Verborgene Trios mit obligater Laute?

Bach-Jahrbuch ◽  
2018 ◽  
Vol 99 ◽  
pp. 261-277
Author(s):  
Stephan Olbertz
Keyword(s):  
Johann Sebastian Bach ◽  
Ernst Schröder

Der Artikel versucht, Aussagen zu den möglichen Urfassungen der beiden fraglichen Werke zu treffen. Ausgangspunkt dafür bildet Klaus Hofmanns im BJ 1998 vorgenommene Identifizierung von BWV 1025 als Bearbeitung einer Lautensonate von Silvius Leopold Weiß. Analog dazu dienen stilistische und satztechnische Beobachtungen an BWV 1031 und 1020 dem Autor zur Untermauerung der These, auch hier könne es sich um Bach'sche Bearbeitungen fremder Triosonaten mit Laute handeln. Dazu werden Hypothesen zur Rekonstruierbarkeit der angenommenen Urfassungen aufgestellt und der Frage nach deren Urheberschaft nachgegangen. Dabei gerät besonders Carl Heinrich Graun ins Blickfeld.   Erwähnte Artikel: Christoph Wolff: Das Trio A-Dur BWV 1025: Eine Lautensonate von Silvius Leopold Weiss, bearbeitet von Johann Sebastian Bach . BJ 1993, S. 47-67 Ulrich Leisinger, Peter Wollny: "Altes Zeug von mir". Carl Philipp Emanuel Bachs kompositorisches Schaffen vor 1740. BJ 1993, S. 127-204 Karl-Ernst Schröder: Zum Trio A-Dur BWV 1025. BJ 1995, S. 47-60 Dominik Sackmann, Siegbert Rampe: Bach, Berlin, Quantz und die Flötensonate Es-Dur BWV 1031. BJ 1997, S. 51-85 Klaus Hofmann, Hans Eppstein: Auf der Suche nach der verlorenen Urfassung. Diskurs zur Vorgeschichte der Sonate in h-Moll für Querflöte und obligates Cembalo von Johann Sebastian Bach. Mit einer kritischen Nachbemerkung von Hans Eppstein. BJ 1998, S. 23-62

Das Trio A-Dur BWV 1025: Eine Lautensonate von Silvius Leopold Weiss, bearbeitet von Johann Sebastian Bach

Bach-Jahrbuch ◽  
2018 ◽  
Vol 79 ◽  
pp. 47-67
Author(s):  
Christoph Wolff
Keyword(s):  
Johann Sebastian Bach ◽  
Ernst Schröder

Das Trio A-Dur für obligates Cembalo und Violine (BWV 1025) zählt seit langem zu den unechten Werken Bachs, obgleich es in zwei handschriftlichen Quellen unter dem Namen J.S.Bachs überliefert wurde. Neben allgemeinen Bemerkungen zu Echtheitsfragen Bachscher Werke, werden Überlieferungssituation, satztechnische Aspekte sowie Fragen der Autorschaft und der kompositorischen Qualität des Trios A-Dur erörtert. (Karola Weil, Quelle: Bibliographie des Musikschrifttums online) Darauf bezugnehmend: Karl-Ernst Schröder, Zum Trio A-Dur BWV 1025 (BJ 1995, S. 47-60)

36. Practicing medicine and music II: Ophthalmology and music

2007 ◽  
Vol 30 (4) ◽  
pp. 46
Author(s):  
L. P. Hwi ◽  
J. W. Ting
Keyword(s):  
Chamber Music ◽  
18Th Century ◽  
Johann Sebastian Bach ◽  
Active Member ◽  
Active Researcher ◽  
Silver Medal ◽  
Medical Career ◽  
The One ◽  
The University ◽  
Over 40 Years

Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

Performing the Mass in B Minor in an Age of Choices

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Nineteenth Century ◽  
Johann Sebastian Bach ◽  
Point Of View ◽  
Performance History ◽  
History Of ◽  
Compositional History

Every performance of Johann Sebastian Bach’'s Mass in B Minor makes choices. The work’s compositional history and the nature of the sources that transmit it require performers to make decisions about its musical text and about the performing forces used in its realization. The Mass’s editorial history reflects deeply ideological views about Bach’s composition and how it should sound, not just objective reporting on the piece, with consequences for performances that follow specific editions. Things left unspecified by the composer need to be filled in, and every decision—including the choice to add nothing to Bach’s text—represents an interpretation. And the long performance history of the Mass offers a range of possibilities, reflecting a tension between the performance of a work like the Mass in Bach’s time and the tradition inherited from the nineteenth century. Every performance thus represents a point of view about the piece; —there are no neutral performances.

The Musical Discourse of Servitude

2020 ◽  
Author(s):  
Harry White
Keyword(s):  
Johann Sebastian Bach ◽  
George Frideric Handel ◽  
Cultural Significance ◽  
Imperial Court ◽  
Musical Works ◽  
Musical Discourse ◽  
Work Concept ◽  
Musical Genres ◽  
Church Service ◽  
Late Works

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.

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