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By Andrew Talle

This provocative addition to the Bach views sequence deals a counternarrative to the remoted genius prestige that J.S. Bach and his tune presently get pleasure from. members contextualize Bach by means of interpreting the output, recognition, and compositional practices of his contemporaries in Germany whose paintings was once extensively performed and loved in his time, together with Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Essays position Bach and his paintings relating to his friends, studying avenues of composition they took whereas he didn't and displaying how differing remedies of an analogous topics or texts ended in markedly varied compositional effects and legacies. by means of having a look heavily at how Bach's contemporaries addressed the initiatives and demanding situations in their time, this venture presents a extra nuanced view of the musical global of Bach's time whereas revealing in additional particular phrases than ever how and why Bach's personal track continues to be clean and compelling.

 
Contributors are Alison Dunlop, Wolfgang Hirschmann, Michael Maul, Andrew Talle, and Steven Zohn.

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14: Addenda et Corrigenda S–Z (Kassel: Bärenreiter, 1999), 196. I gratefully acknowledge Professor Mikhail Saponov’s assistance in obtaining a digital copy of the print from the Russian State Library.  On Fritzsch’s engraving work for Telemann, see Zohn, Music for a Mixed Taste, 370–73. , 11 vols. (Graz: Akademische Druckund Verlagsanstalt, 1959), vol. 9, 375; Georg Philipp Telemann, Suite No. 1, A moll, für 2 Violinen, Viola, Violoncello (Baß), und obligates Klavier, ed. Arnold Schering (Leipzig: C.

Peter Williams, J. S. Bach: A Life in Music (New York: Cambridge University Press, 2007), 372.  Ian Payne and Steven Zohn, “Bach, Telemann, and the Process of Transformative Imitation in BWV 1056/2 (156/1),” Journal of Musicology 17 (1999): 546–84; Steven Zohn, Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works (New York: Oxford University Press, 2008), 191–214: “Whatever Bach’s motivations for this borrowing, the discovery that one of his most famous melodies owes its inspiration to Telemann not only enriches the musical and aesthetic contexts in which we may understand both composers’ achievements, but also imposes a fresh layer of meaning onto Theodor Adorno’s bon mot, ‘They say Bach, mean Telemann’” (214).

130), mm. 1–8. But why is the “shepherd” dressed as a comedic actor? 9 I suspect the answer to both questions lies in the comic associations of pastoral-rustic characters and Kaendler,” 53–57; and Martin Eberle, “Cris de Paris: Street Vendors and Nobility at One Table,” 69–75 (all in Triumph of the Blue Swords). In addition to the images accompanying these three essays, see the porcelain statues of foreigners, commedia dell’arte characters, shepherds, miners, tailors, cooks, criers of London and Paris, beggars, and peasants (55, 66–67, 229–31 [Nos.

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