Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The ...more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues-some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by a CD with new performances made specially for this volume. In addition to the complete scores for all the music discussed in the book, the CD features Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier-C Major, book 1; and B Major, book 2-and recordings by Davitt Moroney of the Fughetta in C Major, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
Requerimento ao Conselho da Cidade de Leipzig Ricciardi, Rubens Russomanno; Hofmann, Dorothea; Bach, Johann Sebastian
Revista da Tulha,
08/2018, Letnik:
4, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Trata-se da tradução, com notas comentadas, feita por Rubens Russomanno Ricciardi e Dorothea Hofmann, de um requerimento manuscrito, redigido por Bach, em 1730, endereçado ao Conselho da Cidade de ...Leipzig. Não obstante se referir à música sacra, Bach se concentra em condições artísticas para a performance musical de seus conjuntos vocal e instrumental. Reivindica também um número maior de bolsas para seus alunos, bem como critérios mais rigorosos na admissão de estudantes para Escola da Igreja de Tomé. Por fim, Bach, em sua pedagogia, divide os alunos em três categorias: os utilizáveis, os ainda não utilizáveis e os incapazes.
This is a translation by Rubens Russomanno Ricciardi and Dorothea Hofmann, with commentary notes, of a manuscript application written by Bach in 1730 and addressed to the City Council of Leipzig. Albeit referring to sacred music, Bach focuses on the artistic conditions for the musical performance of its vocal and instrumental ensembles. He also vindicates a greater number of scholarships for his students, as well as stricter criteria in student admission to the St. Thomas Church school. Finally, Bach, in his pedagogy, divides the students into three categories: the employable, the not-yet-employable, and the unemployable.
This is the only English translation of this important book by the world's most distinguished Bach scholar. This work is widely regarded as the most authoritative and comprehensive treatment of the ...Bach cantatas. It begins with a historical survey of the seventeenth-century background to the cantatas, and performance practice issues. The core of the book is a work-by-work study in which each cantata in turn is represented by its libretto, a synopsis of its movements,
and a detailed analytical commentary. This format makes it extremely useful as a reference work for anyone listening to, performing in, or studying any of the Bach cantatas.
In this edition all the cantata librettos are given in German-English parallel text. The most recent (sixth) German edition appeared in 1995. For the English edition the text has been carefully revised to bring it up to date, taking account of Bach scholarship since that date.
Because it has always represented a rich collaboration of the music, art, architecture, handicraft and science of its day, the organ, more than any other instrument, continues to reflect the spirit ...of the age in which it was built. This collection of essays, by leading scholars of the organ, follows the history of six organs in Scandinavia and Northern Germany, telling a unique story of the cultural history of northern Europe during the past four centuries. A CD with appropriate repertoire played on each of the six instruments accompanies the book.
- Installation of musicians/Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, viola; Nick Pritchard, tenor; Christian Immler, bass; Company 14: 20 Magie Nouveau
- Wir müssen durch ...viel Trübsal BWV 146/Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, viola; Nick Pritchard, tenor; Christian Immler, low
- Wer weiss, wie nahe mir mein Ende? BWV 27/Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Nick Pritchard, tenor; Tim Mead, viola; Christian Immler, bass
- Liebster Gott, wenn werd ich sterben? BWV 8/Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, viola; Nick Pritchard, tenor
; Christian Immler, bass
- Ich elender Mensch, wer wird mich erlösen BWV 48/Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, alto; Christian Immler, bass; Company 14: 20, magic; Aragorn Boulanger, dance
- Installation des musiciens / Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, alto; Nick Pritchard, ténor; Christian Immler, basse; Compagnie 14:20 Magie nouvelle
- Wir müssen durch viel Trübsal BWV 146 / Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, alto; Nick Pritchard, ténor; Christian Immler, basse
- Wer weiss, wie nahe mir mein Ende ? BWV 27 / Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Nick Pritchard, ténor; Tim Mead, alto; Christian Immler, basse
- Liebster Gott, wenn werd ich sterben ? BWV 8 / Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, alto; Nick Pritchard, ténor
; Christian Immler, basse
- Ich elender Mensch, wer wird mich erlösen BWV 48 / Johann Sebastian Bach; Pygmalion; Raphaël Pichon, direction; Joanne Lunn, soprano; Tim Mead, alto; Christian Immler, basse; Compagnie 14:20, magie; Aragorn Boulanger, danse
- Concerto pour clavier n° 5 en fa mineur, BWV 1056 / Johann Sebastian Bach; Ensemble Le Balcon; Maxime Pascal, direction; Alexandre Tharaud, piano
- Concerto pour piano n°9 en mi bémol majeur, K.271 ..."Jeunehomme" / Wolfgang Amadeus Mozart, compositeur; Ensemble Le Balcon; Maxime Pascal, direction; Alexandre Tharaud, piano
- Kuleshov / Oscar Strasnoy, compositeur; Ensemble Le Balcon; Maxime Pascal, direction; Alexandre Tharaud, piano
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