Skip to content

Yo Tomita Bach Bibliography Page

Johann Sebastian Bach (March 21, 1685 - July 28, 1750) is considered by many to have been the greatest composer in the history of western music. Bach's main achievement lies in his synthesis and advanced development of the primary contrapuntal idiom of the late Baroque, and in the basic tunefullness of his thematic material. He was able to successfully integrate and expand upon the harmonic and formal frameworks of the national schools of the time: German, French, Italian and English, while retaining a personal identity and spirit in his large output. Bach is also known for the numerical symbolism and mathematical exactitude which many people have found in his music – for this, he is often regarded as one of the pinnacle geniuses of western civilization, even by those who are not normally involved with music.

Bach spent the height of his working life in a Lutheran church position in Leipzig, as both organist and music director. Much of his music is overtly religious, while many of his secular works admit religious interpretations on some levels. His large output of organ music is considered to be the greatest legacy of compositions for the instrument, and is the measure by which all later efforts are judged. His other solo keyboard music is held in equally high esteem, especially for its exploration of the strictly contrapuntal fugue; his 48 Preludes and Fugues (The Well-Tempered Clavier) are still the primary means by which these forms are taught. His other chamber music is similarly lofty, the sets for solo violin and solo cello being the summits of their respective genres. Bach's large-scale sacred choral music is also unique in its scope and development, the Passions and B Minor Mass having led to the rediscovery of his music in the 19th century. His huge output of cantatas for all occasions is equally impressive. His large output of concerti includes some of the finest examples of the period, including the ubiquitous Brandenberg Concertos.

Bach came from a family with demonstrable musical talents documented at least as far back as the mid-16th century: of the seven generation of Bachs – beginning with the first-known professional musician, Veit Bach (c. 1555-1619) and ending with William Friedrich Ernst Bach (1759-1845) – less than ten of them choose a profession other than music. The Bach family's identification with music is unparalleled in Western music, as is the genius of Johann Sebastian.

He was the youngest child of Johann Ambrosius Bach (1645-1695) and Elisabeth Lammerhirt (1644-1694); by the age of ten, his father had died and many members of the household were dispersed to other more financially stable branches of the family. Bach himself together with his brother Jacob, moved from Eisenach to live with his eldest brother Johann Christoph in Ohrdruf. In early adolescence Johann Sebastian suffered from poor health which led to an erratic attendance at school, but his outstanding boy soprano voice won him admiration and at the age of fifteen he was recommended for a position in the choir of Michaeliskirche in Lüneburg, a town more than 200 miles away. There, remote from his family, he struck up a friendship with the composer-organist Georg Böhm, a man twenty years older than himself and willing to give him material and artistic guidance. Bach's musical education was aided by his lifelong passion for studying other composer's music in manuscript and drawing his own musical lessons from what he discovered. His interests were unusually wide, and he found as much pleasure and inspiration in François Couperin as he did in German or Italian composers.

This intense study eventually produced the young Bach's first efforts at composition, a set of variations; with his first organ appointment at Arnstadt's Bonifaciuskirche in 1703-04, he wrote his first cantatas and a number of preludes and fugues. These early works show him already in the possession of unusual melodic inventiveness within the strict forms he used. Church work was for Bach the ideal form of employment, for it combined his intense religiosity with the opportunity to create music for voice and organ in particular, the organ being his first and final fascination.

In autumn 1705, Bach secured a one-month leave of absence from Arnstadt and traveled on foot to Lübeck in order to study with the renowned Danish-born German organist and composer Dietrich Buxtehude, one of the foremost living German musician and composer and whose organ music greatly influenced Bach's. The visit was so rewarding to Bach that he overstayed his leave by two months. He was criticized by the church authorities not only for this breach of contract but also for the extravagant flourishes and strange harmonies in his organ accompaniments to congregational singing, and when his young cousin Maria Barbara (later his wife) was found to be singing in the church choir at Bach's behest, he found himself in further trouble. He was already too highly respected, however, for either objection to result in his dismissal. Within a few months he resigned and moved to a more prestigious position at Blasiuskirche in Mühlhausen. In October 1707 he and Maria Barbara were married; they had their first baby, a daughter, the following year. Yet the appointment at Mühlhausen proved unsatisfactory both financially and theologically. Early in 1708 he accepted an appointment as Hof-Organist and Kammer-Musikus to Duke William Ernst of Weimar. This was hardly the top position within the Court's musical circles, but it was preferable to the situation at Mühlhausen.

In Weimar he composed about 30 cantatas, including the well-known funeral cantata God's Time Is the Best, Passacaglia and Fugue in C minor, BWV 582, Orgelbüchlein and also wrote organ and harpsichord works. He began to travel throughout Germany as an organ virtuoso and as a consultant to organ builders. His performance of these and other works earned him a reputation far beyond the environs of Weimar. His tasks became more specific (including the monthly delivery of new cantatas) and his duties more onerous. Bach felt his situation to be intolerable; he had now four children and was dissatisfied with his family's standard of living. He seemed to lack courtier's ability to deal advantageously with such situations, and when he was passed over in 1716 he took the opportunity to move on, this time to become Kapellmeister in the newly-established household of Duke of Weimar's son, Duke Ernst August, who had married and moved to Cöthen, where the bride's father, Prince Leopold, was a great music lover.

However, Duke Wilhelm August did not give Bach up without some unpleasantness: determined to humble his proud and plain-speaking musician, he refused to give Bach permission to leave his employ, actually keeping the composer under arrest for over a month before finally relenting and allowing him to move to Cöthen. There, the demand was for chamber music in which Prince Leopold could play an active role. Thus Bach composed a series of suites, overtures and concertos as well as sonatas and other small ensemble pieces. These were to include the four orchestral suites, the Brandenburg Concertos (so-called because they were dedicated to Duke Christian Ludwig of Brandenburg) and the beautiful Violin Concertos, BWV 1041/2/3, 1064/5, which were modeled on works by Italian composers (such as Antonio Vivaldi) whom he so admired.

These were relatively stable, happy years for Bach and his family, but obliged to accompany the Prince on a trip to Carlsbad in 1720, he found on his return that his wife had died and was already on her grave. From then on his desire to leave the Court became steadily more urgent, especially when in 1721 his patron married a young woman with little musical inclination and a determination to leave her husband into other diversions. Bach himself had remarried: his new wife Anna Magdalena Wilcken, a fine singer and daughter of court musician, was just 20 (Bach was now 36) and required to act as stepmother to Bach's children whose education was proving problematic in a town where the best school was Calvinist.

This situation made the post as Cantor of the Thomasschule in Leipzig very appealing when it fell vacant in 1722. Bach was not first or even second choice for the position – both Christoph Graupner and Georg Philipp Telemann were offered it but had to decline. Nearly a year after the appointment was originally advertised, Bach took up the position, pledging in his contract not to supply music which was 'too theatrical' or 'too operatic'. Bach new responsibilities including teaching various groups of scholars at the school, composing music for two churches, St. Thomas and St. Nicholas, and providing the occasional piece of music for the local university. He also had to ask permission from the Council if he wished to absent himself from Leipzig for any reason. The situation must have been very bad at Cöthen for Bach to agree to these conditions.

Yet he was to remain in this post for the rest of his life, and although his pride and sense of self-worth led him into regular and bruising contact with the various authorities to whom he was responsible, he never became disenchanted enough to resign. Despite endless arguments between himself and the Thomasschule appointees over whose empire ended where, Bach continued to produce sublime music throughout the decades he was in Leipzig, and his eminence was recognize by various admirers, including the King Elector of Poland-Saxony, who in 1736 awarded him the coveted title Koniglicher Hof-Componist. His son Carl Philipp Emanuel, then 26, became attached to the Court of the music-loving (and amateur flautist) Frederick the Great of Prussia 1740. In 1741 Bach visited his son in Berlin, Frederick's capital, and six years later he was invited to attend on Frederick at Potsdam. Thus, in May 1747 "Old Bach", as Frederick fondly called him, arrived and was presented to the King. The meeting was a complete success, Bach overwhelming Frederick with his ability to extemporize at the keyboard on demand. On his return to Leipzig, Bach took one of Frederick's own themes used during the meeting and developed it into the famous A Musical Offering, dedicated (in June 1747) to "a monarch admired in music as all in the other sciences of war and peace".

Bach was now in his sixties, and his general health had begun to follow the course of his eyesight, which had been damaged irreparably by the years of studying music by candlelight. By 1749 he was completely blind, which greatly hindered his efforts to complete the works he left to be his last. Among the many pieces left incomplete at his death (although heavily revised) was the famous Die Kunst der Fuge (The Art of Fugue); a set of fugal pieces which has fascinated musicians and commentators ever since. The great man, age 66 when he died, was buried in an unmarked grave near the south door of Leipzig's Johanneskirche. In the late 19th century his grave was rediscovered during building work. His ashes were moved inside the church where they are now marked by the somewhat undemonstrative words, "Johann Sebastian Bach, 1685-1750".

In Bach, Baroque polyphony reached its apotheosis and – at least to the succeeding generation – its point of exhaustion, for by the time of his death his music had already fallen a long way behind the forefront of musical fashion. His achievements were to languish in obscurity for close to 100 years before the efforts of others, particularly Mendelssohn, revealed Bach's genius to a wider world. Bach was not innovator and no iconoclast: what he revered above all was musical truth and beauty, and he was ready to appreciate these wherever he came across them – from the manuscripts of older Italian masters to the extemporizations of fellow Germans. His musicality was complete and all-embracing, and only his temperament and his natural inclination to regard music as an adjunct to his religion restrained him from composing for the theatre (as did his contemporary Handel). His oratorios demonstrated his complete grasp of what is required to write convincingly for voices and orchestra. The connection between religion and music can not be overstressed: Bach invariably added homilies to God or Jesus at the beginning or end of his scores, even when they were modest chamber pieces or exercises for his children and students. Bach's music is a colossal summation of the tradition in Western music which led to his mature style: his genius allowed him the perfect synthesizing power to create the multitude of masterpieces which came from his pen.

In the body of work which is so crammed with significant achievements, the selection of key works means that many fine or important pieces of music will go unremarked, but this leaves much for the reader to explore after initial contact. Perhaps the most instructive and entertaining place to start is at the keyboard.

Das Wohltemperierte Klavier (The Well-Tempered Clavier) contains two books of 48 preludes and which are an object lesson in what Bach set out to achieve in his music. The use of a single instrument also helps the listener to follow more closely the musical imagination at work. A subsequent keyboard piece with equal rewards is the Goldberg Variations (BWV 988), completed in the early 1740s at much the same time as the second book of Das Wohltemperierte Klavier. The great mass of organ works can be approached through such pieces as the Toccata & Fugue in G minor (BWV 542), Passacaglia & Fugue in C minor (BWV 582) and the Preludes & Fugues in A minor and C Major (BWV 543 & 545). The Orgelbüchlein (Little Organ Book, BWV 599-644), contains 48 pieces which explore a wide range of the organ's sonic and musical repertoire. In terms of solo instrumental music, the other key works are the astonishing and very beautiful Suites for cello (BWV 1007-1012) and the virtuoso Sonatas & Partitas for violin (BWV 1001-1006).

Apart from 295 cantatas Bach wrote during his lifetime, of which they are numerous favorites, his St. John and St. Matthew Passions are deeply-felt recountings of the gospels which cannot fail to move the listener, while the Christmas Oratorio and Mass in B minor (BWV 232) demonstrate Bach's ability to deal profoundly with such occasional pieces.

Recommended Recordings

Brandenburg Concertos

6 "Brandenburg" Concertos, BWV 1046-1051 (w/ Suites)/Archiv 423492-2
Trevor Pinnock/The English Concert

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

6 "Brandenburg" Concertos, BWV 1046-1051/Archiv 423116-2
Reinhard Goebel/Musica Antiqua Köln

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

6 "Brandenburg" Concertos, BWV 1046-1051/Philips Duo 468549-2
Henryk Szeryng (violin), Gidon Kremer (violin), Heinz Holliger (oboe), Michala Petri (recorder), Jean-Pierre Rampal (flute), Neville Marriner/Academy of St. Martin-in-the-Fields

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

6 "Brandenburg" Concertos, BWV 1046a, 1047-1049, 1050a, 1051/Delos DEL3185
Ransom Wilson (flute), Mark Hill (oboe), Joseph Silverstein (violin), Paul Neubauer (viola), Edgar Meyer (bass), William Purvis (horn), Milan Turkovic (bassoon), John Gibbons/Chamber Music Society of Lincoln Center

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

6 "Brandenburg" Concertos, BWV 1046a, 1047-1049, 1050a, 1051/L'Oiseau-Lyre 414187-2
Christopher Hogwood/Academy of Ancient Music

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

6 "Brandenburg" Concertos, BWV 1046-1051 (w/ Suites)/RCA Eurodisc 69219-2-RV
Josef Suk (violin), Max Lesueur (viola), Maurice Bourgue (oboe), Aurèle Nicolet (flute), Manfred Sax (bassoon), Rudolf Baumgartner/Lucerne Festival Strings

Amazon - UK - Germany - Canada - France - Japan





Cantatas (BWV 4, 78, 82, 140, 202)

Cantatas #1-4, BWV 1-4/Teldec 2292-42497-2
Esswood, Equiluz, Egmond, Nicholas Harnoncourt/Vienna Concentus Musicus & Boy's Choir

Amazon - UK - Germany - Canada - France - Japan

Cantatas #78 & 198, BWV 78 & 198/Harmonia Mundi HMC901270
Philippe Herreweghe/La Chapelle Royale Orchestra & Chorus

Amazon - UK - Germany - France - Japan - ArkivMusic

Cantatas #82, 152 & 202, BWV 82, 152 & 202/Ricercar RIC061041
Greta de Reyghere (soprano), Max van Egmond (bass)/Ricercar Consort

Amazon - UK - Germany - Japan

Cantatas #8, 51, 78, 80, 140 & 147, BWV 8, 51, 78, 80, 140 & 147/L'Oiseau Lyre - Double Decca 455706-2
Julianne Baird (soprano), Joshua Rifkin/Bach Ensemble

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Cantatas #140, 56 & 159, BWV 140, 56 & Anh. 159/Dorian DOR-90127
Schellenberg, Gordon, Lichti, Funfgeld/Bach Choir of Bethlehem, Bach Festival Orchestra

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Cantatas #211 "Coffee" & 212 "Peasant", BWV 211 & 212/L'Oiseau-Lyre 417621-2
Emma Kirkby, Rogers Covey-Crump, David Thomas, Christopher Hogwood/Academy of Ancient Music

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Cantatas #202, 209, 211 & 212, BWV 202, 209, 211 & 212/RCA Deutsche Harmonia Mundi Editio Classica 77151-2-RG
Elly Ameling, Gerald English, Siegmund Nimsgern/Collegium Aureum

Amazon - UK - Germany - France - Japan





Concertos for Harpsichord(s) (BWV 1052, 1056)

9 Concertos, BWV 1052-1059/Sony Essential Classics SB2K53243
Igor Kipnis (harpsichord), Neville Marriner/London String Players

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

3 Concertos, BWV 1052-1054/Archiv 415991-2
Trevor Pinnock (harpsichord)/The English Concert

Amazon - UK - Germany - Canada - France - Japan

4 Concertos, BWV 1055-1058/Archiv 415992-2
Trevor Pinnock (harpsichord)/The English Concert

Amazon - UK - Germany - Canada - France - Japan

7 Concertos, BWV 1052-1058/London 425676-2
András Schiff (piano)/Chamber Orchestra of Europe

Amazon - UK - Germany - Canada - France - Japan

6 Concertos, BWV 1052-1056, 1058/Sony S2K52591
Glenn Gould (piano), Leonard Bernstein, Vladimir Golschmann/New York Philharmonic Orchestra, Columbia Symphony Orchestra

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Concertos for Violin & 2 Violins

2 Concertos for Violin, BWV 1041 & 1042; Concerto for 2 Violins, BWV 1043/L'Oiseau-Lyre - Decca 400080-2
Jaap Schröder & Christopher Hirons (violins), Christopher Hogwood/Academy Of Ancient Music

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

2 Concertos for Violin, BWV 1041 & 1042; Concerto for 2 Violins, BWV 1043/EMI CDC747005-2
Anne-Sophie Mutter & Salvatore Accardo (violins)/English Chamber Orchestra

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

2 Concertos for Violin, BWV 1041 & 1042; Concerto for 2 Violins, BWV 1043/Archiv 410646-2
Simon Standage & Elisabeth Wilcock (violins), Trevor Pinnock/The English Concert

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Magnificat

Magnificat, BWV 243 with Cantata BWV 51/Philips 411458-2
John Eliot Gardiner/Monteverdi Choir, English Baroque Soloists

Amazon - Germany - Canada - France - Japan - ArkivMusic - CD Universe
or
Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Magnificat, BWV 243 with Cantata BWV 80/Harmonia Mundi HMU3001326
Philippe Herreweghe/Collegium Vocale, La Chapelle Royale Orchestra

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Magnificat, Wq. 215 with Magnificat BWV 243 by J.S. Bach/Newport Classics 60155
Patricia Green (mezzo Soprano), Mary Ellen Callahan (soprano), James Weaver (bass), Nils Brown (tenor), J. Reilly Lewis/Washington Bach Consort

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Magnificat, BWV 243 (w/ Vivaldi Gloria)/Chandos Chaconne CHAN0518
Emma Kirkby & Tessa Bonner (soprano), Michael Chance (countertenor), John Mark Ainsley (tenor), Richard Hickox/Collegium Musicum 90

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic




















Mass in B minor

Mass in B minor, BWV 232/Deutsche Grammophon Archiv 415514-2
Lynne Dawson, Nancy Argenta, Jean Knibbs, Mary Nichols, Stephen Varcoe, Michael Chance, John Eliot Gardiner/English Baroque Soloists, Monteverdi Choir

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Mass in B minor, BWV 232/Virgin Veritas VBD5619982 or VMD5613372
Emily van Evera, Panito Iconomou, Rogers Covey-Crump, David Thomas, Emma Kirkby, Andrew Parrott/Taverner Consort, Choir & Players

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic
or
Amazon - UK - Germany - France - Japan - ArkivMusic

Mass in B minor, BWV 232/EMI Studio CMS763364-2
Agnes Giebel, Dame Janet Baker, Nicolai Gedda, Hermann Prey, Franz Crass, Otto Klemperer/New Philharmonia Orchestra, BBC Symphony Chorus

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic

Mass in B minor, BWV 232/EMI Double Forte CZS568640-2
Brigitte Fassbaender, Claes H. Ahnsjö, Roland Hermann, Robert Holl, Helen Donath, Eugen Jochum/Bavarian Radio Symphony Orchestra & Chorus

Amazon - UK - Germany - Canada - France - Japan - ArkivMusic
















Musical Offering

"Musical Offering", BWV 1079/RCA Deutsche Harmonia Mundi 05472-77307-2
Barthold Kuijken (flute), Sigiswald Kuijken (violin), Wieland Kuijken (cello), Robert Kohnen (harpsichord)

Amazon - UK - Germany

Monograph published in 1995 (ISBN: 0-9521516-7-7) by Household World Publisher in Leeds, now out ... more Monograph published in 1995 (ISBN: 0-9521516-7-7) by Household World Publisher in Leeds, now out of print. Critical Commentary Series of the Well-Tempered Clavier II aims to list all the errors, variant readings and amendments in the extant manuscripts of WTC II, so that the information can be utilised by a wider circle of scholars for further research. This volume carries an important mission: to become an ample resource in the assessment of the text-critical aspect of the Well-Tempered Clavier II sources, for there has never been available a comprehensive reference work for scholars to study the vast and complex source situation of this important work of Bach. It lists systematically all the variant readings and major errors attested to the sources with analytical remarks. In addition, it achieves the following aims: (1) to group manuscripts according to their shared variant readings; (2) to establish genealogical relations within a group according to the generation of errors and amendments; (3) to identify later cross-linking (contamination) of groups by examining subsequent collation of distantly related sources; (4) to give data for reconstructing the missing set of autographs.
Readers Related Papers MentionsView Impact
Monograph published in 1993 by Household World Publisher in Leeds (ISBN: 0-9521516-0-X), now out ... more Monograph published in 1993 by Household World Publisher in Leeds (ISBN: 0-9521516-0-X), now out of print. Critical Commentary Series of the Well-Tempered Clavier II aims to list all the errors, variant readings and amendments in the extant manuscripts of WTC II, so that the information can be utilised by a wider circle of scholars for further research. This volume deals with Bach's autograph manuscripts, listing and describing all the amendments therein. It aims to cover the following subjects: (1) to reconstruct the sequence of revisions; (2) to reconstruct the layers of revisions; (3) to reconstruct some of the revised parts of Bach's original text from his own discarded revisions; (4) to distinguish authentic amendments by Bach from those of spurious origin from a later date.
Readers Related Papers MentionsView Impact
The peer-reviewed, open access web journal of Bach Network UK. Volume 12 edited by Richard D. P. ... more The peer-reviewed, open access web journal of Bach Network UK. Volume 12 edited by Richard D. P. Jones with co-editors Barbara M. Reul, Ruth Tatlow and Yo Tomita. Articles by Stephen A. Crist, Gergely Fazekas, Michael Maul (translated by Barbara M. Reul), Stacey Davis, Harry White, Noelle Heber and Hannah French.
Readers Related Papers MentionsView Impact
The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed ... more The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed over the course of Johann Sebastian Bach's life, it is considered by many to be the composer's greatest and most complex work. The fourteen essays assembled in this volume originate from the International Symposium 'Understanding Bach's B-minor mass' at which scholars from eighteen countries gathered to debate the latest topics in the field. In revised and updated form, they comprise a thorough and systematic study of Bach's Opus Ultimum, including a wide range of discussions relating to the Mass's historical background and contexts, structure and proportion, sources and editions, and the reception of the work in the late eighteenth and early nineteenth centuries. In the light of important new developments in the study of the piece, this collection demonstrates the innovation and rigour for which Bach scholarship has become known.
Readers Related Papers MentionsView Impact
Eighteenth Century Music, 2004
... Reviews: Books, KARL HOCHREITHER PERFORMANCE PRACTICE OF THE INSTRUMENTAL-VOCAL WORKS OF JOHA... more ... Reviews: Books, KARL HOCHREITHER PERFORMANCE PRACTICE OF THE INSTRUMENTAL-VOCAL WORKS OF JOHANN SEBASTIAN BACH TRANS. MELVIN UNGER Lanham, MD, and London: Scarecrow, 2002 pp. xiii + 217, ISBN 0 8108 4258 0. YO TOMITA, ...
Readers Related Papers MentionsView Impact
Monograph published in 1995 (ISBN: 0-9521516-7-7) by Household World Publisher in Leeds, now out ... more Monograph published in 1995 (ISBN: 0-9521516-7-7) by Household World Publisher in Leeds, now out of print. Critical Commentary Series of the Well-Tempered Clavier II aims to list all the errors, variant readings and amendments in the extant manuscripts of WTC II, so that the information can be utilised by a wider circle of scholars for further research. This volume carries an important mission: to become an ample resource in the assessment of the text-critical aspect of the Well-Tempered Clavier II sources, for there has never been available a comprehensive reference work for scholars to study the vast and complex source situation of this important work of Bach. It lists systematically all the variant readings and major errors attested to the sources with analytical remarks. In addition, it achieves the following aims: (1) to group manuscripts according to their shared variant readings; (2) to establish genealogical relations within a group according to the generation of errors and amendments; (3) to identify later cross-linking (contamination) of groups by examining subsequent collation of distantly related sources; (4) to give data for reconstructing the missing set of autographs.
Readers Related Papers MentionsView Impact
Monograph published in 1993 by Household World Publisher in Leeds (ISBN: 0-9521516-0-X), now out ... more Monograph published in 1993 by Household World Publisher in Leeds (ISBN: 0-9521516-0-X), now out of print. Critical Commentary Series of the Well-Tempered Clavier II aims to list all the errors, variant readings and amendments in the extant manuscripts of WTC II, so that the information can be utilised by a wider circle of scholars for further research. This volume deals with Bach's autograph manuscripts, listing and describing all the amendments therein. It aims to cover the following subjects: (1) to reconstruct the sequence of revisions; (2) to reconstruct the layers of revisions; (3) to reconstruct some of the revised parts of Bach's original text from his own discarded revisions; (4) to distinguish authentic amendments by Bach from those of spurious origin from a later date.
Readers Related Papers MentionsView Impact
The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed ... more The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed over the course of Johann Sebastian Bach's life, it is considered by many to be the composer's greatest and most complex work. The fourteen essays assembled in this volume originate from the International Symposium 'Understanding Bach's B-minor mass' at which scholars from eighteen countries gathered to debate the latest topics in the field. In revised and updated form, they comprise a thorough and systematic study of Bach's Opus Ultimum, including a wide range of discussions relating to the Mass's historical background and contexts, structure and proportion, sources and editions, and the reception of the work in the late eighteenth and early nineteenth centuries. In the light of important new developments in the study of the piece, this collection demonstrates the innovation and rigour for which Bach scholarship has become known.
Readers Related Papers MentionsView Impact
The peer-reviewed, open access web journal of Bach Network UK. Volume 12 edited by Richard D. P. ... more The peer-reviewed, open access web journal of Bach Network UK. Volume 12 edited by Richard D. P. Jones with co-editors Barbara M. Reul, Ruth Tatlow and Yo Tomita. Articles by Stephen A. Crist, Gergely Fazekas, Michael Maul (translated by Barbara M. Reul), Stacey Davis, Harry White, Noelle Heber and Hannah French.
Readers Related Papers MentionsView Impact
Eighteenth Century Music, 2004
... Reviews: Books, KARL HOCHREITHER PERFORMANCE PRACTICE OF THE INSTRUMENTAL-VOCAL WORKS OF JOHA... more ... Reviews: Books, KARL HOCHREITHER PERFORMANCE PRACTICE OF THE INSTRUMENTAL-VOCAL WORKS OF JOHANN SEBASTIAN BACH TRANS. MELVIN UNGER Lanham, MD, and London: Scarecrow, 2002 pp. xiii + 217, ISBN 0 8108 4258 0. YO TOMITA, ...
Readers Related Papers MentionsView Impact