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Books on the topic 'Harpsichord Concertos'

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Author: Grafiati

Published: 27 July 2024

Last updated: 28 July 2024

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1

Górecki, Henryk Mikołaj. Concerto for harpsichord (or piano) and string orchestra, opus 40. London: Boosey & Hawkes, 1990.

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2

Dorival, Jérôme. Le concerto pour clavier: Approches multiples, partition, histoire, art. Lyon: Aléas, 1990.

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3

Karl, Heller. Bearbeitungen fremder Werke: Kritischer Bericht. Kassel: Bärenreiter, 1997.

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4

Vivaldi, Antonio. Concerto in A major for harpsichord (keyboard) and strings. New York: Oxford University Press, 1987.

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5

Park, Maria Hester. Concerto for the piano forte or harpsichord in E-flat major. Pullman, WA: Vivace Press, 1993.

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6

Kilian, Dietrich. Konzerte für Violine, für zwei Violinen, für Cembalo, Flöte und Violine: Kritischer Bericht. Kassel: Bärenreiter, 1989.

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7

Bach, Johann Sebastian. Bach for relaxation. New York, NY: RCA Victor, 1998.

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8

Charpentier, Marc-Antoine. Suite for Harpsichord: Arranged by Richard Siegel from the Concert pour quatre parties de violes H.545. Edited by Richard Siegel. Paris France: Richard Siegel, 2020.

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9

Karl, Heller. Konzerte für zwei Cembali: Kritischer Bericht. Kassel: Bärenreiter, 1990.

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10

(Composer), Johann Sebastian Bach, and Rosalyn Tureck (Editor), eds. Concerto in the Italian Style (Urtext Edition): Harpsichord or Piano Solo. G. Schirmer, Inc., 1986.

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11

Bach, Johann Sebastian. Complete Keyboard Transcriptions of Concertos by Baroque Composers. Dover Publications, 1988.

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12

Wolff, Christoph. Did J. S. Bach Write Organ Concertos? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0004.

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This chapter explores the prehistory of the cantata movements with obbligato organ and asks whether Johann Sebastian Bach wrote organ concertos by focusing on the sinfonias of his Cantatas 146 and 169. Bach presented church cantatas with concertato organ sinfonias several times between 1725 and 1728. This can only mean that neither the clergy, the congregation, nor anyone else objected to this innovative type of church music. This chapter analyzes the two first entries in the autograph manuscript P 234 (ca. 1738), the D-minor and E-major harpsichord concertos (BWV 1052–1053) and their related movements in cantatas 49, 146, 169, and 188, and challenges the notion that they are concertos for violin, oboe, or any other solo instrument. Instead, it argues that they are keyboard concertos in the same two keys and were designed for performance on either harpsichord or organ. The chapter concludes that Bach composed such works primarily for his own use, sketching out a solo part and making appropriate adjustments and improvisatory elaborations as needed at either harpsichord or organ.

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13

Triple Concerto, BWV 1044, for Flute, Violin and Harpsichord in Full Score. Dover Publications, 2007.

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14

Bach, Johann Sebastian. Music Minus One Violin: J.S. BACH Violin Concerto in D minor (from Concerto No. 1 for Harpsichord, BWV1052) (Book & CD). Music Minus One, 1998.

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15

Concertos for Two Harpsichords. Lulu Press, Inc., 2013.

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16

Concerto in a for Harpsichord and Strings. Oxford University Press, Incorporated, 1987.

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17

Concerto in a for Harpsichord and Strings. Oxford University Press, Incorporated, 1987.

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18

Concerto in a for Harpsichord and Strings. Oxford University Press, Incorporated, 1987.

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19

Concerto in a for Harpsichord and Strings. Oxford University Press, Incorporated, 1987.

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20

Concerto in a for Harpsichord and Strings. Oxford University Press, Incorporated, 1987.

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21

Carter, Elliott. Double Concerto (1961): Full Score. Associated, 1986.

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22

Kim, JungHae, and Lawrence Chiou. Georg Christoph Wagenseil - Concerto for Four Harpsichords. A-R Editions, 2023.

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23

Bach, Johann. Harpsichord Concerto No. 1 in d Minor: Bwv 1052. Independently Published, 2021.

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24

(Adapter), Igor Kipnis, ed. Concerto in a Major for Harpsichord (Keyboard) and Strings. Oxford University Press, 1987.

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25

Complete Concertos for Two or More Harpsichords in Full Score. Dover Publications, 1992.

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26

Schulenberg, David. Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.001.0001.

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Bach is an entirely new volume in the “Master Musicians” series, replacing the old entry by Malcolm Boyd with updated coverage of the composer’s life and works. Tracing the composer’s biography from origins in Thuringia to mastery as cantor and music director at Leipzig, the book sets Bach in the cultural context of early modern Europe. Family life, social structure, and court culture are among the topics examined from the perspective of contemporary approaches to history. Bach’s work as student, organist, music director, and teacher is considered alongside his compositions, with discussions of representative examples from all the major categories, including concertos, cantatas, chamber music, and pieces for harpsichord and for organ. In addition to a handy list of works and other useful reference matter included in every volume of the series, this book is also accompanied by an online supplement that offers a glossary, a guide to further reading, and audio versions of the numerous music examples.

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27

Concerto For 4 Harpsichords And Strings A Minor Bwv 1065. Eulenburg, 1986.

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28

Alfred Schnittke - Concerto Grosso: For Two Violins, Harpsichord (also Piano) and String Orchestra Study Score. Sikorski, 1998.

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29

Butler, Gregory. The Choir Loft as Chamber. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0005.

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This chapter examines concerted movements written by Johann Sebastian Bach from the mid- to late 1720s and how he adopted a “choir loft as chamber” approach to organ performance—performing different versions of the same concerted instrumental movements for the chamber and for the church. Bach worked as composer and performer not only for the Collegium Musicum in Leipzig, but also for its principal churches. In addition to parodying secular vocal compositions, transforming them into church cantatas, however, Bach was also adapting for church performances preexisting instrumental concerted movements, using obbligato organ as solo melody instrument in various sinfonias, arias, and choruses. Using the Concerto in E Major for harpsichord and strings, BWV 1053, as reference, this chapter demonstrates the connection between two spheres of activity that occurred after late May 1725, when the steady flow of new cantata compositions by Bach ceased: the secular arena of the ordinaire and extraordinaire performances of the Collegium, especially during the Leipzig fairs, and the weekly performances of concerted vocal music at the Haupgottesdienst in Leipzig’s St. Nicholas and St. Thomas Churches.

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30

Oleskiewicz, Mary, ed. Bach Perspectives, Volume 11. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041488.001.0001.

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This volume investigates topics surrounding Johann Sebastian Bach and his five musically gifted sons. Robert Marshall takes on a deeply psychological perspective by examining how each of the Bach sons personally dealt with Sebastian’s imposing legacy. Mary Oleskiewicz investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court of Frederick “the Great.” David Schulenberg argues that Emanuel Bach’s most significant contribution to European music is the large and diverse body of keyboard music he composed for harpsichord, fortepiano, organ and the clavichord. Evan Cortens’s chapter takes a detailed view of Emanuel Bach’s singers, vocal performance materials, and pay records in Hamburg and concludes that, as in most other parts of Germany at that time, one singer per part was the norm for Emanuel’s liturgical music after 1767. Finally, Christine Blanken’s essay continues research into Breitkopf’s publishing firm. Her discovery of unknown manuscripts by several members of the Bach family demonstrates much about what we can still learn about musical transmission, performance practice, and concert life in Bach’s Leipzig.

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