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The Organs of J. S. Bach is a comprehensive and fascinating guide to the organs encountered by Bach throughout Germany in his roles as organist, concert.
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London to Merseburg. Fly at c. The church of St Wenceslas in Naumburg has a major Hildebrandt organ of There is also time for the cathedral with its exceptional 13th-century sculpture. Second of three nights Merseburg. Visit three small towns outside Leipzig with outstanding organs.

Final night in Merseburg. Altenburg, Ponitz, Freiberg. Travel from Merseburg to Freiberg via Altenburg and Ponitz. The court city of Altenburg is one of the rarely visited jewels of the former DDR, with a hilltop ducal residence featuring mediaeval fortifications, Baroque apartments and a quite remarkable collection of Italian Renaissance paintings.

The chapel has a fine organ by Trost of After free time for lunch and independent exploration in Altenburg, travel on to Ponitz. Gottfried Silbermann began building an organ for the Friedenskirche in Ponitz in , before the construction of the church itself had ended. Continue to Freiberg. Before dinner, there is an opportunity to hear the Silbermann in St. First of two nights in Freiberg.

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Freiberg, Helbigsdorf. The morning is free in Freiberg. Freiberg cathedral is one of the most beautiful of Late Gothic buildings in Germany and has retained an exceptional panoply of furnishings. Dinner and final night in Freiberg. Freiberg to London. Drive to Prague and fly to London Heathrow, arriving c. The first event of the day is dinner in your chosen hotel. Flights Euro Traveller with British Airways Airbus ; travel by private coach and first class train tickets for those joining the Bach Journey ; hotel accommodation as described below; breakfasts, 1 lunch and 4 dinners with wine; all organ recitals, admissions and donations, visits, etc.

Hotel Freyhof , Freiberg : opened in , this traditional hotel is situated in a reconstructed monastery, within walking distance of the cathedral. There is a lot of coach travel with some long journeys.

The Organs of J.S. Bach: A Handbook

Average distance by coach per day: 95 miles. Are you fit enough to join the tour? I was very excited about this trip and the actual experience exceeded my expectations. It was the highlight of my month-long travels in Europe, by far. We were priviledged to have exclusive access to the various venues to listen to the concerts.

The itinerary was very well paced. The churches visited were also very well chosen and interesting from an architectural viewpoint as well as having superb organs. The music was sublime. I thought the range and pace of this particular tour made it one of the most successful I've ever done.

The Organs of J.S. Bach : Christoph Wolff :

Most of the harpsichord transcriptions probably originated between July and July Movements: [1]. Only one movement, without tempo indication, but also indicated as Allegro.

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The concerto became part of Wilhelm Friedemann Bach 's repertoire, who appended a spurious note to the heading in which he claimed authorship he was five in Bach's extant autograph has been dated from its watermark to — Exceptionally, it contains detailed specifications of organ registration and use of the two manuals. As explained in Williams , their main purpose was to enable the concerto to be heard at Bach's desired pitch.

The markings are also significant for what they show about performance practise at that time: during the course of a single piece, hands could switch manuals and organ stops could be changed. Bach's son Wilhelm Friedemann Bach added "di W. Bach manu mei Patris descript" to the heading on his father's autograph sixty or more years after it was written.

The result was that up until the transcription was misattributed to Wilhelm Friedemann. Despite the fact that Carl Friedrich Zelter , director of the Sing-Akademie zu Berlin where many Bach manuscripts were held, had suggested Johann Sebastian as the author, the transcription was first published as a work by Wilhelm Friedemann in in the edition prepared for C.

The Organs

Peters by Friedrich Griepenkerl. The precise dating and true authorship was later established from the manuscript: the handwriting and the watermarks in the manuscript paper conform to cantatas known to have been composed by Bach in Weimar in — From the outset in the original piece, Vivaldi creates an unusual texture: the two violins play as a duet and then are answered by a similar duet for obbligato cello and continuo bass. On the organ Bach creates his own musical texture by exchanging the solo parts between hands and having the responding duet on a second manual.

For Williams , Bach's redistribution of the constantly repeated quavers in the original is "no substitute for the lost rhetoric of the strings. The dense chordal writing in the three introductory bars of the Grave is unusual and departs from Vivaldi's specification of "Adagio e spiccato". Bach adapted the ensuing fugue to the organ as follows: the pedal does not play the bass line of the original allegro but has an accompanying role, rather than being a separate voice in the fugue; the writing does not distinguish between soloists and ripieno ; parts are frequently redistributed; and extra semiquaver figures are introduced, particularly over the prolonged pedal point concluding the piece.

The resulting fugue is smoother than the original, which is distinguished by its clearly delineated sections. Williams remarks that the way Vivaldi inverts the fugue subject must have appealed to Bach. The scoring for organ in the ritornello and solo episodes of the Largo e spiccato movement—a form of Siciliano —is unusual in Bach's writing for organ.

The widely spaced chords that accompany the solo melody in the original are replaced by simple chords in the left hand. For Griepenkerl, the sweetness of the melody reflected the tender personality of Wilhelm Friedemann. The last movement of Op. In the opening bars the first and second violins play in tutti the opening theme with its repeated quavers and clashing dissonances. Various elements of Vivaldi's string writing, that would normally be outside Bach's musical vocabulary for organ compositions, are included directly or with slight adaptations in Bach's arrangement.

As well as the dissonant suspensions in the opening quaver figures, these include quaver figures in parallel thirds, descending chromatic fourths , and rippling semidemiquavers and semiquavers in the left hand as an equivalent for the tremolo string accompaniment. Towards the end of the piece, Bach fills out the accompaniment in the final virtuosic semiquaver solo episode by adding imitative quaver figures in the lower parts. Williams compares the dramatic ending—with its chromatic fourths descending in the pedal part—to that of the keyboard Sinfonia in D minor, BWV Probably neither composed nor transcribed by Bach, and rather a trio sonata , by a composer of a later generation, than a concerto.

Movements: [18].