J.S. Bach's 250 extant organ works represent the greatest body of music for the pipe organ, and during his lifetime Bach was able to combine great virtuosity--daring passages for the feet as well as the hands--with bold, dramatic gestures to produce music that dazzled contemporary audiences. In this book, leading musicologist George B. Stauffer shows that Bach focused steadily on organ composition for more than fifty years, and that his unending quest for novelty, innovation, and refinement resulted in pieces that continue to reward and awe listeners today.
J.S. Bach's 250 extant organ works represent the greatest body of music for the pipe organ, and during his lifetime Bach was able to combine great virtuosity--daring passages for the feet as well as the hands--with bold, dramatic gestures to produce music that dazzled contemporary audiences. In this book, leading musicologist George B. Stauffer shows that Bach focused steadily on organ composition for more than fifty years, and that his unending quest for novelty, innovation, and refinement resulted in pieces that continue to reward and awe listeners today.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
George B. Stauffer is Distinguished Professor of Music History and Dean Emeritus of the Mason Gross School of the Arts, Rutgers University. He is well known for his writings on the music and culture of the Baroque Era and the life and works of Johann Sebastian Bach, in particular. He has written or edited eight books, including Bach: The Mass in B Minor and The World of Baroque Music, and he has contributed numerous articles to American, European, and Asian journals. He has also written pieces for The New York Review of Books, The New York Times, and The Weekly Standard. Stauffer has held Guggenheim, Fulbright, ACLS, IREX, and Bogliasco fellowships, and he is a frequent speaker at Bach festivals, concert halls, and universities in the United States and abroad. A past President of the American Bach Society, Stauffer is General Editor of the Leupold Edition of The Complete Organ Works of Johann Sebastian Bach.
Inhaltsangabe
* Preface * Abbreviations and Terms * * Introduction: The World of Bach's Organ Music * Central German Music Culture ~ Grandest Machine of All ~ Transmission of Bach's Organ Works * Part I - Learning the Craft: Eisenach, Ohrdruf, Lüneburg, and Weimar (1685-1703) * 1 - The Young Bach * Eisenach ~ Ohrdruf ~ Lüneburg ~ Weimar * 2 - Study and Models * Ohrdruf: Johann Christoph Bach and Thuringian Circles ~ Lüneburg: Georg Böhm and North German Circles * 3 - Initial Efforts * Neumeister Chorales ~ Free Works * Part II - The "First Fruits": Arnstadt and Mühlhausen (1703-1708) * 4 - Bach in Arnstadt and Mühlhausen * Organist at the New Church ~ Lübeck Pilgrimage ~ Organist at St. Blasius's Church * 5 - Chorale-based Works * Chorale Settings ~ Chorale Partitas * 6 - Free Works * Multi-sectional Praeludia ~ Prelude-Fugue Pairs ~ Independent Fugues ~ Unica * Part III - "The Golden Years": Weimar (1708-1717) * 7 - Bach in Weimar * Organist and Chamber Musician at the Weimar Court ~ Chapel Organ and Other Instruments ~ New Connections, New Influences ~ Eclectic Blends and Hybrid Forms * 8 - The Orgel-Büchlein * Compositional History ~ Function in Weimar ~ Musical Style: Melody Chorales, Canonic Chorales, Florid-Melody Chorales, Unique Settings * 9 - Concerto Transcriptions * Incomparable Things ~ Challenges of Transcription Process ~ The Music: Vivaldi Transcriptions, Johann Ernst Transcriptions ~ Bach versus Vivaldi * 10 - Large Chorale Settings * Fore-Imitation Settings ~ Florid-Melody Settings ~ Chorale Trios ~ Cantus Firmus Settings ~ Eclectic Blends ~ Sei gegrüßet, Jesu gütig * 11 - Small Chorale Settings * Miscellaneous Manual Works ~ Chorale Fughettas ~ Congregational Accompaniment: Figured-Bass and Interlude Settings * 12 - Free Works: Prelude-Fugue Pairs * Prelude and Fugue Ideal ~ Modification of North German and French Idioms ~ Adoption of Italian Concerto Principles * 13 - Free Works: Independent Fugues and Singular Pieces * Independent Fugues ~ Experimental Forms ~ The Great Passacaglia * Part IV - The Organist as Capellmeister: Cöthen (1717-1723) * 14 - Bach in Cöthen * Capellmeister at the Cöthen Court ~ Repertory ~ New Stylistic Developments ~ Organ Inspections and Performances * 15 - Organ Teacher, Consultant, and Recitalist * Didactic Works ~ Organ Pedagogue ~ Organ Examiner and Consultant ~ Organ Recitalist * 16 - Bach's Art of Registration * The German Tradition ~ Full Organ ~ All the Remaining Diverse Variations ~ Hymn Accompaniment ~ Particular Stops and Combinations * Part V - The Grand Synthesis: Leipzig (1723-1750) * 17 - Bach in Leipzig * St. Thomas Cantor and Director of Music ~ Fusion of Styles ~ New Role of Revision and Recycling ~ Central German Organ * 18 - Cantata and Passion Movements with Obbligato Organ and Miscellaneous Trios * Obbligato Organ Repertory ~ Performance Considerations ~ Musical Style ~ Trio Transcriptions and Compositions ~ Function of the Pieces ~ Stylistic Aspects * 19 - Six Sonatas * The Genesis of the Collection ~ Pedagogical Use ~ Musical Style ~ Performance Issues ~ Postscript * 20 - Free Works: Prelude and Fugues * An Unorthodox Transcription ~ Four Monumental Works * 21 - Free Works: Singular Pieces * Singular Pieces ~ Prelude and Fugues: Final Directions * 22 - Clavier-Übung III * The Clavier-Übung Series ~ Genesis of the Original Print ~ The Music ~ Structure of the Collection ~ Duets ~ Reception of the Music * 23 - Canonic Variations on "Vom Himmel hoch, da komm ich her" * The Canonic Variations Project ~ The Music ~ Organizational Schemes * 24 - The Schübler Chorales * The Problematic Original Print ~ Hand-Corrected Copies ~ The Music ~ Structure of the Collection ~ Significance of the Settings * 25 - Nineteen Large Chorales of Various Kinds * The Leipzig Chorale Portfolio ~ Why These Settings? ~ The Revisions ~ Unanswered Questions ~ Search for Perfection * Appendix: Three Central German Organs, specifications
* Preface * Abbreviations and Terms * * Introduction: The World of Bach's Organ Music * Central German Music Culture ~ Grandest Machine of All ~ Transmission of Bach's Organ Works * Part I - Learning the Craft: Eisenach, Ohrdruf, Lüneburg, and Weimar (1685-1703) * 1 - The Young Bach * Eisenach ~ Ohrdruf ~ Lüneburg ~ Weimar * 2 - Study and Models * Ohrdruf: Johann Christoph Bach and Thuringian Circles ~ Lüneburg: Georg Böhm and North German Circles * 3 - Initial Efforts * Neumeister Chorales ~ Free Works * Part II - The "First Fruits": Arnstadt and Mühlhausen (1703-1708) * 4 - Bach in Arnstadt and Mühlhausen * Organist at the New Church ~ Lübeck Pilgrimage ~ Organist at St. Blasius's Church * 5 - Chorale-based Works * Chorale Settings ~ Chorale Partitas * 6 - Free Works * Multi-sectional Praeludia ~ Prelude-Fugue Pairs ~ Independent Fugues ~ Unica * Part III - "The Golden Years": Weimar (1708-1717) * 7 - Bach in Weimar * Organist and Chamber Musician at the Weimar Court ~ Chapel Organ and Other Instruments ~ New Connections, New Influences ~ Eclectic Blends and Hybrid Forms * 8 - The Orgel-Büchlein * Compositional History ~ Function in Weimar ~ Musical Style: Melody Chorales, Canonic Chorales, Florid-Melody Chorales, Unique Settings * 9 - Concerto Transcriptions * Incomparable Things ~ Challenges of Transcription Process ~ The Music: Vivaldi Transcriptions, Johann Ernst Transcriptions ~ Bach versus Vivaldi * 10 - Large Chorale Settings * Fore-Imitation Settings ~ Florid-Melody Settings ~ Chorale Trios ~ Cantus Firmus Settings ~ Eclectic Blends ~ Sei gegrüßet, Jesu gütig * 11 - Small Chorale Settings * Miscellaneous Manual Works ~ Chorale Fughettas ~ Congregational Accompaniment: Figured-Bass and Interlude Settings * 12 - Free Works: Prelude-Fugue Pairs * Prelude and Fugue Ideal ~ Modification of North German and French Idioms ~ Adoption of Italian Concerto Principles * 13 - Free Works: Independent Fugues and Singular Pieces * Independent Fugues ~ Experimental Forms ~ The Great Passacaglia * Part IV - The Organist as Capellmeister: Cöthen (1717-1723) * 14 - Bach in Cöthen * Capellmeister at the Cöthen Court ~ Repertory ~ New Stylistic Developments ~ Organ Inspections and Performances * 15 - Organ Teacher, Consultant, and Recitalist * Didactic Works ~ Organ Pedagogue ~ Organ Examiner and Consultant ~ Organ Recitalist * 16 - Bach's Art of Registration * The German Tradition ~ Full Organ ~ All the Remaining Diverse Variations ~ Hymn Accompaniment ~ Particular Stops and Combinations * Part V - The Grand Synthesis: Leipzig (1723-1750) * 17 - Bach in Leipzig * St. Thomas Cantor and Director of Music ~ Fusion of Styles ~ New Role of Revision and Recycling ~ Central German Organ * 18 - Cantata and Passion Movements with Obbligato Organ and Miscellaneous Trios * Obbligato Organ Repertory ~ Performance Considerations ~ Musical Style ~ Trio Transcriptions and Compositions ~ Function of the Pieces ~ Stylistic Aspects * 19 - Six Sonatas * The Genesis of the Collection ~ Pedagogical Use ~ Musical Style ~ Performance Issues ~ Postscript * 20 - Free Works: Prelude and Fugues * An Unorthodox Transcription ~ Four Monumental Works * 21 - Free Works: Singular Pieces * Singular Pieces ~ Prelude and Fugues: Final Directions * 22 - Clavier-Übung III * The Clavier-Übung Series ~ Genesis of the Original Print ~ The Music ~ Structure of the Collection ~ Duets ~ Reception of the Music * 23 - Canonic Variations on "Vom Himmel hoch, da komm ich her" * The Canonic Variations Project ~ The Music ~ Organizational Schemes * 24 - The Schübler Chorales * The Problematic Original Print ~ Hand-Corrected Copies ~ The Music ~ Structure of the Collection ~ Significance of the Settings * 25 - Nineteen Large Chorales of Various Kinds * The Leipzig Chorale Portfolio ~ Why These Settings? ~ The Revisions ~ Unanswered Questions ~ Search for Perfection * Appendix: Three Central German Organs, specifications
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