J.S. Bach's Musical Offering is a broadly known and extensively studied collection of musical pieces, written in 1747 shortly after his visit to the Potsdam court of Frederick the Great. The ...composition, however, survived in separated sheets of different formats, and finding the logic of its organization into a cycle became a great challenge for scholars of the following centuries. Based on ground-breaking findings by Christoph Wolff, who revealed the main principles of the Musical Offering's structure, as well as those promulgated by Hans Theodor David, and more recently by G. Butler, W. Wiemer, R. Tatlow, and many other scholars, this book develops and revises their ideas, arriving at a unique conception of the possible original structure of the Musical Offering. While the rods of the collection do not provoke disagreements among scholars, the ordering of the ten canons (including the Fuga canonica) remains mysterious in many aspects, and this text gives them a close examination. It considers their kinds (thematic and contrapuntal); textual inscriptions; the canons' function within the cycle (as vignettes to the main pieces); and their location, among other aspects. The volume includes profuse references to historical and cultural context; court etiquette; contrapuntal techniques; the history of the ricercar; expertise in Bach's handwriting and habits of music layout in his manuscripts; and the Baroque principles of organization in arts.
Der Artikel nimmt Bezug auf die Diskussion, ob die "Quadrupelfuge" aus der Kunst der Fuge vollendet vorgelegen habe oder nicht. Mittels Analyse der Handschrift SB P 200/3, die neben dem musikalischen ...Gehalt auch ihr Erscheinungsbild und die Art der in ihr vorgenommenen Korrekturen einbezieht, trifft der Autor Aussagen über Intentionen und Strategien des Komponisten im Verlauf des Entstehungsprozesses des Werkes.
Erwähnte Artikel: Peter Wollny: Neue Bach-Funde. BJ 1997, S. 7–50
Anatoly Milka: Zur Datierung der H-Moll-Messe und der Kunst der Fuge. BJ 2010, S. 53–68
Otfried Büsing: Hatte Nottebohm recht? BJ 2015, S. 193-203
Mittels detaillierter graphologischer Betrachtungen behandelt der Artikel die Frage nach der Datierung Bachs beider großen Spätwerke. Dabei werden eingangs die dazu bisher gültigen Thesen Yoshitake ...Kobayashi und Christoph Wolffs vorgestellt, wonach die bzw. Teile der h-moll-Messe BWV 232 sowie die unvollendete Fuge aus BWV 1080 als Bachs letzte Werke anzusehen sind. Demgegenüber kommt der Autor des vorliegenden Artikels zu dem Schluss, dass zumindest die Annahme gerechtfertigt sei, dass das ungefähre Datum der Vollendung der Messe Ende 1749 anzusetzen und die Kunst der Fuge hingegen später, ins Frühjahr 1750 zu datieren sei. Somit wäre Bachs opus ultimum die Kunst der Fuge, wie es auch der Nekrolog behauptet.
Erwähnte Artikel: Detlev Kranemann: Johann Sebastian Bachs Krankheit und Todesursache - Versuch einer Deutung. BJ 1990, S. 53-64
Peter Wollny: Neue Bach-Funde. BJ 1997, S. 7-50
Michael Maul: "Dein Ruhm wird wie ein Demantstein, ja wie ein fester Stahl beständig sein". BJ 2001, S. 7-22
Walter Werbeck: Bach und der Kontrapunkt. Neue Manuskript-Funde. BJ 2003, S. 67-96
J.S. Bach's Musical Offering is a broadly known and extensively studied collection of musical pieces, written in 1747 shortly after his visit to the Potsdam court of Frederick the Great. The ...composition, however, survived in separated sheets of different formats, and finding the logic of its organization into a cycle became a great challenge for scholars of the following centuries. Based on ground-breaking findings by Christoph Wolff, who revealed the main principles of the Musical Offering's structure, as well as those promulgated by Hans Theodor David, and more recently by G. Butler, W. Wiemer, R. Tatlow, and many other scholars, this book develops and revises their ideas, arriving at a unique conception of the possible original structure of the Musical Offering. While the rods of the collection do not provoke disagreements among scholars, the ordering of the ten canons (including the Fuga canonica) remains mysterious in many aspects, and this text gives them a close examination. It considers their kinds (thematic and contrapuntal); textual inscriptions; the canons' function within the cycle (as vignettes to the main pieces); and their location, among other aspects. The volume includes profuse references to historical and cultural context; court etiquette; contrapuntal techniques; the history of the ricercar; expertise in Bach's handwriting and habits of music layout in his manuscripts; and the Baroque principles of organization in arts.
An analysis of Gottfried Kirchhoff's "L'A.B.C. Musical is presented. Before the 2002 discovery of the St. Petersburg, Russia, copy of "L'A.B.C. Musical," the major German source to include ..."partimento" movements was P 296, known as the Langloz manuscript. Comparing the contents of "L'A.B.C. Musical" with the 38 fugues in P 296 reveals that half of the fugues - eight of the 16 - in Kirchhoff's anthology also are present in the Langloz manuscript. Although there are slight differences in the notation of certain melodic passages and in the notation of the figured bass, there is no doubt that the fugues were written by the same composer. Sheet music for the partimento movements and fugues is included.
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Milka focuses on the reproduction of the original edition of Gottfried Kirchhoff's L'A.B.C Musical. The first known reference to Kirchhoff's L'ABC Musical is found in the first part of F. W. ...Marpurg's Abhandlungvon der Fuge (1753), where he refers to the composers' "well-known fugues in all 24 keys." In 2002, a copy of the collection was found in the library of the National Conservatory of St. Petersburg. The re-emergence of the collection, now available in facsimile, along with a modern realization of the 16 preludes and fugues, provides a point of comparison with the other "well-known" collection of preludes and fugues from this period, namely, the first volume of J. S. Bach's Well-Tempered Clavier. The appearance of the copy also serves as an important source, along with P 296, of the partimento procedure common in the baroque by which an independent figured bass line contains the basic elements of a simple composition, a procedure that served Bach and his colleagues as a method for instructing students in the art of writing fugues.
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Bach’s letters from the end of 1748 and the beginning of 1749 shed light on an event in his life that has had further consequences. Bach studies do not offer neither unified nor clearly defined ...opinion on this topic. Studying the letters of the mentioned period, particularly the writing peculiarities, allows us to point out, with some degree of certainty, the reason for the occurrence of some facts in Bach’s life. Within this context, some information on the last two years of this great composer’s life has become clearer – the contents of the Premier Minister’s letter to the Leipzig Governor, Gottlob Harrer’s presentation, as well as some events from Bach’s last days.
J. S. Bach’s Canonic Variations are available in their original edition (BWV 769) and the autograph manuscript (BWV 769a, manuscript P 271). Remarkably, the two versions differ significantly not only ...in graphics and design, but also in musical composition. The comparative analysis reveals a number of oddities. The original edition, according to the title, presents the work as a cycle of variations, while the autograph version as a sequence of canons, without a hint of any variation. In this regard, of particular interest is the original printed edition. It has obvious signs it was intended for performance: a layout meant to avoid page-turning when performing the piece, an indication which hand (dextra or sinistra) to play a particular voice, signs of dynamics, the manner of performance, etc. At the same time, it has certain features that indicate the opposite. First of all, the canons in the first three variations are encrypted. Another oddity associated with the first one, yet representing a separate issue, is that the canons in the fourth and fifth variations are not encrypted. Why prompted the composer to encrypt the canons and why did he do it only in the original printed version? This is the question the article aims to answer.
