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Hans Bischoff (1852--1889) was a German concert pianist and well-regarded music editor, who continues to be respected for his thorough research, attention to detail, and careful consideration of source materials. This newly engraved edition of the Goldberg Variations, BWV 988 is based on Bischoff's analysis of the first edition, a copy of the "Aria" contained in the Clavierbüchlein of Anna Magdalena Bach, and several manuscripts from the Royal Library in Berlin. Bischoff's footnotes and prefatory commentary have been preserved, as well as his interpretive suggestions for performance. Also included are explanations of the ornaments used throughout the work and helpful fingering. Measure numbers and BWV numbers have been included for easy reference.
This book a offers a multitude of provocative new perspectives on one of the most iconic composers in the Western classical tradition. Its collective rethinking of some of our most cherished narratives and deeply held beliefs about Johann Sebastian Bach will allow readers to see the man in a new light and to hear his music with new ears.
Classic 1919 arrangements of four keyboard masterpieces — Goldberg Variations, Chromatic Fantasy and Fugue, The Art of the Fugue, and Concerto for Piano and String Orchestra in D Minor. Breitkopf & Härtel edition.
The Capriccio in B-flat Major, "On the Departure of a Friend," is an unusually romantic-styled composition by Johann Sebastian Bach when he was 19 years of age, written upon the departure of his brother, Johann Jacob Bach, for his new duties in the service of King Carl XII of Sweden. Titles: * 1. An Affectionate Plea to the Friend not to Embark * 2. Reflections on the Misfortunes of Travel * 3. Mutual Lamentations * 4. The Farewell * 5. Aria and Fugue on the Post Horn Call
According to Bach's first biography, the "Goldbergs" were written for one of the composer's most talented pupils, who used them to entertain and soothe his insomniac master during bouts of sleeplessness. Subsequent historians have had their doubts about the story's authenticity, but the composer certainly intended his work as a diversion for listeners. Upon its 1742 publication, Bach entitled it "Keyboard Practice, consisting of an Aria with Diverse Variations, for the Harpsichord with 2 Manuals. Composed for Music Lovers, to Refresh their Spirits." As Glenn Gould remarked, the title offers a very down-to-earth description of a monumental work. Long regarded as the Baroque era's most important set of variations, the Goldbergs were relatively unknown when he chose them for his recording debut in the 1950s. The sensation created by his still-popular recordings revivified the piece in concert performances, in which spectators delight in its virtuosic hand-crossings. This affordable edition of the widely performed and appreciated work is essential for all serious pianists and music lovers.
(Piano). Mozart's 'Variations for Piano' are like a diary of his entire creative life. From K.24 of the nine-year old to K.613 composed only a few months prior to his death, these variations reveal ideas and traits that have come to be known as his unique style. Contents: 8 Variations On Laat Ons Juichen, K. 24 * 7 Variations On Willem Von Nassau, K. 25 * 12 Variations On A Minuet By Fischer, K. 179 * 6 Variations On Mio Caro Adone, K. 180 * 9 Variations On Lison Dormait, K. 264 * 8 Variations On Dieu D'Amour, K. 352 * 12 Variations On La Belle Francoise, K. 353 * 12 Variations On Je Suis Lindoe, K. 354 * 5 Variations On Salve Tu Domine, K. 398 * 10 Variations On Les Hommes Pieusement, K. 455 * 8 Variations On Come Un Agnello, K. 460 * 6 Variations In F Major, K. 54 * 9 Variations On A Minuet By Duport, K. 573 * 8 Variations On Ein Weib Ist Das Herrlichste Ding, K. 613 * 12 Variations On A, Vous Dirai-Je Maman, K. 265
Scholars and performers have long noted J.S. Bach's abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach's music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque. An insightful look at how composers build on each other's work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance. Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf