Zeitschrift FIVE César Franck as a Receptor of Bach's Organ Works Franck's Performances of Bach's Organ Works Matters of Pedagogy Franck's Compositional Responses to Bach's Organ Works SIX Edward Elgar as a Receptor of Bach's Organ Works Elgar as Bach Interpreter Elgar as Bach Devotee and Bach Critic Elgar's Bach Transcriptions SEVEN Aspects of Reception from Bach's Day to the Present The Six Trio Sonatas, BWV 525-30 The Prelude and Fugue in D Major, BWV 532 The Prelude and Fugue in E Minor, BWV 533 The Toccata and Fugue in F Major, BWV 540 The Fantasy and Fugue in G Minor, BWV 542 The Six Great Preludes and Fugues, BWV 543-48 The Prelude and Fugue in E-flat Major, BWV 552 The Toccata, Adagio, and Fugue in C Major, BWV 564 The Toccata and Fugue in D Minor, BWV 565 The Fantasy in G Major (Pièce d'Orgue), BWV 572 The Passacaglia in C Minor, BWV 582 "Ich ruf zu dir, Herr Jesu Christ, " BWV 639 "Herzlich tut mich verlangen, " BWV 727 APPENDIX 1 APPENDIX 2 LITERATURE CITED
Contents INTRODUCTION ONE Studies and Discoveries TWO Bach and the Varied Stollen THREE Some Observations on Mendelssohn's Reception of Bach's Organ Works FOUR Bach's Organ Works and Schumann's Neue Zeitschrift FIVE César Franck as a Receptor of Bach's Organ Works Franck's Performances of Bach's Organ Works Matters of Pedagogy Franck's Compositional Responses to Bach's Organ Works SIX Edward Elgar as a Receptor of Bach's Organ Works Elgar as Bach Interpreter Elgar as Bach Devotee and Bach Critic Elgar's Bach Transcriptions SEVEN Aspects of Reception from Bach's Day to the Present The Six Trio Sonatas, BWV 525-30 The Prelude and Fugue in D Major, BWV 532 The Prelude and Fugue in E Minor, BWV 533 The Toccata and Fugue in F Major, BWV 540 The Fantasy and Fugue in G Minor, BWV 542 The Six Great Preludes and Fugues, BWV 543-48 The Prelude and Fugue in E-flat Major, BWV 552 The Toccata, Adagio, and Fugue in C Major, BWV 564 The Toccata and Fugue in D Minor, BWV 565 The Fantasy in G Major (Pièce d'Orgue), BWV 572 The Passacaglia in C Minor, BWV 582 "Ich ruf zu dir, Herr Jesu Christ, " BWV 639 "Herzlich tut mich verlangen, " BWV 727 APPENDIX 1 APPENDIX 2 LITERATURE CITED
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