Johann Sebastian Bach, Kunst Der Fuge, BWV 1080, First Edition (1751), Contrapunctus 8 a 3, p. 25
Johann Sebastian Bach
“Gottes Zeit ist die allerbeste Zeit,” BWV 106, 2nd movement, performed by Artus Tragicus:
Examples 15.1 and 15.2 (examples begin at 7:41 and 10:58)
“Wachet auf, ruft uns die Stimme,” BWV 140 performed by the Netherlands Bach Society.
Example 15.3 (movement 4 "Zion hört" at 15:19)
“St. John Passion,” BWV 245 performed by Netherlands Bach Society and conducted by Jos van Veldhoven:
Example 15.4 (example begins at marked point)
Anthology 25 (1:13:58)
“Schweigt stille, plaudert nicht,” BWV 211, Tom Koopman and the Amsterdam Baroque Choir
Example 15.5 (example begins at 4:41)
Italian Concerto, BWV 971, 1st movement, performed by András Schiff:
Examples 15.6 and 15.7 (examples begin at 0:00 and 0:36)
Suite for Cello in C Major BWV 1009, Gigue, performed by Mischa Maisky (violoncello):
Figure 15.4
The Well-Tempered Clavier, Book 2, Fugue No. 9 in E Major BWV 878:
- Piano version by Sviatoslav Richter
Example 15.8 (example begins at 4:13)
- Harpsichord version by Robert Hill
Example 15.8
The Well-Tempered Clavier Book 2, Fugue No. 4 in C-sharp Minor BWV 873:
- Piano version by Sviatoslav Richter (example begins at 3:46)
- Harpsichord version by Kenneth Gilbert:
Example 15.9 (example begins at 3:37)
Mass in B Minor BWV 232, Crucifixus, performed by Collegium Vocale Gent, conducted by Philippe Herreweghe:
Example 15.10 (example begins at 0:14)
STUDY GUIDE 15
Global Resources for Chapter 15
Further Reading
Boyd, Malcolm. Bach. Master Musicians series. Oxford and New York: Oxford University Press, 2000. http://www.worldcat.org/oclc/44045654
Butt, John. The Cambridge Companion to Bach. Cambridge Companions to Music. Cambridge: Cambridge University Press, 1997. http://www.worldcat.org/oclc/34676056
Butt, John. Bach’s Dialogue with Modernity: Perspectives on the Passions. Cambridge: Cambridge University Press, 2010.
Chafe, Eric Thomas. Analyzing Bach Cantatas. Oxford and New York: Oxford University Press, 2004. http://www.worldcat.org/oclc/38580245
—–. J. S. Bach’s Johannine Theology: The St. John Passion and the Cantatas for Spring 1725. Oxford and New York: Oxford University Press, 2014. http://www.worldcat.org/oclc/842307525
David, Hans T., and Arthur Mendel, eds. The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Rev. and expanded by Christoph Wolff. New York: Norton, 1998. http://www.worldcat.org/oclc/37801400
Erickson, Raymond, ed. The Worlds of Johann Sebastian Bach. New York: Amadeus Press, 2009. http://www.worldcat.org/oclc/177016865
Gardiner, John Eliot. Bach: Music in the Castle of Heaven. New York: Alfred A. Knopf, 2013. http://www.worldcat.org/oclc/842880670
Goodman, Katherine R. “From Salon to Kaffeekranz: Gender Wars and the Coffee Cantata in Bach’s Leipzig.” In Bach’s Changing World: Voices in the Community, ed. Carol Baron. Eastman Studies in Music 37.Rochester, NY: University of Rochester Press, 2006. http://www.worldcat.org/oclc/63187419
Heller, Wendy. “‘Aus eigener Erfahrung redet’: Bach, Luther, and Mary’s Voice in the Magnificat, BWV 243.” Understanding Bach, 10, 31–69.
Jones, Richard D. P. The Creative Development of Johann Sebastian Bach, Volume II: 1717-1750: Music to Delight the Spirit. Oxford and New York: Oxford University Press, 2013. http://www.worldcat.org/oclc/863032571
Marissen, Michael. Bach and God. Oxford: Oxford University Press, 2016. http://www.worldcat.org/oclc/927241520
Marissen, Michael. Lutheranism, Anti-Judaism, and Bach’s St. John Passion: With an Annotated Literal Translation of the Libretto. New York: Oxford University Press, 1998. http://www.worldcat.org/oclc/45728203
Marshall, Robert L. “Bach the Progressive: Observations on His Later Works.” Musical Quarterly 62, no. 3 (July 1976): 313–57. http://www.jstor.org/stable/741350
Marshall, Robert L. The Music of Johann Sebastian Bach: The Sources, the Style, the Significance. New York: Schirmer Books, 1989. http://www.worldcat.org/oclc/18442039
Marshall, Robert L. “Toward a Twenty-First-Century Bach Biography.” Musical Quarterly 84, no. 3 (Autumn 2000): 497–525. http://www.jstor.org/stable/742590
Melamed, Daniel R., ed. J. S. Bach and the Oratorio Tradition. Bach Perspectives 8. Urbana: University of Illinois Press, 2011. http://www.worldcat.org/oclc/660519385
Melamed, Daniel R. Hearing Bach’s Passions. Oxford and New York: Oxford University Press, 2005. http://www.worldcat.org/oclc/55671311
Peters, Mark A. A Woman’s Voice in Baroque Music: Mariane von Ziegler and J.S. Bach. Aldershot, Hants, and Burlington, VT: Ashgate, 2008. http://www.worldcat.org/oclc/170057801
Rose, Stephen. The Musician in Literature in the Age of Bach. Cambridge and New York: Cambridge University Press, 2011. http://www.worldcat.org/oclc/664258870
Tatlow, Ruth. Bach’s Numbers: Compositional Proportion and Significance. Cambridge and New York: Cambridge University Press, 2015. http://www.worldcat.org/oclc/908334086
Varwig, Bettina. “Metaphors of Time and Modernity in Bach.” Journal of Musicology 29, no. 2 (Spring 2012): 154–90. http://www.jstor.org/stable/10.1525/jm.2012.29.2.154
Williams, Peter. J. S. Bach: A Life in Music. Cambridge: Cambridge University Press, 2007. http://www.worldcat.org/oclc/72148455
Wolff, Christoph. Bach: Essays on His Life and Music. Cambridge, MA: Harvard University Press, 1991. http://www.worldcat.org/oclc/22306012
Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. New York: W. W. Norton, 2000. http://www.worldcat.org/oclc/42682699
Wolff, Christoph. Bach’s Musical Universe: The Composer and His Work. New York: W. W. Norton, 2020. http://www.worldcat.org/oclc/1102475405
Yearsley, David. Bach and the Meanings of Counterpoint. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press, 2002. http://www.worldcat.org/oclc/48221418
Yearsley, David. Sex, Death, and Minuets: Anna Magdalena Bach and Her Musical Notebooks. Chicago: University of Chicago Press, 2019.
Music in the Baroque: Companion Website by Wendy Heller 