J. S. Bach and the German Motet

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Cambridge University Press, 28.09.1995 - 229 Seiten
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J. S. Bach's much-performed motets are probably the most sophisticated pieces ever composed in the genre. Daniel Melamed takes a fresh look at Bach's works in the context of the German motet tradition, showing that they are firmly rooted in the conventions of his time. This allows new insights into Bach's contribution to the genre and into the vexing question of instrumental participation in the motets. Professor Melamed argues for Bach's authorship of an early motet wrongly dismissed as inauthentic, and demonstrates that other motets were products of Bach's familiar technique of musical reworking. The chronology of the motets can be substantially revised, and Bach's activities as a motet composer shown to extend over his entire career. An understanding of the eighteenth-century conception of "motet" sheds light on how and why Bach used motet style in his cantatas, Latin works, and oratorios. Finally Bach's study and performance of seventeenth-century motets late in his life, documented in newly discovered and reconstructed sources, played an important role in his exploration of his family's history and of the musical past.
 

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Inhalt

The term motet in the first half of the eighteenth century
7
J S Bachs use of the term motet
19
Bachs motets and their relation to the genre
35
rethinking authorship and dating
45
rethinking compositional history
63
Chronology style and performance practice of Bachs motets
98
The concept of the motetlike movement
109
85a BWV 61 mm 130
123
Bachs use of motet style in concerted works
151
KM Colla parte doublings in motetlike church cantata movements
154
The history of the Altbachisches Archiv
161
J S Bach and the Altbachisches Archiv
178
Christoph Bach Lieber Herr Gott wecke uns auf
184
Sebastian Kniipfer Erforsche mich Gott
189
Sebastian Kniipfer Erforsche mich Gott SBB Mus ms autogr
190
Leipzig
196

Motet style in Bachs Latin works and oratorios
133
97a BWV 24821 mm 14
144

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