In this wide-ranging set of original essays, musicologist and organist Russell Stinson investigates Johann Sebastian Bach's compositions for the organ, opening up a wealth of perspectives on the stylistic orientation and historical context of these timeless masterpieces.
With a sweeping hand, Stinson sheds light on the entire corpus of Bach's organ chorales, and considers the reception of particular pieces not only by various luminaries in the classical music world, but also those within such disparate contexts as film, literature, politics, and rock music. Stinson's investigations include a revealing focus on a previously unpublished fugue by Bach pupil J. G. Schuebler, unexplored techniques found in over twenty of Bach's chorale preludes, and the diverse ways in which Bach's organ works have been received from the composer's own lifetime to the present day. Individual essays are also devoted to Felix Mendelssohn as a performer; to Robert Schumann as an editor and critic; to Cesar Franck as a performer, pedagogue, and composer; and to Edward Elgar as a performer, critic, and transcriber.
Rich in archival data and filled with fascinating anecdotes, J. S. Bach at His Royal Instrument is entirely up-to-date, meticulously annotated and indexed, and eminently readable. This book is essential reading for anyone at all interested in Bach and "the king of instruments."
Rezensionen / Stimmen
A brilliant and enlightening collection of essays. Stinson sets the record straight about some controversial issues, offers a plethora of new and important information, and provides a wealth of data regarding Bach reception in the 19th and 20th centuries. For anyone interested in Bach's organ music, this book is required reading. * Jack Mitchener, Director of the McAfee Institute of Church Music and Associate Professor of Organ, Mercer University * Russell Stinson has done it again with a book on Bach that every serious organist will benefit from reading. Addressing a variety of issues in Bach scholarship for the first time, the book also studies a wealth of fascinating information on how Mendelssohn, Schumann, Franck, and Elgar utilized the organ music of Bach in their own careers. This new work is a valuable addition to the existing literature on J. S. Bach. * David Higgs, Professor of Organ and Chair of the Department of Organ and Historical Keyboards, Eastman School of Music * Sets an interesting and important goal * to survey a core area of the repertoire in the light of the ways in which it has been approached since it was written. Stinson does this very well indeed; he has aimed at more than one readership. And has succeeded on all counts.Classical.net * Of particular interest is the inclusion of related material * e.g., a study of Eduard Krueger, a true Bach organ fanatic (in the Schumann essay); a comical text for the G minor fugue
opening; and appendixes about Franck's pupils at the Paris Conservatory. For all organ ficionados and scholars...Recommended.Choice * A unique contribution to the world of Bach studies... Stinson's book offers many enlightening insights that advance the cause of Bach scholarship and performance. * Early Music America *
Sprache
Verlagsort
Zielgruppe
Editions-Typ
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Illustrationen
Maße
Höhe: 229 mm
Breite: 155 mm
Dicke: 15 mm
Gewicht
ISBN-13
978-0-19-067441-0 (9780190674410)
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
Russell Stinson is the Josephine Emily Brown Professor of Music and College Organist at Lyon College in Batesville, Arkansas. He is the author of The Reception of Bach's Organ Works from Mendelssohn to Brahms (OUP, 2006), J. S. Bach's Great Eighteen Organ Chorales (OUP, 2001), Bach: The Orgelbuechlein (reissued by OUP, 1999), and The Bach Manuscripts of Johann Peter Kellner and His Circle.
Autor*in
Josephine Emily Brown Professor and College OrganistJosephine Emily Brown Professor and College Organist, Lyon College
INTRODUCTION
ONE
Studies and Discoveries
TWO
Bach and the Varied Stollen
THREE
Some Observations on Mendelssohn's Reception of Bach's Organ Works
FOUR
Bach's Organ Works and Schumann's Neue Zeitschrift
FIVE
Cesar Franck as a Receptor of Bach's Organ Works
Franck's Performances of Bach's Organ Works
Matters of Pedagogy
Franck's Compositional Responses to Bach's Organ Works
SIX
Edward Elgar as a Receptor of Bach's Organ Works
Elgar as Bach Interpreter
Elgar as Bach Devotee and Bach Critic
Elgar's Bach Transcriptions
SEVEN
Aspects of Reception from Bach's Day to the Present
The Six Trio Sonatas, BWV 525-30
The Prelude and Fugue in D Major, BWV 532
The Prelude and Fugue in E Minor, BWV 533
The Toccata and Fugue in F Major, BWV 540
The Fantasy and Fugue in G Minor, BWV 542
The Six Great Preludes and Fugues, BWV 543-48
The Prelude and Fugue in E-flat Major, BWV 552
The Toccata, Adagio, and Fugue in C Major, BWV 564
The Toccata and Fugue in D Minor, BWV 565
The Fantasy in G Major (Piece d'Orgue), BWV 572
The Passacaglia in C Minor, BWV 582
"Ich ruf zu dir, Herr Jesu Christ," BWV 639
"Herzlich tut mich verlangen," BWV 727
APPENDIX 1
APPENDIX 2
LITERATURE CITED
