By John Butt
This learn is a accomplished overview of J. S. Bach's use of articulation marks (i.e. slurs and dots) within the huge physique of fundamental resources. Dr Butt analyses the function of such markings in the compositional strategy, how they relate to the norms of articulation of the interval, and the way they could support us in a deeper figuring out and overview of Bach's type. With its huge catalogue of the most typical slurring styles in line with a research of over a hundred concerted vocal works, this booklet is precious either for performers on all baroque tools, and for students with an curiosity in Bach's type and resource stories. It additionally contributes to our notion of Bach's place in song heritage: the aim of track within the Lutheran Germany of Bach's time and its rhetorical energy; the shut dating among composer and performer in the context of 'practical' tune; and the capabilities and improvement of notation.
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Extra resources for Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach
Weber 1977, 1984a, 1986). It would be inappropriate to suggest on the basis of this finding, however, that the works of Haydn, Mozart, and Beethoven were programmed universally across concert locations or that they were all performed with any regular degree of intensity throughout this twenty-year period. On closer inspection, it becomes clear that performances of their works were not randomly distributed, either (in the case of Beethoven) over time, or (in the case of all three) across concert locations.
Continued on next page) < previous page page_21 If you like this book, buy it! next page > < previous page page_22 next page > Page 22 TABLE 2 (continued from previous page) Prince Karl Lichnowsky (17561814): Regular private concert host during the 1790s; after 1795 cohosted Friday morning performances of string quartets with Count Razumovsky. He was a member of the same Masonic lodge as Mozart, had been a pupil of Mozart in the 1780s, and had escorted Mozart on a foreign concert tour. Occasionally he hosted large-scale concerts (Judas Maccabaeus in 1794, according to Zinzendorf's diary).
More recently, an additional explanation has been proposed by Moore (1987). Following the social and economic historian Hannes Stekl (1975), Moore argues that the increasing popularity of kapellen was driven as < previous page page_40 If you like this book, buy it! next page > < previous page page_41 next page > Page 41 much by aristocratic observance of convention and status-consciousness as by interest in music for its own sake. Aristocrats, in order to conform to their role expectations, maintained ensembles commensurate to their financial means and station.