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Download Hearing Bach's Passions epub book
ISBN:0195169336
Author: Daniel R. Melamed
ISBN13: 978-0195169331
Title: Hearing Bach's Passions
Format: rtf lit mobi mbr
ePUB size: 1961 kb
FB2 size: 1539 kb
DJVU size: 1674 kb
Language: English
Category: Music
Publisher: Oxford University Press; 1 edition (March 24, 2005)
Pages: 192

Hearing Bach's Passions by Daniel R. Melamed



Vocal forces in Bach's Passions ; Singers and roles in Bach's Passions Passions in performance. The double chorus in the St. Matthew Passion BWV 244 ; Which St. John Passion BWV 245? ; A St. Mark Passion makes the rounds Phantom Passions. Parody and reconstruction : the St. Mark Passion BWV 247 ; Bach/not Bach : the anonymous St. Luke Passion BWV 246. Personal Name: Bach, Johann Sebastian, 1685-1750. Rubrics: Passion music Analysis, appreciation. Download book Hearing Bach's Passions, Daniel R. Melamed.

Bach scholar Daniel Melamed examines the issues we encounter when we see the passions performed today, and offers unique insight into Bach's passion settings. Rather than providing a analysis, Melamed uses the Bach repertory to introduce readers to some of the intriguing issues in the study and performance of older music, and explores what it means to listen to this music today. Based on the most recent scholarship and using lucid prose, the book opens up the debates surrounding this repertory to music lovers, choral singers, church musicians, and students of Bach's music. Introduction: Hearing Passions in Bach’s Time and Ours Is it really possible to hear a musical work from the eighteenth century?  

Bach scholar Daniel Melamed examines the issues we encounter when we see the passions performed today, and offers unique insight into Bach's passion settings.

Hearing Bach's Passions by Daniel Melamed. William Hoffman wrote (March 30, 2016): Th full article, "Passion season, Bach season" can be found at: Passion season, Bach season OUPblog. A third recent book about the Bach Passions, John Butt’s Bach’s Dialogue with Modernity: Perspectives on the Passions (Cambridge University Press, 2010), is really about a philosophical reflection on ways of listening to music, says Melamed, specifically about how we think about him and relate to his time.

Daniel R. Melamed: Hearing Bach’s Passions. Oxford University Press, 2005. 178 pp. ISBN: 0-19-516933-6. com/65xsk29 GOLDBERG’s Bach monograph (GOLBERG 34, June 2005) contained a fascinating article on The Passions: Versions and Problems by Daniel Melamed. The book aims to facilitate and promote historical listening to Bach’s Passions; though it contains much that is useful for performers and scholars, its primary target audience is general readers. It hovers, perhaps somewhat uncomfortably, between popular and academic modes of writing. In its style and subject-matter, the book is quite scholarly. Though Melamed does not assume musicological erudition on the part of his readers, he does assume that they are familiar with the two famous Passions; the book is not intended as an introduction for first-time listeners.

Hearing Bach's Passions book. Johann Sebastian Bach's two surviving passions-St  . Bach scholar Daniel Melamed Johann Sebastian Bach's two surviving passions-St. John and St. Matthew-are an essential part of the modern repertory, performed regularly both by professional ensembles and amateur groups. These large, complex pieces are well loved, but due to our distance from the original context in which they were performed, questions and problems emerge. Bach scholar Daniel Melamed examines the issues we encounter when we hear the passions performed today, and offers unique insight into Bach's passion settings.

In this book Bach scholar Daniel Melamed examines the issues we encounter when we hear the passions performed today, and offers unique insight into Bach's passion settings. Contents Preface List of Tables Introduction: Hearing Passions in Bach’s Time and Ours Part I: Performing Forces and Their Significance 1. Vocal Forces in Bach’s Passions 2. Singers and Roles in Bach’s Passions Part II: Passions in Performance 3. Matthew Passion BWV 244 4. Which St. John Passion BWV 245?

Hearing Bach's Passions," by Daniel R. In: Bach Notes, pp. 14-15. nl/download/Hearing Bach's Passions by Daniel R.

Book DescriptionJohann Sebastian Bach's two surviving passions-St. Bach scholar Daniel Melamed examines the issues we encounter when we see the passions performed today, and offers unique insight into Bach's passion settings.

Johann Sebastian Bach's two surviving passions--St. John and St. Matthew--are an essential part of the modern repertory, performed regularly both by professional ensembles and amateur groups. These large, complex pieces are well loved, but due to our distance from the original context in which they were performed, questions and problems emerge. Bach scholar Daniel Melamed examines the issues we encounter when we hear the passions performed today, and offers unique insight into Bach's passion settings. Rather than providing a movement-by-movement analysis, Melamed uses the Bach repertory to introduce readers to some of the intriguing issues in the study and performance of older music, and explores what it means to listen to this music today. For instance, Bach wrote the passions for a particular liturgical event at a specific time and place; we hear them hundreds of years later, often a world away and usually in concert performances. They were performed with vocal and instrumental forces deployed according to early 18th-century conceptions; we usually hear them now as the pinnacle of the choral/orchestral repertory, adapted to modern forces and conventions. In Bach's time, passion settings were revised, altered, and tampered with both by their composers and by other musicians who used them; today we tend to regard them as having fixed texts to be treated mith respect. Their music was sometimes recycled from other compositions or reused itself for other purposes; we have trouble imagining the familiar material of Bach's passion settings in any other guise. Melamed takes on these issues, exploring everything from the sources that transmit Bach's passion settings today to the issues surrounding performance practice (including the question of the size of Bach's ensemble). He delves into the passions as dramatic music, examines the problem of multiple versions of a work and the reconstruction of lost pieces, explores the other passions in Bach's performing repertory, and sifts through the puzzle of authorship. Highly accessible to the non-specialist, the book assumes no technical musical knowledge and does not rely on printed musical examples. Based on the most recent scholarship and using lucid prose, the book opens up the debates surrounding this repertory to music lovers, choral singers, church musicians, and students of Bach's music.