The Reception of Bach's Organ Works from Mendelssohn to Brahms
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Product details:
- Publisher OUP USA
- Date of Publication 29 April 2010
- ISBN 9780199747030
- Binding Paperback
- No. of pages240 pages
- Size 156x234x13 mm
- Weight 345 g
- Language English
- Illustrations 20 halftones, 53 musical examples 0
Categories
Short description:
In this penetrating study, Russell Stinson considers how four of the greatest composers of the nineteenth century-Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms-responded to the model of Bach's organ music. His book represents a major step forward in the literature on the so-called Bach revival.
MoreLong description:
In this penetrating study, Russell Stinson explores how four of the greatest composers of the nineteenth century--Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms--responded to the model of Bach's organ music. The author shows that this quadrumvirate not only borrowed from Bach's organ works in creating their own masterpieces, whether for keyboard, voice, orchestra, or chamber ensemble, but that they also reacted significantly to the music as performers, editors, theorists, and teachers. Furthermore, the book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances--especially Clara Schumann--contributed as well.
As the first comprehensive discussion of this topic ever attempted, Stinson's book represents a major step forward in the literature on the so-called Bach revival. He considers biographical as well as musical evidence to arrive at a host of new and sometimes startling conclusions. Filled with fascinating anecdotes, the study also includes detailed observations on how these composers annotated their personal copies of Bach's organ works.
Stinson's book is entirely up-to-date and offers much material previously unavailable in English. It is meticulously annotated and indexed, and it features numerous musical examples and facsimile plates as well as an exhaustive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. Engagingly written, this study should be read by anyone at all interested in the music of Bach or the music of the nineteenth century.
Stinson has successfully combined biography and analysis to produce a book that is highly readable and accessible to both scholars and enthusiasts. Russell Stinson should be commended for assembling information from a great variety of sources in order to produce this valuable resource. I am sure that his enthusiasm for this subject - and the book's extensive bibliography - will help stimulate further study in this fascinating study.
Table of Contents:
Introduction
Felix Mendelssohn Bartholdy (Youth / The Grand Tour / Young Adulthood / The Leipzig Bach Recital /
The Final Years)
Robert Schumann (Leipzig / Dresden and Beyond)
Franz Liszt (The Traveling Virtuoso / Weimar / Transcriptions / Relationship with A. W. Gottschalg /
The Master Teacher)
Johannes Brahms (An Overview / Brahms as a Scholar of Bach's Organ Works / Theoretical Sources
/ The Influence of Spitta's Bach Biography / Brahms's Inscriptions in the Organ-Music Volumes of the Bachgesellschaft Edition / The Marking of Themes and Motives / The Marking of Musical Form / The Marking of Rhythmic, Harmonic, Melodic, and Contrapuntal Irregularities Comparative Readings, Suggested Readings, and Corrections / The Marking of Ornamentation / Fingerings / Miscellaneous Annotations / Brahms as Scholar-Composer: the Eleven Chorale Preludes, op. 122 . )
Appendix: Johannes Brahms's Study Score of the Fantasy in G Major, BWV 572
Notes
Literature Cited
