Johann Sebastian Bach - booksnow.scholarsportal.info

More documents

Recommendations

Info

Digitized by tine Internet Arciiivein 2011 witii funding fromUniversity of TorontoIittp://www.arcliive.org/details/joliannsebastian03spit
Page 1 and 2: o.tL-(DCMCNJu.==\r> mUJ">=z=3^r.inr
Page 7 and 8: 'JOMNN SEBASTIAN BACH,HISWORK AND I
Page 9: —CONTENTS.1 IBOOK VI.The Final Pe
Page 13 and 14: 1 SeeVol. II., p. 261.B 2BOOK VI.I.
Page 15 and 16: ;DISPUTE WITH ERNEST!. 5and the rec
Page 17 and 18: DISPUTE WITH ERNESTI. 7he won over
Page 20 and 21: —10 JOHANN SEBASTIAN BACH.he disp
Page 22 and 23: 13 JOHANN SEBASTIAN BACH.only as a
Page 24 and 25: —;14 JOHANN SEBASTIAN BACH.prince
Page 26 and 27: l6JOHANN SEBASTIAN BACH.musical Act
Page 28 and 29: :l8JOHANN SEBASTIAN BACH.notably th
Page 30 and 31: ;20 JOHANN SEBASTIAN BACH
Page 32 and 33: 23 JOHANN SEBASTIAN BACH.survived a
Page 34 and 35: 24 -JOHANN SEBASTIAN BACH.Society,
Page 36 and 37: '26 "JOHANN SEBASTIAN BACH.and the
Page 38 and 39: —28 JOHANN SEBASTIAN BACH.style w
Page 40 and 41: 30 JOHANN SEBASTIAN BACH.From all t
Page 42 and 43: 32 JOHANN SEBASTIAN BACH.have promp
Page 44 and 45: 34 JOHANN SEBASTIAN BACH.seem actua
Page 46 and 47: 36 JOHANN SEBASTIAN BACH.offered up
Page 48 and 49: —38 JOHANN SEBASTIAN BACH.Deiis P
Page 50 and 51: —40 JOHANN SEBASTIAN BACH.unusual
Page 52 and 53: 43 JOHANN SEBASTIAN BACH.too long f
Page 54 and 55:
44 JOHANJJ SEBASTIAN BACH.influence
Page 56 and 57:
46 JOHANN SEBASTIAN BACH.in the spi
Page 58 and 59:
48 JOHANN SEBASTIAN BACH.are no rec
Page 60 and 61:
:50-JOHANNSEBASTIAN BACH.No human e
Page 62 and 63:
;52 JOHANN SEBASTIAN BACH.the compo
Page 64 and 65:
54-JOHANNSEBASTIAN BACH.at once to
Page 66 and 67:
—;"56 JOHANN SEBASTIAN BACH.secti
Page 68 and 69:
58'JOHANN SEBASTIAN BACK.above the
Page 70 and 71:
6o'JOHANN SEBASTIAN BACH.His presen
Page 72 and 73:
;62 JOHANN SEBASTIAN BACH.church mu
Page 74 and 75:
64-JOHANN SEBASTIAN BACH.B minor ma
Page 76 and 77:
;66 JOHANN SEBASTIAN BACH.and lastl
Page 78 and 79:
;68 JOHANN SEBASTIAN BACH.in the se
Page 80 and 81:
70 -JOHANN SEBASTIAN BACH.is supple
Page 82 and 83:
73 JOHANN SEBASTIAN BACH.Bann thun"
Page 84 and 85:
——74 JOHANN SEBASTIAN BACH.twen
Page 86 and 87:
76 'JOHANN SEBASTIAN BACH.in noble
Page 88 and 89:
78 JOHANN SEBASTIAN BACH.occurs onl
Page 90 and 91:
8oJOHANN SEBASTIAN BACH.Gottes eing
Page 92 and 93:
82 JOHANN SEBASTIAN BACH.beautiful
Page 94 and 95:
84 JOHANN SEBASTIAN BACH.in time an
Page 96 and 97:
—;86 JOHANN SEBASTIAN BACH.cantat
Page 98 and 99:
ööIJOHANN SEBASTIAN BACH.of incre
Page 100 and 101:
goJOHANN SEBASTIAN BACH^8. Christum
Page 102 and 103:
(^^2^JOHANN SEBASTIAN BACH.n}'mn ar
Page 104 and 105:
94 JOHANN SEBASTIAN BACH.markable d
Page 106 and 107:
96 JOHANN SEBASTIAN BACH.In the can
Page 108 and 109:
——g8JOHANN SEBASTIAN BACH.at ba
Page 110 and 111:
100 JOHANN SEBASTIAN BACH.the short
Page 112 and 113:
102 JOHANN SEBASTIAN BACH.season co
Page 115 and 116:
—CHORALE CANTATAS—THE DEVELOPED
Page 117 and 118:
—BACH S FIDELITY TO THE CHORALE.
Page 119 and 120:
1*^ Schemelli, the father, b. 1676,
Page 121 and 122:
BACH S CHORALE BOOK. Illmelodies is
Page 123 and 124:
ach's original hymn tunes. 113given
Page 125 and 126:
ach's original hymn tunes. 115howev
Page 127 and 128:
BACHS PRINCIPLES OF HARMONY.I17succ
Page 129 and 130:
BACH S RULES FOR THOROUGH-BASS. 119
Page 131 and 132:
—HIS SYSTEM OF COUNTERPOINT. 121c
Page 133 and 134:
FUX'S GRADUS.I23instruction has alw
Page 135 and 136:
BACH AND FUX.I25is allowable to con
Page 137 and 138:
KIRNBERGER S METHOD. 127familiar as
Page 139 and 140:
BACH S USE OF THE CHURCH MODES. I29
Page 141 and 142:
THE DEVELOPMENT OF MAJOR AND MINOR.
Page 143 and 144:
"THE DEVELOPMENT OF MAJOR AND MINOR
Page 145 and 146:
135V.WORKS OF THE LAST (LEIPZIG)PER
Page 147 and 148:
;CONCERTOS FOR THE CLAVIER.I37decid
Page 149 and 150:
coa'certos for the clavitlr. 139the
Page 151 and 152:
CONCERTOS FOR THE CLAVIER.I4Iseems
Page 153 and 154:
CONCERTOS FOR THE CLAVIER.I43of one
Page 155 and 156:
CONCERTO FOR TWO CLAVIERS.I45Be tha
Page 157 and 158:
ar should hefg, instead oi f e. L 2
Page 159 and 160:
.CLAVIER CONCERTOS.14gand spreads t
Page 161 and 162:
THE " ITALIAN " CONCERTO. I5Ito be
Page 163 and 164:
—THE ENGLISH SUITES.I53has hither
Page 165 and 166:
CLAVIER PARTITAS. 155attention in a
Page 167 and 168:
CLAVIER PARTITAS. 157in assisting i
Page 169 and 170:
CLAVIER PARTITAS.15gCourante 3-2 ti
Page 171 and 172:
THE PARTITAS.l6lpresently ; and in
Page 173 and 174:
THE PARTITAS. 163complete contrast
Page 175 and 176:
—PARTITAS IN "CLAVIERÜBUNG." 165
Page 177 and 178:
THE CLAVIER "DUETS." 167collection
Page 179 and 180:
—THE THIRTY VARIATIONS. 169" Ciav
Page 181 and 182:
Jsi^11Ii1 1^1 J.1'1 '1—rTHE THIRT
Page 183 and 184:
;THE THIRTY VARIATIONS.I73all this
Page 185 and 186:
——^———;THE QUODLIBET. 175
Page 187 and 188:
connection with the circumstances.T
Page 189 and 190:
—AufTHE peasants' CANTATA.I79thor
Page 191 and 192:
THE CHROMATIC FANTASIA.l8lthe popul
Page 193 and 194:
WOHLTEMPERIRTE CLAVIER. PART II. 18
Page 195 and 196:
Page 197 and 198:
WOIILTEMPERIRTE CLAVIER. PART II. 1
Page 199 and 200:
Page 201 and 202:
" MUSIKALISCHE OPFER. IQIharmonies.
Page 203 and 204:
—THE "musical offering.ig3The thr
Page 205 and 206:
THE " MUSICAL OFFERING.ig5only tran
Page 207 and 208:
THE "ART OF FUGUE.I97in canon style
Page 209 and 210:
THE " ART OF FUGUE.I99all three or
Page 211 and 212:
THE "ART OF FUGUE. 201quiet movemen
Page 213 and 214:
THE " ART OF FUGUE. 203but also wit
Page 215 and 216:
FUGUE ON THE NAME " BACH. 205which
Page 217 and 218:
—FUGUE ON THE NAME " BACH." 20/in
Page 219 and 220:
LATER ORGAN WORKS.'Zugwhich chiefly
Page 221 and 222:
ORGAN SONATAS. 211they have an inwa
Page 223 and 224:
CHORALE ARRANGEMENTS. 213more limit
Page 225 and 226:
—ORGAN CHORALES. 215the very time
Page 227 and 228:
ORGAN CHORALES. 217As may be imagin
Page 229 and 230:
ORGAN CHORALES. 219tion closes, has
Page 231 and 232:
ORGAN CHORALES. 221the canon lies i
Page 233 and 234:
ach's official position. 223musicia
Page 235 and 236:
CONNECTION WITH CÖTHEN AND DRESDEN
Page 237 and 238:
BACH AT DRESDEN. 227November 19, an
Page 239 and 240:
CONNECTION WITH WEIMAR. 229his musi
Page 241 and 242:
— IBACH AT POTSDAM. 23important r
Page 243 and 244:
BACH AT BERLIN. 233corner of the ga
Page 245 and 246:
ach's fame. 235besides being a pupi
Page 247 and 248:
1l'^^==-j-jmSYMBOLIC CANON. 237coun
Page 249 and 250:
ach's pupils. 239assuming that thes
Page 251 and 252:
THE KREBS FAMILY.24Iappointed Court
Page 253 and 254:
LEIPZIG PUPILS. 243In 1732 Georg Fr
Page 255 and 256:
LEIPZIG PUPILS. 245Frauenkirche at
Page 257 and 258:
LEIPZIG PUPILS. 247cessful;^^^ in 1
Page 259 and 260:
LEIPZIG PUPILS. 249to the New Churc
Page 261 and 262:
HIS INTIMATE FRIENDS. 251Nuremberg,
Page 263 and 264:
SCHEIBE S ATTACK ON BACH. 253promot
Page 265 and 266:
SCHEIBE AND BACH. 255answer was giv
Page 267 and 268:
BIEDERMANN ON MUSICIANS. 257Latin,
Page 269 and 270:
" PHCEBUS AND PAN. 259received with
Page 271 and 272:
HIS PUGNACITY. 201art thou sad and
Page 273 and 274:
HIS OPINION OF OTHER COMPOSERS. 263
Page 275 and 276:
HIS OUTWARD APPEARANCE. 265prove th
Page 277 and 278:
ach's library. 267of 1703, quarto,
Page 279 and 280:
HIS MUSICAL SONS. 269throughout his
Page 281 and 282:
HIS DAUGHTERS.27Iand to have enjoye
Page 283 and 284:
ach's hospitality. 273myself to my
Page 285 and 286:
DEATH AND FUNERAL. 275"Wenn wir in
Page 287 and 288:
FORTUNES OF THE FAMILY. 277turned t
Page 289 and 290:
APPENDIX (A,TO VOL. III.)I (p. 39).
Page 291 and 292:
APPENDIX. 2812 (pp- 73. 75). This n
Page 293 and 294:
APPENDIX. 283Ps. Ixxx., 15, 20; 173
Page 295 and 296:
APPENDIX. 285again about this time,
Page 297 and 298:
APPENDIX. 287the first year of the
Page 299 and 300:
APPENDIX. 289his collection " Des E
Page 301 and 302:
APPENDIX. 2917 (p. 181). The Chroma
Page 303 and 304:
APPENDIX. 293had it gummed on to th
Page 305 and 306:
APPENDIX. 295my opinion that these
Page 307 and 308:
APPENDIX. 297US or our judges for o
Page 309 and 310:
APPENDIX. 299IV.To Vol. I., p. 258.
Page 311 and 312:
APPENDIX. 301Besides these there we
Page 313 and 314:
APPENDIX^ 303III.To Vol. II., p. 18
Page 315 and 316:
APPENDIX. 305music. The organ also
Page 317 and 318:
KönigsDerJ.undPerAller-Durchlaucht
Page 319 and 320:
APPENDIX. 309your Worships' notice
Page 321 and 322:
APPENDIX. 311Emesti's reply, dated
Page 323 and 324:
APPENDIX. 313further be pleased to
Page 325 and 326:
APPENDIX.3^5enclosure,and in doing
Page 327 and 328:
APPENDIX. 317Here follow such signa
Page 329 and 330:
. -^ThisAPPENDIX. 319Cap.IV.OF TIME
Page 331 and 332:
mAPPENDIX. 321The inner part when p
Page 333 and 334:
' 1APPENDIX. 323Regula VII.When the
Page 335 and 336:
APPENDIX. 325Regula III.When the ni
Page 337 and 338:
11 ' ' iJ,I1.APPENDIX. 327EXEMPLUM
Page 339 and 340:
APPENDIXEXEMPLUM VIII.When in the b
Page 341 and 342:
APPENDIX. 331S Ü^^-d—1t ?S^^^^ll
Page 343 and 344:
t176.APPENDIX.T P. fi I111333*3 d'
Page 345 and 346:
II5 6b 7 6 7 6 7 6 6 7 6iJ—ä- -I
Page 347 and 348:
APPENDIX. 337gT=£nr^-r%^^g^^^^^^**
Page 349 and 350:
1 11I IJ.*'1! 11 1I1IiIÊ'1APPENDIX
Page 351 and 352:
APPENDIX. 3416 G 6 Geggdd^fc^^g^*^^
Page 353 and 354:
-r-T'^pAPPENDIX. 343With the first
Page 355 and 356:
1APPENDIX. 34512. The ^, may be con
Page 357 and 358:
IIIAPPENDIX. 347The most usual Clau
Page 359 and 360:
APPENDIX. 349On page 30 of Bach's c
Page 361 and 362:
APPENDIX. 3515. Ernesttis Andreas,
Page 363 and 364:
APPENDIX. 353Cap, VII.In white meta
Page 365 and 366:
APPENDIX. 355Brought forwardRambach
Page 367 and 368:
APPENDIX. 357Johann Gottlieb Görne
Page 369 and 370:
4 gr- 9 pf- II.2 thlrs. 4 gr. I pf.
Page 371 and 372:
«J\^»p-..Supplement I.(Vol.I. p.i
Page 373 and 374:
•'^365LilJL^''tdr^î^ ^ P^ ^ Ft:^
Page 375 and 376:
1367
Page 377 and 378:
^^"hm^TW-3699 6 5 3,
Page 379 and 380:
371^^Pß \llD^^^H^^^rfi r r rT"-^J
Page 381 and 382:
Bg373C&3 — ''bd»' Tîi^^g^r^"^ i
Page 383:
—376Allemandey^ Alleg:roIR^^^ p$
Page 386 and 387:
378tr~[ü \i'~ tj \r a:\'j^- 1 i^m
Page 388 and 389:
^^^ ^ r~^""tr-pf • « f r r Ü tf
Page 390 and 391:
382J ^ Alleg^ro.m ^^^p ^^ ^^ rj'jP
Page 392 and 393:
W=f:r îu\P-^\jj-^:u^'^Jp r r i'r^'
Page 394 and 395:
, ..a^4fr—TI'3Sß1 2 12 4^" 2^^2
Page 396 and 397:
Tô Supplement VI. (Vol. II. p. 2«
Page 398 and 399:
390Alloii^ro
Page 400 and 401:
392t}--l,\>^y^B^^rair^ -^-ti!£rtif
Page 402 and 403:
-iU>4,f#,#f»«g#fÂdagio.MTHj si^#
Page 404 and 405:
I396^m* *^P t±:;ö f^=^^^(^ [jiT ^
Page 406 and 407:
398^l.^^^^*•* i PIVf=^ * ^^TJL!_-
Page 408 and 409:
400Supplement VIIia(Vol.III. p. I0f
Page 410 and 411:
'1'"=£-'r«-,^g402li[t"T^rr='=sEgg
Page 412 and 413:
"^404Supplement IX. (.Vol. III. p.
Page 415 and 416:
;INDEX.Abel, C. F.,Viol-da-gambist,
Page 417 and 418:
;:INDEX. 409his Weimar ptipils, \.
Page 419 and 420:
;Hercules;INDEX. 411Nun komm der He
Page 421 and 422:
;Flute—for flute and clavier, see
Page 423 and 424:
INDEX. 415Frevlinghausen, J. A., hi
Page 425 and 426:
f'Scarlatti,[Scheibe,I298, Scheibe,
Page 427:
iINDEX. 419Weiss, Sylvius Leopold,
Page 430 and 431:
422 ERRATA.Page 2x4, for note 59 re
Page 432:
^^^
show all

Johann Sebastian Bach - booksnow.scholarsportal.info

Create successful ePaper yourself

Delete template?

Save as template?