J.S. Bach, the Breitkopfs, and Eighteenth-century Music Trade

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George B. Stauffer
U of Nebraska Press, 1996 - Music - 219 pages
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From 1727, when Johann Sebastian Bach turned to Bernhard Christoph Breitkopf for a printed text sheet for his "Trauer-Ode" (Cantata 198), to 1787, when Carl Philipp Emanuel Back engaged Bernhard's son, Johann Gottlob Immanuel, to print the last volume of his Clavier-Sonaten f_r Kenner und Liebhaber, the Bachs and the Breitkopfs enjoyed close professional ties?ties born of the growing trade in the eighteenth century between music composers and music printers.

The Breitkopf firm, which began in 1719 as a book-printing operation, gradually became one of the most important publishing houses in central Europe. It owned an extensive inventory of music manuscripts, from which copies could be produced on request; it issued the first music catalogs with printed incipits; it developed one of the first viable methods of printing music from movable type.

Bach Perspectives examines the publishing activities of the Breitkopf firm as seen through its commerce with the Bach family. The volume begins with an introductory essay that surveys Breitkopf?s business in Leipzig and the firm?s contribution to the wider world of music publishing. The articles turn to the specific connections between the Bachs and the Breitkopfs, the importance of Breitkopf?s music catalogs, the identification and dating of music manuscripts in Breitkopf?s extensive inventory, and the architecture of the buildings in which the Bach and Breitkopf families lived.

 

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Contents

Connections between Breitkopf and J S Bach
11
Church Cantatas in the Breitkopf Catalogs
27
The Breitkopfs Dealings with
51
The Publication Process and Audience
65
The Breitkopf Firms Relations
85
On the Identification of Breitkopfs Manuscripts
107
Identifying Breitkopf House Copies Produced
123
A BachBreitkopf Architectural Connection
181
Contributors
205
Copyright

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Page 214 - This great man," he says, would be the admiration of whole nations if he had more amenity, if he did not take away the natural element in his pieces by giving them a turgid and confused style, and if he did not darken their beauty by an excess of art.
Page 214 - Every ornament, every little grace, and everything that one thinks of as belonging to the method of playing, he expresses completely in notes; and this not only takes away from his pieces the beauty of harmony but completely covers the melody throughout.
Page 214 - This great man would be the admiration of whole nations if he had more amenity (Atinehmlichkeit), if he did not take away the natural element in his pieces by giving them a turgid (schwiilstig) and confused style, and if he did not darken their beauty by an excess of art.

About the author (1996)

George B. Stauffer is department chair and a professor of music history at Hunter College in New York. His books include The Organ Preludes of Johann Sebastian Bach and J.S. Bach: The Mass in B Minor.

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