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Bach, also, wrote his own sheet music for these events, detailing every last chord or pitch as much as possible to insure a grand performance for whatever audience he'd have and through whatever method that was possible or available to his work at the time (Chapters 25 and onward, Eidam).As baroque had been developed into a pure German style, Bach was able to spread this German-related genre, as said, and, along with it, the culture and artistic advances in the German society, particularly, and obviously, lyrically, vocally, and musically or, in other words, through his lyrics, compositions, instruments, and performances during his lifetime (Chapters 25 and onward, Eidam).
Books about classical music history are not exactly known for being page-turners, but there are exceptions.
While most of them aren’t as stiff as the papal prose of Richard Wagner’s autobiography, too often they’re dry and suck the life right out of the subject.
Wolff discusses Bach in light of several of his predecessors and contemporaries–Buxtehude, Boehm, Reincken, Vivaldi, and even Palestrina.
Bach had an enormous library and a prodigious understanding of the various national styles of Europe, which he succeeded, perhaps even more than G. Handel, in synthesizing into his own personal approach.
All the same, Wolff spends a lot of time on Bach’s organ works, and as an organist I’m grateful for the wealth of background information.
He pays a great deal of attention to the Neumeister Chorales, which were discovered in a manuscript at the Yale Library in the mid-1980’s.) and a few anonymous pieces, which serve to give musicolologists something to wonder about.Most of the pieces were mainly for manual only and require only modest technique, but they are as exquisitely beautiful as their successors, the chorales of the Orgelbuechlein, the Schubler Chorales, and the Leipzing Eighteen.His output is so vast that no one person could probably ever understand it completely. Bach reports that his childhood home was an absolute beehive, his parents constantly hosting important musicians from all over Europe.One pictures him laboring away with every available minute like a workaholic–yet C. And then when we consider that Bach was frequently paid in beer, it boggles the mind how he got so much done. Christoph Wolff’s essays put us in the right frame of mind to do exactly that. In addition, he masterfully brought history into the present, incorporating the of the Renaissance, Baroque influences, and even the fledgling classical style of the likes of his sons.Of particular note is the justice Wolff does to Dieterich Buxtehude on his way to explaining this composer’s influence on Bach.Between the 1600s and the 1700s, many would think more of Kings or Queens who ruled their vast kingdoms for years upon years rather than a great composer such as Johann Sebastian Bach, a man who greatly contributed to Germany and many other specific regions of Europe during his life.Born in 1685 Eisenach on March 21, Bach was a member of one of the most excellent musical families of all time as, for over 200 years, the Bach family had birthed some of the most superb composers and performers, many supported by churches, the government, and nobles for their extraordinary works ("Wikipedia").I like to call him the second rock musician, after William Byrd.Wolff brings Buxtehude’s choral and chamber music out into the light, parts of his work that are frequently passed over, but it may actually have been Bach and his close associates–known as the “Bach circle”–who could be responsible for this, as Bach emphasized Buxtehude’s organ music.