Books Recently Published Procell, James; Ertz, Matt
Notes (Music Library Association),
03/2017, Letnik:
73, Številka:
3
Journal Article
Recenzirano
Real love, no drama: the music of Mary J. Blige. Musical pathways in recovery: community music therapy and mental wellbeing. LC 2015-041377 Routledge studies in popular music Carlson, Elizabeth A. ...North Carolina string music masters: old-time and bluegrass legends. LC 2015-043977 Cosby, James A. Devil's music, holy rollers and hillbillies: how America gave birth to rock and roll. Cambridge: Cambridge University Press, 2016.\n Encyclopedia of Kiss: music, personnel, events and related subjects.
Although he is the son of J. S. Bach, C. P. E. Bach is an important composer in his own right, this long-awaited annotated bibliography presents a complete listing of the works of C. P. E. Bach. This ...volume in the Routledge Music Bibliographies series includes many different aspects of his work: the editing of his father's masterpieces, his concertos and sonatas and theoretical essays. Doris Powers also collects writings that consider C. P. E. Bach's influence, the reception of his works and the cultural milieu in which Bach composed.
"Doris Powers' C.P.E. Bach: A Guide to Research does an excellent job of capturing the history and current state of research in the field." -- Fontis Artis Musicae
Carl Philipp Emanuel Bach’s late Free Fantasia in F-sharp Minor exists in two versions—one for solo keyboard (Wq. 67/H. 300), the other for keyboard and violin accompaniment (Wq. 80/H. 536)—and bears ...the subtitle C. P. E. Bachs Empfindungen. For some modern listeners and scholars, the chamber version of the fantasia transforms the private outpourings characteristic of the genre into a public display that condescends to the sociability of the popular accompanied sonata and forces an interloper accompanist onto the solo fantasist. Adding insult to injury, the arrangement ends with a seemingly inexplicable A-major Allegro.
Yet the arrangement ought not to be dismissed. In both score and performance, it demands a sensitive and sympathetic relationship between violin and keyboard that points to a new connection between Bach and Empfindsamkeit, a literary movement that emphasized sympathy (Mitleid) as much as if not more than emotional disclosure. I offer a new interpretation of the accompanied fantasia by situating Bach’s arrangement and its performance in the context of contemporary philosophies of sympathy and practices of sympathetic readership. I compare the relationships of the composer, keyboardist, and violinist to those of author, character, and reader to illustrate that the violinist is an integral figure in the disclosure of C. P. E. Bachs Empfindungen. The violinist appears to be Bach’s sympathetic reader.
This article focuses on the use of Bach's Goldberg Variations in Christopher Münch's The Hours and Times (1991), a pioneering example of New Queer Cinema that takes as its subject matter a trip made ...by John Lennon and Brian Epstein to Barcelona, infusing it with homoerotic overtones. I unpick the particular cultural mediations at work in this strange assemblage of eighteenth-century keyboard music, 1960s rock icons, and late twentieth-century identity politics. This leads me to explore Glenn Gould's post-war popularization of the Goldberg, a metaphorical connection between Bach's music and Barcelona's distinctive architecture, and, first and foremost, the emergence of the 'act of listening to Bach' as a trope in Ingmar Bergman's cinema. I show how Münch draws on Bach, and particularly on Bergman's use of the Goldberg Variations in The Silence (1963), to provide a reading of the Beatles' story that attempts to be sensitive to the elusiveness of time and gender.
These brief reflections, provoked by Leo Treitler’s “Speaking of the I-Word” (AfMw 72/1), attempt to sharpen the focus on the concept “improvisation” both as logos and as praxis in the performance ...and composition of the fantasia in the later eighteenth century. Sulzer, Rousseau, Em. Bach, Koch, and Schenker contribute to the conversation.
Taking as its point of departure C. P. E. Bach's extensive, and newly reconstructed, portrait collection, this essay explores the ways in which history in the late eighteenth century was conceived at ...the meeting point between the portrait collector, the physiognomist, and the anecdotist. Exploring the network of ideas and cultural practices by focusing on the collecting of individual countenances and their visual and literary representations, this article argues that anecdote, annotation, physiognomical analysis, and the visual discipline of portraiture were fundamental to the late eighteenth-century conception of music history. Further, it argues that C. P. E. Bach's activity as a portrait collector may be understood as a significant music-historiographical project in its own right, one which played an important role in the work of contemporary, and later, music historians.
Here, Chulenberg says a quarter of a century ago, when Early Music was still a teenager, two issues were devoted to Carl Philipp Emanuel Bach (1714-88), in observance of the 200th anniversary of his ...death. Among the articles included was one in which he discussed unsolved performance questions raised by the keyboard sonatas and concertos of this second son of J S Bach. At the time, Emanuel Bach was still known almost exclusively as a composer for keyboard instruments, and much of his music was not only unpublished, but inaccessible. Since then, most of his missing sacred vocal compositions, written during his last 20 years at Hamburg, have come to light. As with so many questions about historical performance, the increased availability of sources and general information has led not so much to definitive answers as to a deepened appreciation for the complexity of the issues and the diversity of practices even within a single time and place. Yet he less confident than he was in 1988 that people can be sure of what Emanuel and his contemporaries meant when they urged one another to perform expressively--not 'like a trained bird,' as Bach famously wrote.
In the eighteenth century, and well into the nineteenth, it was customary to include the names of subscribers at the beginning of a major musical publication. However, when Carl Philipp Emanuel ...Bach's oratorio, Die Israeliten in der Wtiste, was published in late summer 1775, it did not contain the names of purchasers. This is all the more surprising since, in announcements about the forthcoming edition that appeared in German newspapers in the fall of 1774, Bach tells potential buyers that that their names will be printed along with the work. But in a letter he sent his publisher, Johann Gottlob Immanuel Breitkopf, several months later, Bach informed him that, because most of the subscribers did not want their names known, they would not be listed after all. The most likely reason the individuals who purchased Bach's oratorio wished to remain anonymous was because they were Freemasons or Masonic Lodges.
Exner takes a look at the background for the appointment of Carl Philipp Emanuel Bach as Hamburg's music director for the city's five main churches in the late 1760s. The composer was 54 and had ...served as cembalist in the Royal Prussian Kapelle at the court of Frederick II in Berlin for nearly 30 years. The new position became available following the death of Georg Philipp Telemann (1681-1767), Bach's godfather. Bach remained at Telemann's former post for the rest of his life, often reperforming his godfather's compositions and following in his entrepreneurial footsteps. Taking the new job marked a new beginnign in Bach's career, but was also the culmination of a journey that began over a baptismal font in Weimar more than a half century earlier.
Carl Philipp Emanuel Bach belongs among the few musicians who left a mark in the history of music well beyond his contributions as a famous virtuoso and a distinguished composer. As author of the ...earliest biography of his father, he significantly shaped the perception of J. S. Bach's life until the present day. His own autobiography of 1772 gives much insight into his art and contemporaneous musical life. His large music library and extensive collection of musician portraits opens a window on the composer's curatorial activities. Finally, the context of the doublechoir Heilig Wq 217 sheds light on his promotion of religious concert music, his concern about his own posthumous legacy, and his original style with its impact on the music that would follow.
