J.C. Bach at Work
Expected to ship in about a week.
- Binding: Hardcover
- ISBN:
- Size: 6.3 x 9.8 inches
Contents:
Part 1. Music Catalogue
- Johann Christian Bach's Autograph Music Manuscripts: Introduction
- Music Catalogue (MC)
- MC Appendix 1. Music Copied by Johann Christian Bach
- MC Appendix 2. Manuscripts of Johann Sebastian Bach Owned by Johann Christian Bach
Part 2. Documents and Letters
- The Correspondence of Johann Christian Bach: Introduction
- Documents and Letters Catalogue (DL)
- DL Appendix 1. Documents Signed by Johann Christian Bach on behalf of Johann Sebastian - Bach
- DL Appendix 2. Other Documents and Letters
- DL Appendix 3. Printed Dedications in First Editions by Johann Christian Bach
Part 3. Bank Accounts
- Johann Christian Bach's Personal Account, 1767–81
- The Bach-Abel Subscription Account, 1773–75
Part 4. Ephemera
- Concert Tickets Signed by Johann Christian Bach
- Square Pianos Signed by Johann Christian Bach
- Printed Books and Music Signed by Johann Christian Bach
Concordance of Warb and MC Numbers
Index of Works
Johann Christian Bach's autograph scores reveal his working methods, aims and aspirations, the character, humor, and dedication of a composer once regarded as a musical lightweight, a "leicht-gesinnter Mensch." J. C. Bach allegedly claimed that "my brother [Carl Philipp Emanuel Bach] lives to compose and I compose to live; he works for others, I work for myself." A son of Johann Sebastian Bach, who sat at the keyboard with his half-brother Emanuel, was taught by Padre Martini and respected by the Mozarts, was no frivolous hack. The autographs show a hard-working professional, a fastidious craftsman, who, like his father, refused to repeat himself even when re-using old material.
Everything touched by J. C. Bach is described in detail: autograph music, printed editions, letters and documents, bank accounts and ephemera, including concert tickets and square pianos, addressing issues of authenticity, provenance and dating, the evolution of Bach's hand, and his techniques of composition. A new picture of his creative development emerges as composer, teacher, performer, and copyist for his father and brother. We learn how he stored and preserved his manuscripts, when and where he reused them, and what happened to them after his death. Accretions of ages are stripped away: the autographs are viewed as when Bach laid down his pen. Details such as stitching holes, watermarks, bindings, pagination, foliation, and structure lead to fresh discoveries. The chronology of the compositions is re-assessed and updated, leading to a new assessment of his stylistic development.
Bach inherited his father's interest in calligraphy, varying his music handwriting frequently, experimenting with clef styles and layout of scores. Charting these changes elucidates the dating of Bach's music, revealing new quirks of character and musical thought. The metaphorical cramping and crippling of the pen noted by Charles Burney became reality in Bach's last months, his deteriorating handwriting reflecting the depredations of his final illness.
Close examination of the early sources adds new music to Bach's worklist. The autograph of Artaserse contains an aria using a text from Catone in Utica. Cadenzas for an aria and a concerto movement faintly written in pencil were concealed until now in manuscripts in Hamburg and London. The manuscript of the birthday ode "Happy Morn, Auspicious Rise," once thought to be assembled from Gioas, re di Giuda, is now revealed as predating the oratorio. Gioas was assembled from earlier works, including the Miserere, dating from 1756 or 1757. The structure of Bach's operatic and orchestral manuscripts reveal how he composed them and how he dealt with the drafting of large-scale structures. The autographs are discussed in relation to other significant music manuscripts that are closely related to Bach's original sources, some of which are lost.
Bach's letters to Padre Martini are the most significant biographical resource. Most are preserved in Bach's teacher's library in Bologna, together with correspondence from other members of Martini's wide circle that mention Bach. All are published here in the original language and in English translation. Much new material appears for the first time, including Bach's only surviving letter in English and two new accounts of Bach's death, one by Queen Charlotte; the other by the singer Andrea Morigi. Several documents from Italy and London are also newly published.
Bach's two bank accounts are published complete for the first time. His personal accounts between 1767 and 1781 and newly discovered records for the Bach-Abel concerts between 1773 and 1775 are of profound importance for his career, contacts, and audience. These accounts, together with more than forty admission tickets recorded here for the first time, provide unparalleled information about the organization and social history of Bach's public concerts. in addition, his role in the development of the piano in London, noted by Burney, is developed through the discovery of at least five instruments bearing his signature. These are described for the first time.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
J.C. Bach at Work
