Focusing on his activity in Hamburg from 1767 until his death in 1788, this collection of essays explores the literary and aesthetic contexts of C.P.E. Bach's later work. It includes essays on Bach's position on contemporary concepts of responsiveness, his sacred music and views on religion, and on the contemporary and posthumous reception of his music. The volume seeks to re-establish the centrality of Bach's music in late 18th-century German culture.
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Book Description
Editorial Reviews
Review
"A must for music historians and students of 18th-century culture. Essential." -- Choice
"The volume achieves its goal of returning C.P.E. Bach to a central place in the landscape of eighteenth-century music." --German Studies Review
"The volume achieves its goal of returning C.P.E. Bach to a central place in the landscape of eighteenth-century music." --German Studies Review
Book Description
This collection of essays explores the literary and aesthetic contexts of C. P. E. Bach's later work, focussing on his activity in Hamburg from 1767 until his death in 1788. It includes essays on Bach's position on contemporary concepts of sensibility, his sacred music and views on religion, and on the contemporary and posthumous reception of his music. This volume, the first English-language collection of essays devoted to C. P. E. Bach since 1988, seeks to re-establish the centrality of Bach's music in late 18th-century German culture.
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1.0 out of 5 stars
not clear and do not analyze theoretucally well,
By Tea customer "T" (USA) - See all my reviews
This review is from: C.P.E. Bach Studies (Cambridge Composer Studies) (Hardcover)
Does not talk about form, style clearly of pre-classical gallant style. very incoherent. Wants to say something and same time says nothing. I checked out from the library and returned very this unpleasant book, I myself would not pay a rusted penny.
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Inside This Book
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First Sentence:
Carl Philipp Emanuel Bach set the stakes high for his critics. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Emanuel Bach, Sebastian Bach, Christopher Hogwood, Tobias Plebuch, Die Auferstehung, Ulrich Leisinger, New York, Charles Burney, Annette Richards, David Yearsley, Richard Will, Allgemeine Theorie, Cambridge University Press, Oxford University Press, Richard Kramer, Sechs Sonaten, Ernst Suchalla, David Ferris, Musical Offering, Moses Mendelssohn, Musikalisches Vielerley, Carl Friedrich Cramer, Eugene Helm, Georg Benda, Hans-Gunter Ottenberg New!
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Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Carl Philipp Emanuel Bach set the stakes high for his critics. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Emanuel Bach, Sebastian Bach, Christopher Hogwood, Tobias Plebuch, Die Auferstehung, Ulrich Leisinger, New York, Charles Burney, Annette Richards, David Yearsley, Richard Will, Allgemeine Theorie, Cambridge University Press, Oxford University Press, Richard Kramer, Sechs Sonaten, Ernst Suchalla, David Ferris, Musical Offering, Moses Mendelssohn, Musikalisches Vielerley, Carl Friedrich Cramer, Eugene Helm, Georg Benda, Hans-Gunter Ottenberg New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
This book cites 41
books:
See all 41 books this book cites
- Bach and the Meanings of Counterpoint (New Perspectives in Music History and Criticism) by David Yearsley on 7 pages
- New Grove Dictionary by Sadie on 4 pages
- Haydn and His World by Elaine R. Sisman in Front Matter, page 151, and page 172
- Thematic Catalogue of the Works of Carl Philipp Emanuel Bach by E. Eugene Helm on page 7, page 166, and page 246
- The Free Fantasia and the Musical Picturesque (New Perspectives in Music History and Criticism) by Annette Richards in Front Matter, page 25, and page 155
See all 41 books this book cites
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