By Malcolm Boyd
The yr 2000 has been declared a "Bach Year," marking the 250th anniversary of the good composer's demise. all over the world, there'll be significant celebrations in honor of his extraordinary physique of labor. This significant biography of Bach, now thoroughly revised and boasting 25% extra fabric, is released to coincide with those occasions. within the new version of this commonly acclaimed examine, biographical chapters trade with observation at the works, to illustrate how the situations of Bach's lifestyles helped to form the song he wrote at numerous sessions. We stick with Bach as he travels from Arnstadt and Muhlhausen to Weimar, Cothen, and at last Leipzig, those trips alternating with insightful discussions of the good composer's organ and orchestral compositions. in addition to proposing a rounded photograph of Bach, his song, and his posthumous popularity and effect, Malcolm Boyd considers the occasionally debatable issues of "parody" and association, quantity symbolism, and the fashion and which means of Bach's past due works. contemporary theories at the structure of Bach's appearing forces at Leipzig also are current. The textual content and the appendixes (which contain a chronology, personalia, bibliography, and a whole catalogue of Bach's works) were completely revised to take account of the examine undertaken by way of Bach students, together with the gold mine of recent details lately exposed within the former USSR. An authoritative account of the existence and paintings of Johann Sebastian Bach, this quantity can be crucial examining for everybody attracted to the classical composers.
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Extra resources for Bach (Master Musicians Series)
F. Fischer. The court was Calvinist, and so, even if he did travel to Celle, Bach would not have heard any French sacred music for voices, though he did at some stage become familiar with liturgical organ pieces by Franc¸ois Couperin, Raison, and Grigny, whose Premier livre d’orgue he later copied out in his own hand. The date of Bach’s departure from Lu¨neburg is unknown, but at Easter 1702 he would have completed the usual two years in the top class of the Michaelisschule and we may suppose that, not wishing to proceed to university or lacking the funds to do so, he began to look for openings in the profession of music.
3 According to this interpretation Bach would have been drawing an invidious social distinction between himself, a twentyyear-old professional organist, and Geyersbach, a twenty-three-yearold schoolboy. Whatever the nature of the insult, the consistory’s reprimand did not rest there, but referred also to Bach’s inability to get on with the students and his unwillingness to rehearse them in ﬁgural music. Bach, in his reply, pointed out the need for a director musices to train the choir. Bach was soon in further trouble with the consistory.
We may doubt whether Bach allowed himself to be caught up in it, but he and Eilmar do seem to have formed close professional and personal ties. Eilmar almost certainly furnished the texts for some of Bach’s early cantatas, and on 29 December 1708 he stood godfather at Weimar to Bach’s ﬁrst child, Catharina Dorothea. Two years later Eilmar’s daughter, Anna Dorothea, was godmother to Bach’s eldest son, Wilhelm Friedemann. 5 In fact, Spitta stated quite clearly that in Bach’s use of these words We must understand in the ﬁrst place the disposition of a portion of the municipality of Mu¨hlhausen which clung to old fashions and customs, and neither could nor would follow Bach’s bold ﬂights, and even looked askance 4 5 M.