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Bach Perspectives, Volume 7: J. S. Bach's Concerted Ensemble Music : The Concerto /

The creativity of J.S. Bach is so overwhelming that his compositions in some genres can risk eclipsing his work in others; his glorious choral works, profound organ compositions, and exquisite solo compositions for violin and cello have historically attracted the most attention. Volume 7 of Bach Per...

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Detalles Bibliográficos
Otros Autores: Butler, Gregory
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Chesham : Combined Academic [distributor], 2008.
Colección:Book collections on Project MUSE.
Temas:
Acceso en línea:Texto completo

MARC

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245 0 0 |a Bach Perspectives, Volume 7: J. S. Bach's Concerted Ensemble Music :   |b The Concerto /   |c edited by Gregory Butler. 
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505 0 |a Bach the cobbler : the origins of J.S. Bach's E-major concerto (BWV 1053) / Gregory Butler -- J.S. Bach's violin concerto in G minor / Pieter Dirksen -- The Sonate auf Concertenart : a postmodern invention? / David Schulenberg -- Sicilianos and organ recitals : observations on J.S. Bach's concertos / Christoph Wolff. 
520 |a The creativity of J.S. Bach is so overwhelming that his compositions in some genres can risk eclipsing his work in others; his glorious choral works, profound organ compositions, and exquisite solo compositions for violin and cello have historically attracted the most attention. Volume 7 of Bach Perspectives aims to restore Bach's concertos to their rightful place of honor. Continuing the reevaluation of these musical compositions, Gregory Butler focuses on Bach's Concerto for Harpsichord and Strings in E Major (BWV 1053) as a pastiche created by a process of assemblage of three earlier heterogeneous movements. Pieter Dirksen, on the basis of his study of the source history of the Concerto for Harpsichord and Strings in F Minor (BWV 1056), concludes that it represents a transcription of an earlier violin concerto in G minor. David Schulenberg investigates the generic ambiguity of the concerto at the beginning of the eighteenth century and how it gradually diverges from the sonata as a distinct genre. Completing the volume is Christoph Wolff's general examination of the siciliano as a slow movement in Bach's concertos and its implications for the source history of his Concerto for Harpsichord and Strings in E Major (BWV 1053) [Publisher description]. 
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