| Contents |
Part 1. Magnificat, cantata, passion. On the origin of Bach's Magnificat: a Lutheran composer's challenge / Robert L. Marshall -- Expressivity in the accompanied recitatives of Bach's cantatas / George J. Buelow -- Aria forms in the cantatas from Bach's first Leipzig Jahrgang / Stephen A. Crist -- The regulative and generative roles of verse in Bach's "thematic" invention / Paul Brainard -- The St John Passion: theology and musical structure / Eric T. Chafe -- Part 2. Parody and genre. Bach's parody technique and its frontiers / Alfred Mann -- Three organ-trio transcriptions from the Bach circle: keys to a lost Bach chamber work / Russell Stinson -- "This fantasia never had its like": on the enigma and chronology of Bach's Chromatic Fantasia and Fugue in D Minor, BWV 903 / George B. Stauffer -- French overture conventions in the hands of the young Bach and Handel / Peter Williams -- Part 3. The Well-Tempered Clavier I and II. The four conceptual stages of the Fugue in C Minor, WTC I / Ulrich Siegele -- The genesis of the Prelude in C Major, BWV 870 / James A. Brokaw II -- Reconstructing the Urpartitur for WTC II: a study of the "London autograph" (BL Add. MS 35021) / Don O. Franklin -- Bach in the eighteenth century / Ludwig Finscher -- Tradition as authority and provocation: Anton Webern's confrontation with Johann Sebastian Bach / Martin Zenck -- The human side of the American Bach sources / Gerhard Herz. |
| Abstract |
This volume brings together essays on J. S. Bach and members of his family by a distinguished group of scholars. The essays address Bach's compositions, his knowledge of the musical past, his study of contemporaries, and the cultivation of his own music by later generations. The studies draw on source criticism, musical analysis, religious and social context, performance practice, and reception history - a broad range of techniques and issues in modern Bach scholarship. The international contributors include both established scholars and newer voices in Bach studies. This volume will be indispensable for any future work on the Musical Offering, St Matthew Passion, Italian Concerto, on Bach's musical connections with his sons Carl Philipp Emanuel and Wilhelm Friedemann, and on many other topics in Bach research. |
