| Abstract |
Bach's music has made an indelible mark on all those who compose for the organ, and in the nineteenth century, Bach's music was revived, revered, and brought to life for a musical public. In this fascinating study, the author examines how four major composers of the nineteenth century--Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms--responded to the model of Bach's organ music. Whether for keyboard, voice, orchestra, or chamber ensemble, these composers not only borrowed from Bach's organ works in creating their own masterpieces, but also reacted significantly to the music as performers, editors, theorists, and teachers. The book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances--especially Clara Schumann--contributed as well. A uniquely comprehensive discussion of this topic, this book represents a significant contribution to the literature on the so-called Bach revival. Stinson considers biographical research as well as musical evidence to arrive at a host of new and often startling conclusions about precisely which pieces served as compositional exemplars and which ones were especially valued as study and performance repertoire. Replete with intriguing anecdotes, his study includes detailed observations on how these composers annotated their personal copies of Bach's organ works. Featuring a wealth of material previously unavailable in English, Stinson's up-to-date examination fills a gap in our understanding of how Bach's works were rediscovered by the musical public in the 19th century. Meticulously annotated and indexed, the book features numerous musical examples and facsimile plates as well as an exhaustive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. Engagingly written, this study should be read by anyone interested in the organ, the music of Bach, or the musical culture of the nineteenth century. |
