About Bach by Gregory S Butler PhD, George Stauffer, Mary Dalton Greer

By Gregory S Butler PhD, George Stauffer, Mary Dalton Greer

That Johann Sebastian Bach is a pivotal determine within the heritage of Western track is hardly ever information, and the importance of his fulfillment is so large that it may be tough to know. In About Bach, fifteen students express that Bach's significance extends from choral to orchestral track, from sacred tune to musical parodies, and likewise to his scribes and scholars, his predecessors and successors. extra, the participants exhibit a variety of musicological ways, starting from shut reports of Bach's offerings of musical shape and libretto to wider analyses of the ancient and cultural backgrounds that impinged upon his creations and their lasting effect. This quantity makes major contributions to Bach biography, interpretation, pedagogy, and performance.

Contributors are Gregory G. Butler, Jen-Yen Chen, Alexander J. Fisher, Mary Dalton Greer, Robert Hill, Ton Koopman, Daniel R. Melamed, Michael Ochs, Mark Risinger, William H. Scheide, Hans-Joachim Schulze, Douglass Seaton, George B. Stauffer, Andrew Talle, and Kathryn Welter.

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Er segnet, die den Herrn fürchten, beide, Kleine und Große. v. 14. Der Herr segne euch je mehr und mehr, euch und eure Kinder. v. 15.  Philipp Spitta, Johann Sebastian Bach (Leipzig: Breitkopf & Härtel, 1870–1880). A. Fuller-Maitland (London: Novello, 1889; reprint New York: Dover, 1951), vol. 1, 370.  Wolff, Johann Sebastian Bach, 91–92.  Calov, Die heilige Bibel, vol. 1/II, cols. 725–6: “da wir GOttes Diener / Opfferer / Sänger / Fasten-Lehrer und Wöhlthäter heissen .  By contrast, in the summary of Psalm 68 in the Calov Bible, the only other Psalm summary that contains a reference to “Sänger,” Luther employs the third person: “Once again he calls them singers” (“wiederumb nennet er sie Sänger”).

In movement 6 of Cantata 21, the music, set to the text “und bist so unruhig,” creates an effective contrast with the homophonic setting of “Was betrübst du dich, meine Seele” that directly precedes it. For “und bist so unruhig,” Bach writes motivic figures involving ascending and descending leaps of thirds, fourths, and fifths, followed by more consistently descending scalar passages at m. ” at mm. 26–27. 38 Combinatorial Modeling spirituoso Œ Œ 10 Violins b 3 & b 4 b ˙œ œ œ Oboe Viola b & b 34 ˙œ n œ œ Soprano b & b 34 b ˙œ .

40 I believe that Bach’s affinity for Asaph went beyond historical curiosity, however. For Bach, Asaph represented an inspired composer-performer appointed by King David41 through God’s direction. In this context it is noteworthy that Olearius mentions the titles of “Capellmeister” and “Directore Chori Musici”—positions Bach held for many years—twice in his commentary on First Chronicles. ”42 As we have seen, Bach’s close reading of First Chronicles is amply documented by the markings in his personal copy of the Calov Bible.

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