Leipzig After Bach
Church and Concert Life in a German City
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Product details:
- Publisher OUP USA
- Date of Publication 7 June 2018
- ISBN 9780190616953
- Binding Hardback
- No. of pages336 pages
- Size 236x160x22 mm
- Weight 612 g
- Language English
- Illustrations 30 line, 26 halftone 0
Categories
Short description:
Leipzig, Germany, is best known as the city where renowned composer J. S. Bach worked. But the century after his death in 1750 was critically important as well. This book examines how music in Leipzig responded to repeated threats, including changing middle-class musical tastes and the chaos of the Napoleonic wars.
MoreLong description:
Leipzig, Germany, is renowned as the city where Johann Sebastian Bach worked as a church musician until his death in 1750, and where Felix Mendelssohn Bartholdy directed the famed Gewandhaus orchestra until his own death in 1847. But the century in between these events was critically important as well. During this period, Leipzig's church music enterprise was convulsed by repeated external threats-a growing middle class that viewed music as an object of public consumption, religious and political tumult, and the chaos of the Seven Years and Napoleonic wars.
Jeffrey S. Sposato's Leipzig After Bach examines how these forces changed church and concert life in Leipzig. Whereas most European cities saw their public concerts grow out of secular institutions such as a royal court or an opera theater, neither of these existed when Leipzig's first subscription concert series, the Grosse Concert, was started in 1743. Instead, the city had a thriving Lutheran church-music enterprise that had been brought to its zenith by Bach. Paid subscription concerts therefore found their roots in Leipzig's church music tradition, with important and unique results. These included a revolving door between the Thomaskantor position and the Gewandhaus directorship, as well as public concerts with a distinctly sacred flavor. Late in the century, as church attendance faltered and demand for subscription concerts rose, the Gewandhaus dominated the musical life of Leipzig, influencing church music programming in turn.
Examining liturgical documents, orchestral programs, and dozens of unpublished works of church and concert music, Leipzig After Bach sheds new light on a century that redefined the relationship between sacred and secular musical institutions.
In three probing, extended chapters that make up the bulk of the volume, Sposato treats three relationships, centered on the positions of Thomaskantor and city Kapellmeister, that document the musical life of the city, but have largely evaded a thorough accounting: Johann Friedrich Doles and Johann Adam Hiller, Hiller and Johann Gottfried Schicht, and Moritz Hauptmann and Felix Mendelssohn Bartholdy. One of the author's signal accomplishments in this volume is to weave a rich narrative history of this period, and to explicate the traditions of the musical culture that connected Bach's legacy to Mendelssohn. And another, equally significant contribution is to trace the symbiotic relationship between musical life in the church and concert hall.
Table of Contents:
List of Illustrations
List of Musical Examples
List of Tables
Abbreviations
Acknowledgements
Introduction
I Leipzig, Saxony, and Lutheran Orthodoxy
Saxony and the Birth of the Reformation
The Establishment of Orthodoxy in Saxony
Threats to Orthodoxy: Pietism and Rationalism
A Catholic King
Leipzig and the Lutheran Mass
II Church Music and the Rise of the Public Concert, 1743-85
From Collegium to Concert
Bach, the Cantata, and the Concerted Mass
Gottlob Harrer and the New Era of Leipzig Church Music
Johann Friedrich Doles and Approachable Church Music
Hiller, Church Music, and the Grosse Concert
The Gewandhaus
III Hiller, Schicht, and the Crises of Church and State, 1785-1823
Hiller as Thomaskantor
The Cantor, the Superintendent, and the Crisis in the Church
August Müller and the Invasion of Leipzig
Schicht and the Transformation of Gewandhaus Sacred Music
IV Mendelssohn and the Transformation of Leipzig Musical Culture
Schulz, Pohlenz, and a Demand for Change at the Gewandhaus
Mendelssohn and a New Vision for Music in Leipzig
Programming Trends
Mendelssohn and Serious Music
"They prefer to ignore Weinlig"
An Ally for Change: Moritz Hauptmann as Thomaskantor
Epilogue
Bibliography
Index
