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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 Six Partitas, BWV 825--830 is based on Bischoff's analysis of the original 1731 engraving and of other manuscripts and secondary sources. 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.
Bach composed and published his Six Partitas (each one separately) during 1726 - 1730. In 1731 all partitas, grouped in one volume, were published under the title Clavier-�bung Part One. This edition of Partita no. 1 follows the above mentioned first Leipzig edition, which was based on the manuscript copy of Bach's autograph.The fingering is added by the editor.
(Music Sales America). The French Suites were written in 1722. But it was not until Bach biographer Johann Forkel prepared an edition in the early nineteenth century that the pieces became known by the collective title French . It is true that Bach gave each of the dance movements a French title, but it was Forkel who declared that they were 'written in the French taste, with an emphasis on tunefulness and consonant harmony rather than German structure and counterpoint'.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
The English Bach Awakening concerns the introduction into England of J.S. Bach's music and information about him. Hitherto this subject has been called 'the English Bach revival', but that is a misnomer. 'Revival' implies prior life, yet no reference to Bach or to his music is known to have been made in England during his lifetime (1685-1750). The book begins with a comprehensive chronology of the English Bach Awakening. Eight chapters follow, written by Dr Philip Olleson, Dr Yo Tomita and the editor, Michael Kassler, which treat particular parts of the Awakening and show how they developed. A focus of the book is the history of the manuscripts and the printed editions of Bach's '48' - The Well-tempered Clavier - in England at this time, and its culmination in the 'analysed' edition that Samuel Wesley and Charles Frederick Horn published in 1810-1813 and later revised. Wesley's multifaceted role in the Bach Awakening is detailed, as are the several efforts that were made to translate Forkel's biography of Bach into English. A chapter is devoted to A.F.C. Kollmann's endeavour to prove the regularity of Bach's Chromatic Fantasy, and the book concludes with a discussion of portraits of Bach in England before 1830.
String Solo
The Hutchinson Concise Dictionary of Music, in 7,500 entries, retains the breadth of coverage, clarity, and accessibility of the highly acclaimed Hutchinson Encyclopedia of Music, from which it is derived. Tracing its lineage to the Everyman Dictionary of Music, now out of print, it boasts a distinguished heritage of the finest musical scholarship. This book provides comprehensive coverage of theoretical and technical music terminology, embracing the many genres and forms of classical music, clearly illustrated with examples. It also provides core information on composers and comprehensive lists of works from the earliest exponents of polyphony to present-day composers.
While the study and redefinition of the notion of authorship and its relationship to the idea of the literary work have played a central role in recent research on literature, semiotics, and related disciplines, its impact on contemporary musicology is still limited. Why? What implications would a reconsideration of the author- and work-concepts have on our understanding of the creative musical processes? Why would such a re-examination of these regulative concepts be necessary? Could it emerge from a post-structuralist revision of the notion of musical textuality? In this book, Trillo takes the ...Bach... project, a collection of new music based on Johann Sebastian Bach’s Partita No.1 for solo violin, BWV 1002, as a point of departure to sketch some critical answers to these fundamental questions, raise new ones, and explore their musicological implications.