Twelve of today's most distinguished scholar-performers offer essays in this volume on new and intriguing aspects of baroque keyboard music. Topics include fresh evidence on music of the seventeenth century (Frescobaldi, Froberger and Purcell), the place of the keyboard in concerted music and on comparative teaching methods (Couperin, Marpurg and Roeser), studies of the repertoire of J. S. Bach and his sons (including ornamentation in C. P. E. Bach and the Polonaises of Wilhelm Friedemann), and writing on the later eighteenth century (including Mozart) and on matters of repertoire and performance practice (continuo playing, improvisation). The volume gives a balanced picture of the latest theories and discoveries in keyboard music, of interest to both academic and performing musicians, and includes a new arrangement for keyboard of Bach's D minor Violin Partita, published here for the first time.
Rezensionen / Stimmen
Review of the hardback: 'The very experienced writers know how to relate particular issues to broader contexts, so there is much for the enthusiast, and several of the articles will henceforth be standards on my reading lists.' The British Clavichord Society Review of the hardback: 'May this collection encourage by example and stimulate further generations of Leonhardt's under-gardeners to labour for their art.' The Consort
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Sprache
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Produkt-Hinweis
Illustrationen
44 Printed music items; 9 Halftones, unspecified
Maße
Höhe: 246 mm
Breite: 189 mm
Dicke: 14 mm
Gewicht
ISBN-13
978-0-521-10261-2 (9780521102612)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Christopher Hogwood is an internationally renowned conductor and founder of the Academy of Ancient Music, with whom he has made more than 200 recordings, including the first complete Mozart symphonies on period instruments.
Part I. Seventeenth-Century Keyboard Music: 1. On Frescobaldi's recreation of the Chaconne and the Passacaglia Alexander Silbiger; 2. Hanss Jacob Froberger's travels 1649-1653 Rudolf Rasch; 3. New perspectives on Lynar A 1 Pieter Dirksen; 4. Creating the corpus: the 'Complete Keyboard Music' of Henry Purcell Christopher Hogwood; Part II. The Early Eighteenth Century: 5. Towards a genealogy of the keyboard concerto John Butt; 6. Couperin, Marpurg and Roeser: A Germanic Art de Toucher le Clavecin, or a French Wahre Art? Davitt Moroney; Part III. The Bach Family: 7. Invention, composition and the improvement of nature: apropos Bach the teacher and practical philosopher Christoph Wolff; 8. Is there an anxiety of influence discernible in J. S. Bach's Clavieruebung I? Peter Williams; 9. 'Toward the most elegant taste': developments in keyboard accompaniment from J. S. to C. P. E. Bach David Schulenberg; 10 '... welche dem groessten Concerte gleichen': the polonaises of Wilhelm Friedemann Bach Peter Wollny; Part IV. The Later Eighteenth Century: 11. Schnellen: a quintessential articulation technique in eighteenth-century keyboard playing Menno van Delft; 12. Mozart's non-metrical keyboard preludes Robert D. Levin; Part V. Musical envoi: 13. J. S. Bach: Keyboard Partita in A Minor after BWV 1004 Lars Ulrik Mortensen.
