Format : Facsimile
In response to a continued interest in a scholarly facsimile of the Mass in B minor, a new cloth-bound facsimile edition (BVK 2194) has now been published. This replaces the original BÄRENREITER FACSIMILE edition (BVK 1911). Johann Sebastian Bach completed the Mass in B minor in 1748/49 shortly after the Art of Fugue and shortly before his death. This late work is as concentrated and rich in compositional technique as scarcely any other work. As early as 1818, Hans-Georg Nägeli enthusiastically described the Mass as the greatest musical artwork of all time and all nations . Since then it has been ranked as an icon of music history. One of the primary functions of a facsimile is the preservation of such a cultural heritage, particularly when the manuscript (as is the case with the Mass in B minor) is endangered and damaged by iron gall ink erosion. Furthermore, it is moving for Bach admirers to see how in some passages Bach s handwriting reflects the effort which this last work demanded of him. The facsimile documents and records the present condition of the complete autograph score. Older reproductions have substituted a few individual folios where the content has become difficult to read in recent years. The renowned Bach scholar Christoph Wolff describes the work s significance in his introduction, gives an overview of the history of composition and draws attention to particular distinguishing features of the manuscript. This facsimile edition is a model for the presentation of musical sources, both in appearance and in documentation. [ ] Wolff's facsimile will serve as foundational tools (Notes, December 2008) Once, Bach came up against the boundaries of his art, on blotchy, 260-year-old paper. Et expecto is this point in the B minor mass, And I look for the resurrection of the dead. Bach wrote modulations which were extraordinary. He had to strive for these. He crossed out although this is a fair copy hatched and scratched until the paper tore. He was already an old man, his script leans to the left. The handwriting here isn t nearly as lively as in the Cum sancto Spirito , written earlier. Everywhere, one is moved by the closeness to the manuscript which the facsimile conveys one of the most sumptuous ever published. (DIE ZEIT Literatur, December 2007) / [Messe en Si mineur BWV 232] / Classique / Fac-similé /
SKU: HL.49015663
ISBN 9783795704902. UPC: 073999480771. 6.75x9.5x0.547 inches. German.
Die Kunst der Fuge ist nicht nur eines der grossten Meisterwerke der Musik, sondern zugleich auch Bachs problematischste Komposition hinsichtlich Deutung und Auffuhrungspraxis. Sie erinnert in ihrem Geheimnisstand an Leonardo da Vincis La Gioconda - in der Musikgeschichte gibt es kein vergleichbares Werk. Dem Autor ist es auf der Grundlage eines interdisziplinaren Forschungsansatzes und essentieller historischer Entdeckungen gelungen, eine enge Beziehung zwischen der Kunst der Fuge und dem pythagoreischen Denken nachzuweisen. Teil 1 des Buches legt die antiken Quellen in Bachs Umfeld offen und beschreibt die aktive Rezeption pythagoreischer Uberlieferung an der Thomasschule in Leipzig zu Bachs Zeit. Eine detaillierte Aufzahlung und Beschreibung pythagoreischer Kennzeichen in Autograph und Erstdruck der Kunst der Fuge schliesst sich an. In Teil 2 werden die gelaufigen Hypothesen zur Kunst der Fuge einer erkenntnistheoretischen Prufung unterzogen. Teil 3 beschaftigt sich mit der Auffuhrung bzw. Besetzung der Kunst der Fuge. Diese ist uber die Bachsche Auffuhrungspraxis hinaus von pythagoreischen Parametern bestimmt und konkretisiert sich in einem von Athanasius Kircher und Lorenz Christoph Mizler beschriebenen Stil, dem Stylus symphoniacus. Als Ergebnis tritt eine bisher nicht erkannte Besetzungsform zutage, welche das Werk endgultig vom Schicksal der Bearbeitung befreit. Hans-Eberhard Dentlers Erkenntnisse markieren einen bahnbrechenden Wendepunkt in der Erforschung dieses bis heute ratselhaften Kunstwerks.
SKU: CA.3550100
ISBN 9790007049188.
During his lifetime Johann Sebastian Bach compiled an extensive music library, which today can only be reconstructed in a fragmentary manner. It reflects Bach's continued curiosity to learn about compositions of various styles and eras, a curiosity which was already present in his younger years and into his advanced age. The two complete masses and six individual movements from the Mass by Palestrina testify to Bach's interest in compositions from the 16th century. During his Weimar years Bach initially used these works to study the stile antico, with its characteristic voice leading and modal harmonies. In the last years of his life, Bach planned performances of at least two of the masses. In this connection he added instrumental parts and a basso continuo to these works. The Palestrina masses arranged by Bach comprise an important document for the performance practice in the 18th century of works in the strict style.
