Varun Gauri and Daniel M. Brinks
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780520285569
- eISBN:
- 9780520960978
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520285569.003.0006
- Subject:
- Music, History, Western
Chapter 5 examines how Schumann and Wagner veered toward each other stylistically in the years that followed Lohengrin and the Symphony no. 2, taking special note of the influence of Bach on both of ...
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Chapter 5 examines how Schumann and Wagner veered toward each other stylistically in the years that followed Lohengrin and the Symphony no. 2, taking special note of the influence of Bach on both of them. Tristan und Isolde seems particularly indebted to late Schumann—including the Symphony no. 2—as well as to Bach, especially the ecstatic poetry of his Cantata 21. One particularly unexpected work provided Wagner with ideas for Tristan, namely the fourth of Schumann’s Bach fugues, which dates from October 1845—in fact, from the very week in which Wagner first visited Schumann. Although Wagner credited Liszt with introducing him to the wonders of Bach’s music, musical and biographical evidence points to Schumann’s role already in the mid-1840s.Less
Chapter 5 examines how Schumann and Wagner veered toward each other stylistically in the years that followed Lohengrin and the Symphony no. 2, taking special note of the influence of Bach on both of them. Tristan und Isolde seems particularly indebted to late Schumann—including the Symphony no. 2—as well as to Bach, especially the ecstatic poetry of his Cantata 21. One particularly unexpected work provided Wagner with ideas for Tristan, namely the fourth of Schumann’s Bach fugues, which dates from October 1845—in fact, from the very week in which Wagner first visited Schumann. Although Wagner credited Liszt with introducing him to the wonders of Bach’s music, musical and biographical evidence points to Schumann’s role already in the mid-1840s.
Eric Chafe
- Published in print:
- 2015
- Published Online:
- April 2015
- ISBN:
- 9780190217297
- eISBN:
- 9780190217310
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190217297.001.0001
- Subject:
- Music, Theory, Analysis, Composition
A study of J. S. Bach’s Cantata 21, the fourth cantata composed by Bach in Weimar 1714 after his elevation to the position of concert master. Bach’s longest cantata to this point in his career, ...
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A study of J. S. Bach’s Cantata 21, the fourth cantata composed by Bach in Weimar 1714 after his elevation to the position of concert master. Bach’s longest cantata to this point in his career, Cantata 21 has in recent years suffered from adverse aesthetic judgments (especially its final chorus) as the result of lack of knowledge of its compositional history. Study of the cantata in relation to the relevant theological literature of the time reveals that it is a work of unusually careful construction. In the context of its companion works of 1714, Cantata 21 emerges as a pivotal work in Bach’s oeuvre.Less
A study of J. S. Bach’s Cantata 21, the fourth cantata composed by Bach in Weimar 1714 after his elevation to the position of concert master. Bach’s longest cantata to this point in his career, Cantata 21 has in recent years suffered from adverse aesthetic judgments (especially its final chorus) as the result of lack of knowledge of its compositional history. Study of the cantata in relation to the relevant theological literature of the time reveals that it is a work of unusually careful construction. In the context of its companion works of 1714, Cantata 21 emerges as a pivotal work in Bach’s oeuvre.
