Ulrich Leisinger's 'Carl Philipp Emanuel Bach
und die musikalische Deklamation' introduces a sequence of six essays on various aspects of Bach
's vocal music.
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.
Jahrhunderts, wobei hier die zentrale Person ganz allgemein fur die "Alte Musik", aber auch fur Bach
(analog zu Nageli) in Zurich, der noch junge Paul Sacher ist der 1926 das Basler Kammerorchester grundete, und in der Folge die Schola Cantorum Basiliensis unter der Leitung von August Wenzinger, einem weiteren, das Musikleben in Basel pragender Musiker und Dirigent.
wrote fewer "orchestral" pieces, the first book has more room for chapters that provide contextual historical information that is pertinent to more than one piece or body of pieces, such as the (unnumbered) chapters on the Hofkapellen in Weimar and Kothen (1:19-34) and Leipzig's Collegium Musicum (1:35-46), and problems of transmission and the dating of Bach
's music (1:47-71), as well as chapters on specific instruments: violins (1:224-37), oboes (1:278-85), and strung keyboard instruments (1:325-45).
Dirst frames the chapter within the broad context of the study of compositional influence and closely engages the issues related to this topic through the study of the perceived influence of Bach
Gathering all these materials is possible for only a small number of Bach
Yet, the editions reviewed here offer evidence that Kerman's assessment of Bach
scholarship and publishing remains astonishingly and persistently accurate.
More important, the existing title duplicates that of another collection of essays and a standard staple in Bach
Of the five Passions listed in the obituary, only two complete Passion settings by Bach
survive in original sources.
Johannespassion: Passio secundum Joannem, Fassung II (1725), BWV 245/BC D 2b, fur Soli (SATBB), Chor (SATB), 2 Traversfloten, 2 Oboen/Oboen da caccia, Oboe d'amore, Viola da gamba, 2 Violinen, Viola und Basso continuo
Under the heading for each Sunday of the Trinity season, Petzoldt first gives basic background information, such as the biblical readings assigned to the day, the cantatas Bach
composed for the Sunday, their vocal and instrumental resources, together with references to recent literature on the respective cantatas.
I found only one factual error: Bach
did not hire a "student" to teach Latin for him at the Leipzig Thomasschule (p.
11), considering the close contacts that Bach
had maintained with the Saxonian capital since his Weimar days.
The impetus for compiling The Bach
English-Title Index began with a reference call requesting a Bach
cantata score by an English title.
Kassel: Bareneiter, 1976] and Georg von Dadelsen, Beitrage zur Chronologie der Werke Johann Sebastian Bachs
[Trossingen: Hohner, 1958]).
Georg von Dadelsen suggested that the paper of the autograph, made in Joachimsthal, near Carlsbad in Bohemia where Bach
spent May to July 1720 in the suite of Prince Leopold of Anhalt-Cothen, may indicate that Carlsbad was the place where Bach
assembled the fair copy (Johann Sebastian Bach
, Sei solo a violin senza Basso accompagnato, BWV 1001-1006, Faksimile des Autographs, ed.