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Aria Arnold Schering Arnstadt B.G. xxxvi Bach wrote Bach-Jahrbuch Bach's Berlin Breitkopf C. P. E. Bach Cantor Carl Philipp Emmanuel Choral Cantata Choral Preludes Christian Weiss Church Cantatas Clavier Clavieriibung composer compositions Concerto Cothen Ditto Dresden Eisenach Fantasia fingers flat major Flute Forkel Freude Fughetta G major G minor genius Handel harmony Heiland Herr Gott Herr Jesu Christ Herren Herz Himmel hymn are set instrument J. S. Bach Johann Christoph Johann Sebastian Bach Kapellmeister Kirchencantaten komm Leben Leipzig libretto libretto original major bk major ib Max Schneider minor bk minor ib Motet musicians Novello Oboe d'amore Organ Organist original form pedal performed Philipp Emmanuel Picander play player Prelude and Fugue Psalm published rest of libretto Schweitzer Secular Cantata Seele Soli Solo Sonatas Spitta Stanza Suites supra texts Toccata Trinity Variations Vater Violin volume Weimar Well-tempered Clavier Wilhelm Friedemann Wilhelm Rust Zeit
Page 97 - When I proceed to write down my ideas, I take out of the bag of my memory, if I may use that phrase, what has previously been collected into it in the way I have mentioned. For this reason the committing to paper is done quickly enough, for everything is, as I said before, already finished; and it rarely differs on paper from what it was in my imagination.
Page 97 - All this fires my soul, and, provided I am not disturbed, my subject enlarges itself, becomes methodised and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it, like a fine picture or a beautiful statue, at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once (gleich alles zusammen).
Page 25 - After he had gone on for some time, he asked the King to give him a subject for a Fugue, in order to execute it immediately without any preparation. The King admired the learned manner in which his subject was thus executed extempore; and, probably to see how far such art could be carried, expressed a wish to hear a Fugue with six Obligate Parts.
Page 96 - When I am, as it were, completely myself, entirely alone, and of good cheer, say, traveling in a carriage, or walking after a good meal, or during the night when I cannot sleep ; it is on such occasions that my ideas flow best and most abundantly. Whence and how they come I know not, nor can I force them.
Page 244 - Gott, wie dein Name, so ist auch dein Ruhm. 172. Erschallet, ihr Lieder. 173. Erhöhtes Fleisch und Blut. 174. Ich liebe den Höchsten von ganzem Gemüthe. 175. Er rufet seinen Schafen mit Namen. 176. Es ist ein trotzig und verzagt Ding. 177. Ich ruf zu dir, Herr Jesu Christ.
Page 70 - Sometimes I regret my ignorance, yet, when I think of the ghastly heap of platitudes for which that unfortunate piano is made the daily excuse — insipid, shameless productions, that would be impossible if their perpetrators had to rely, as they ought, on pencil and paper alone — then I thank the fates for having forced me to compose silently and freely by saving me from the tyranny of finger-work, that grave of original thought.
Page 236 - Was Gott thut, das ist wohlgethan. Zweite Composition. G-Dur. 100. Was Gott thut, das ist wohlgethan. Dritte Composition. G-Dur. Anhang. Vol. 23. Kirchencantaten. Elfter Band. No. I01-1 10. 101. Nimm von uns, Herr, du treuer Gott. 102. Herr, deine Augen sehen nach dem Glauben. 103. Ihr werdet weinen und heulen.
Page 139 - ... Stadthauptmann of Leipzig, on Feb. 4. 1726 (BJ-B., 1912, p. 11). No. 6, a setting of verses 1 and 2 of an anonymous funerary hymn, founded on St. John xiv. 6, also was clearly written for a funeral. Five of the Leipzig works bear the title ' Missa ' (Messe : Mass) — the Mass in B minor, and four miscalled ' short ' Masses in F major, A major, G minor and G major. In Lutheran liturgical use the 'Missa...
Page 97 - I cannot sleep; it is on such occasions that my ideas flow best and most abundantly. Whence and how they come I know not, nor can I force them. Those ideas that please me, I retain in memory, and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me, how I may turn this or that morsel to account, so as to make a good dish of it, that is to say, agreeably to the rules of counterpoint, to the peculiarities of the various instruments, &c.