Albert R. Rice
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195343281
- eISBN:
- 9780199867813
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195343281.003.0004
- Subject:
- Music, History, Western
Chapter three is devoted to basset horn music grouped in the categories: opera, sacred, and stage works; orchestral; chamber music; and wind band music. Other sections cover virtuosi and concert ...
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Chapter three is devoted to basset horn music grouped in the categories: opera, sacred, and stage works; orchestral; chamber music; and wind band music. Other sections cover virtuosi and concert appearances and the basset horn organ stop.Less
Chapter three is devoted to basset horn music grouped in the categories: opera, sacred, and stage works; orchestral; chamber music; and wind band music. Other sections cover virtuosi and concert appearances and the basset horn organ stop.
Robert L. Marshall
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9780252041488
- eISBN:
- 9780252050084
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041488.003.0001
- Subject:
- Music, History, Western
This chapter explores the nature of the filial and sibling relationships that prevailed between and among J. S. Bach and his five musical sons: Wilhelm Friedemann, Carl Philipp Emanuel, Johann ...
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This chapter explores the nature of the filial and sibling relationships that prevailed between and among J. S. Bach and his five musical sons: Wilhelm Friedemann, Carl Philipp Emanuel, Johann Gottfried Bernhard, Johann Christoph Friedrich, and Johann Christian. By examining the often unflattering explicit (and implicit) testimony contained in the surviving epistolary and musical sources, the author seeks to understand how these uniquely privileged, and uniquely challenged, musicians came to terms with their paternal legacy and to determine how, and with what degree of success, they sought to emerge from their father’s artistic shadow.Less
This chapter explores the nature of the filial and sibling relationships that prevailed between and among J. S. Bach and his five musical sons: Wilhelm Friedemann, Carl Philipp Emanuel, Johann Gottfried Bernhard, Johann Christoph Friedrich, and Johann Christian. By examining the often unflattering explicit (and implicit) testimony contained in the surviving epistolary and musical sources, the author seeks to understand how these uniquely privileged, and uniquely challenged, musicians came to terms with their paternal legacy and to determine how, and with what degree of success, they sought to emerge from their father’s artistic shadow.
Mary Oleskiewicz (ed.)
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9780252041488
- eISBN:
- 9780252050084
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041488.001.0001
- Subject:
- Music, History, Western
This volume investigates topics surrounding Johann Sebastian Bach and his five musically gifted sons. Robert Marshall takes on a deeply psychological perspective by examining how each of the Bach ...
More
This volume investigates topics surrounding Johann Sebastian Bach and his five musically gifted sons. Robert Marshall takes on a deeply psychological perspective by examining how each of the Bach sons personally dealt with Sebastian’s imposing legacy. Mary Oleskiewicz investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court of Frederick “the Great.” David Schulenberg argues that Emanuel Bach’s most significant contribution to European music is the large and diverse body of keyboard music he composed for harpsichord, fortepiano, organ and the clavichord. Evan Cortens’s chapter takes a detailed view of Emanuel Bach’s singers, vocal performance materials, and pay records in Hamburg and concludes that, as in most other parts of Germany at that time, one singer per part was the norm for Emanuel’s liturgical music after 1767. Finally, Christine Blanken’s essay continues research into Breitkopf’s publishing firm. Her discovery of unknown manuscripts by several members of the Bach family demonstrates much about what we can still learn about musical transmission, performance practice, and concert life in Bach’s Leipzig.Less
This volume investigates topics surrounding Johann Sebastian Bach and his five musically gifted sons. Robert Marshall takes on a deeply psychological perspective by examining how each of the Bach sons personally dealt with Sebastian’s imposing legacy. Mary Oleskiewicz investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court of Frederick “the Great.” David Schulenberg argues that Emanuel Bach’s most significant contribution to European music is the large and diverse body of keyboard music he composed for harpsichord, fortepiano, organ and the clavichord. Evan Cortens’s chapter takes a detailed view of Emanuel Bach’s singers, vocal performance materials, and pay records in Hamburg and concludes that, as in most other parts of Germany at that time, one singer per part was the norm for Emanuel’s liturgical music after 1767. Finally, Christine Blanken’s essay continues research into Breitkopf’s publishing firm. Her discovery of unknown manuscripts by several members of the Bach family demonstrates much about what we can still learn about musical transmission, performance practice, and concert life in Bach’s Leipzig.
