J.S. Bach and His Contemporaries in Germany by Andrew Talle

By Andrew Talle

This provocative addition to the Bach views sequence bargains a counternarrative to the remoted genius prestige that J.S. Bach and his track at the moment take pleasure in. individuals contextualize Bach by way of analyzing the output, recognition, and compositional practices of his contemporaries in Germany whose paintings used to be generally performed and loved in his time, together with Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Essays position Bach and his paintings on the subject of his friends, analyzing avenues of composition they took whereas he didn't and displaying how differing remedies of a similar matters or texts led to markedly assorted compositional effects and legacies. by means of taking a look heavily at how Bach's contemporaries addressed the initiatives and demanding situations in their time, this venture offers a extra nuanced view of the musical global of Bach's time whereas revealing in additional particular phrases than ever how and why Bach's personal tune is still clean and compelling.

 
Contributors are Alison Dunlop, Wolfgang Hirschmann, Michael Maul, Andrew Talle, and Steven Zohn.

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F. Kahnt, 1904); Georg Philipp Telemann, 2. Suite, G-Moll, aus VI ouvertures à 4 ou 6 (um 1730) für 2 Violinen, Viola, Violoncello (Kontrabaß) und Klavier, ed. Arnold Schering (Leipzig: C. F. Kahnt, 1906); Karl Nef, Geschichte der Sinfonie und Suite (Leipzig: Breitkopf und Härtel, 1921; reprint, Wiesbaden: Sändig, 1970), 93–94; Horst Büttner, Das Konzert in den Orchestersuiten Georg Philipp Telemanns (Wolfenbüttel: Kallmeyer, 1935), 85 (where the print’s Berlin shelfmark is given). Eitner also listed a second copy of the VI Ouvertures in the Hamburg Staatsbibliothek, though no trace of it has been found.

Both movements include optional horn parts, but the chaconne takes a more sophisticated approach to scoring by alternating between strings alone and strings with horns. Thus the horns drop out in the second couplet in each of the first two pairs but are added to the second couplet of the fourth pair; other pairs are scored throughout for strings alone or for strings and horns. The chaconne’s tonal plan, featuring a long central section in the relative minor, is conventional. That of the passacaille, however, bears a strong resemblance to ritornello–da capo form, an impression reinforced in the B section by brief modulatory episodes separating each pair of variations.

140–42]), 314–26 [Nos. 342, 346, 348–50, 353–60, and 362–74], 329–31 [Nos. 379–80 and 382–83], 351–60 [Nos. 416–39, 442, and 445], and 390 [No. 504]). Similar figures are illustrated throughout In Porzellan verzaubert. ” See J. Pierpoint Morgan, Collector, 148. The version in the Pauls-Eisenbeiss collection in Basel has a smaller tree, and the music on the sheet is an excerpt of an unidentified vocal work. See Menzhausen, In Porzellan verzaubert, 152–53 (including a partial view of the music); and Erika Pauls-Eisenbeiss, German Porcelain of the Eighteenth Century, vol.

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