Johann Sebastian Bach Read Online Free PDF Page B

Benda, C. P. E. Bach, J. D. Heinichen, G. P. Telemann, J. G. Graun, N. A. Porpora, A. Scarlatti, and G. F. Handel—many of them previously not identified as such.
    George B. Stauffer, “Music for ‘Cavaliers et Dames.’ Bach and the Repertoire of his Collegium Musicum,” About Bach , ed. Butler et al., pp. 135–56.
    â€¢ Bach’s music rental operation (p. 412):
    Newly found documents about mailing costs for sending music to Bach’s second-generation pupil Johann Wilhelm Koch, cantor in Ronneburg (Thuringia) in the years 1732–44, provide evidence—with indications like “several cantatas sent back to Mr. Bach”—for the regular renting out of Bach’s cantatas, among them exacting works such as “Herr Gott, dich loben wir,” BWV 16; “Schwingt freudig euch empor,” BWV 36; and “In allen meinen Taten,” BWV 97. Since we are not concerned here with just a single case, we can assume that St. Thomas’s cantor Bach was in a way functioning as a country church music director, taking care, to a certain extent, of his wider surroundings. Therefore he carried on his music business not only in Leipzig but also in the entire region. He could hardly have limited his distribution to his own works because his challenging compositions prevented anything like the thoroughgoing distribution enjoyed a generation later by the motets and cantatas of Bach’s pupil and cantor at the Holy Cross Church in Dresden, Gottfried August Homilius.
    Michael Maul and Peter Wollny, “Quellenkundliches zu Bach-Aufführungen in Köthen, Ronneburg und Leipzig zwischen 1720 und 1760,” BJ (2003): 100–110, 120–34.
    â€¢ The Art of Fugue and B-Minor Mass (p. 431–42):
    The chapter-like systematic organization of The Art of Fugue is substantiated by Gregory Butler. Peter Wollny proves that Bach’s second youngest son, Johann Christoph Friedrich, assisted his father in the late 1740s (he copied, for example, the “Fantasia chromatica” with its authentic title—the previously unknown source of BWV 903 was acquired in 2009 by the Leipzig Bach Archive) and that his hand shows up in additions and corrections of the autograph score of the B-Minor Mass, his father’s last vocal work. Michael Maul considers the possibility that Bach prepared his Mass for a performance on St. Cecilia’s Day at St. Stephen’s Cathedral in Vienna on commission by Adam Count Questenberg. My own book on the Mass discusses the work in the context of an increased number of performances of Latin church music in Leipzig during the last two decades of Bach’s life.
    Gregory G. Butler, “Scribes, Engravers, and Notational Styles. The Final Disposition of Bach’s Art of Fugue,” About Bach , ed. Butler et al., pp. 111–23; Peter Wollny, “Beobachtungen am Autograph der h-Moll-Messe,” BJ (2009): 135–52; and “Fundstücke zur Lebensgeschichte Johann Sebastian Bachs 1744–1750,” BJ (2011): 35–50; Michael Maul, “ Die große catholische Messe . Bach, Graf Questenberg und die ‘musicalische Congregation’ in Wien,” BJ (2009): 153–76; Christoph Wolff, Johann Sebastian Bach: Messe in h-Moll (Kassel, 2009).
    â€¢ On Bach’s last months and final illness (pp. 448ff.):
    The last known written musical entries by the composer occur, as Peter Wollny has shown, in the original performing parts of C. P. E. Bach’s Magnificat Wq 215, which was presented in Leipzig on either February 2 or March 25, 1750. The nature of the entries indicates his participation in the careful preparation of the performance, whether or not it took place under his own direction. Archival documents uncovered by Andreas Glöckner attest that Bach, despite the two eye operations he underwent at the end of March and the beginning of April, apparently remained officially in charge of church performances until the