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The Essential Bach Choir Paperback – November 9, 2012


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Product Details

  • Paperback: 240 pages
  • Publisher: Boydell Press (November 9, 2012)
  • Language: English
  • ISBN-10: 0851157866
  • ISBN-13: 978-0851157863
  • Product Dimensions: 9.8 x 7.1 x 0.8 inches
  • Shipping Weight: 1.2 pounds
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #1,312,723 in Books (See Top 100 in Books)

Editorial Reviews

Amazon.com Review

Playing baroque music on instruments of the period may be a solidly established practice in the year 2000, but in the 1970s and early 1980s it seemed quixotic, subversive, and even ridiculous to many people, and occasioned a great deal of dispute. Yet no argument seemed so off-the-wall as the one Joshua Rifkin made in 1981 with a paper and a performance of the Mass in B Minor: that Johann Sebastian Bach actually composed his great choral works for only one singer on each part. After an initial reaction of incredulous scorn ("B-Minor Madrigal" was an often-repeated barb), most Bach scholars and performers dismissed Rifkin's thesis as unworthy of serious attention and ignored it in the hope that it would fade away. It didn't: in fact, through the 1990s the one-singer-per-part idea slowly gained adherents, among whom we now find such highly respected musicians as Paul McCreesh and Sigiswald Kuijken.

Probably no scholar or performer has done more than Andrew Parrott (who is both) to keep Rifkin's idea alive. Over the years Parrott has argued eloquently for both the historical and the artistic legitimacy of performing Bach with one singer per part--and has produced some impressive recordings to back himself up. Several prominent Bach scholars have professed to be "waiting for the book" before giving their assessments of the Rifkin thesis; in time for the "Bach Year" 2000, Parrott has produced "the book"--and a very fine effort it is.

The Essential Bach Choir's virtues as a presentation and discussion of evidence may make it a bit difficult (though by no means incomprehensible) for lay people: the text is heavily footnoted, there are many musical examples, illustrations, and quotations (always given in the original as well as in translation); except in the prologue and epilogue, there is little discussion of the artistic merits of the one-singer-per-part approach (something for which The New York Times criticized Parrott). But this book isn't a critical essay on how good single-voice Bach sounds to our ears, it's a work of musicology intended to lay out the evidence and reasoning behind a thesis which has been dismissed, argued over, and viciously mocked for nearly two decades.

Parrott includes evidence commonly cited by the opposing camp; where warranted, he acknowledges their arguments, but more commonly he shows that the interpretation his opponents have given to the evidence is based on largely unexamined--and unfounded--assumptions. (Parrott quotes one esteemed Bach scholar who actually wrote, "Bach would have wanted..."--the sort of statement that academics in many disciplines would rip to shreds.)

What are these assumptions? That Bach's sacred works were quite naturally written for the medium of chorus-and-orchestra, like the oratorios of Handel, Haydn, and Mendelssohn (who revived Bach's vocal music in the mid-19th century). That those works are both the foundation and the summit of the entire choral-orchestral literature. That to posit such towering masterpieces as the St. Matthew Passion as originally meant for a little consort of soloists was literally unthinkable.

Parrott, following Rifkin's lead, argues that Bach's autograph scores and performing parts provide indications only for soloists. A very few works (all of which Parrott examines in detail) explicitly call for extra "choral" singers; for those works that do not, Rifkin and Parrott point out, it may not make sense to assume out of hand that Bach had or wanted such extra singers.

But isn't a choir by definition made up of several singers on each part? Not always--and Parrott presents much convincing material about the conventions governing vocal music in 17th- and 18th-century Germany that indicates otherwise. He also includes the complete text of Bach's much-argued-over Draft for a Well-Appointed Church Music, a memorandum the composer wrote to the Leipzig Town Council setting forth (depending on whom you ask) either the forces he wanted to perform his own music or the way he wanted the music program at the St. Thomas School and the church choirs for which he was responsible structured.

Since we have no rosters of performers--of the sort we have for some of Handel's operas and oratorios--for individual Bach works, this dispute may never be entirely settled. Also, as Parrott points out, modern-day performers and listeners are free to choose whatever medium for Bach's music satisfies them most--and musicians from Wanda Landowska to Angela Hewitt to Wendy Carlos have done so. But understanding Bach's sacred music surely requires understanding the medium for which he wrote it, just as understanding Beethoven's string quartets requires understanding that they weren't written for, say, a string orchestra. This book contributes immensely to our understanding of Bach's medium and milieu--and should be read by anyone who cares about Bach's music. --Matthew Westphal

Review

This utterly fascinating and ultimately convincing book can only do his cause good in the best of all possible years. INTERNATIONAL RECORD REVIEW (Simon Hughes) As restated here (...with additional material and with admirable clarity), the arguments are utterly convincing... The book is a pleasure to read, fluently written and clearly set out with many illustrations and musical examples. EARLY MUSIC REVIEW A brilliant piece of research...a superb book - and it is going to lead us all to think more carefully about how we approach the performance of Bach. DAVID HILL, WINCHESTER CATHEDRAL I was gripped by this book; it is compulsive reading. If you profess the faith of Bach you simply cannot afford to be without it. CLASSICAL MUSIC Highly recommended for anyone interested in Bach's vocal works. MUSICAL TIMES (Yo Tomita) Utterly fascinating and ultimately convincing. GRAMOPHONE A work of careful and judicious scholarship. OXFORD TIMES What Parrott has delivered is a document which will itself no doubt be a subject of study in years to come. TLS (Andrew Manze)

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15 of 18 people found the following review helpful By A Customer on July 2, 2000
Format: Paperback
Andrew Parrott's wonderful volume is the culmination of many years study and practical application of J. S. Bach performance practice. Many of the conclusions are not new, but follow from the work of Josua Rifkin, made more compelling with easily grasped, definitive scholarship. It is past time for the modern choirmaster and music director to seriously reconsider those grand scale performances, and hear Bach anew, intimate, expressive, and no less powerful.
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8 of 10 people found the following review helpful By Andrew O'Connor on July 9, 2003
Format: Paperback
Joshua Rifkin's revolutionary thesis about one voice per part performances of Baroque choral works actually began from his studies of 17th century German music, notably Henrich (sic) Schütz. But it was only when he began to argue that the principle may also apply to the immortal JSB, that he provoked the ire of musicians and musicologists. Essays on the subject by Rifkin and his opponents, including Robert Marshall and Christoph Wolff, have been tossed backwards and forwards in various scholarly journals for over twenty years now. Thus Andrew Parrott does Bach lovers a great service by mustering all the relevant evidence into one handsome and well-written book.
That Bach's normal practice was to employ solo voices in his cantatas, passions and oratorios should now be considered beyond serious scholarly dispute. Of course, it is perfectly legitimate for conductors to say, as does Philippe Herreweghe, that they simply like the sound of a full choir in Bach, without pretending that this conforms to Bach's own practice. What is less attractive is the efforts of others, such as Ton Koopman, to defend what is merely a personal preference by belittling the Rifkin/Parrott discoveries.
Among Bach conductors, Rifkin and Parrott themselves were the first to put the theory into practice in concerts and recordings. Lately they have been joined by Jeffrey Thomas (Koch), Sigiswald Kuijken (DHM), Konrad Junghänel (Harmonia Mundi), Daniel Taylor (Atma) and, most recently, Paul McCreesh, whose single voice recording of the St Matthew Passsion (DGG Archiv) is a revelation. Parrott's book is intellectually convincing; these recordings are aesthetically and emotionally compelling.
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3 of 4 people found the following review helpful By Bradley P. Lehman on January 25, 2008
Format: Paperback Verified Purchase
This book is essential reading for anyone who cares about the practical and historical matters of the singing assignments in Bach's vocal music. Parrott presents a cogent argument, very well backed up with evidence.

The appendices are worth the price of the book, too. Among other things, they include a new and annotated translation of Bach's "Entwurff", other relevant contemporary documents, a reference table of the surviving vocal parts in Bach's music, plus a reprint of Joshua Rifkin's 1981 paper that sparked this revolution in Bach performance practice.

Advanced readers in this topic should continue by finding a copy of Dr Rifkin's 2002 book "Bach's Choral Ideal", already out of print but available through libraries. That book presents another 66 pages of argument and citations, further developing and updating his thesis over the 21 intervening years of discussion.
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6 of 10 people found the following review helpful By K. Byrnes on November 20, 2003
Format: Paperback
The first time (or perhaps ALMOST the first time) that Rifkin gave an exposition of his 1-on-a-part idea was at the November 1981 annual meeting of the American Musicological Society in Boston. The paper was read towards the end of an afternoon session, and then formally rebutted by Bob Marshall (at the time a prof at the U. of Chicago, my alma mater for musicology). There was a lively give and take afterwards, but then the cocktail/dinner hour intervened and the audience dispersed. Rifkin and Marshall then repaired to a local McDonald's to continue their debate. My current-day colleagues in the world of commercial r.e. appraisal scoff at the possible interest such topics could raise, until I mention the fascination some of us find in published debates over business enterprise value at shopping malls...ho hum.
At that 1981 convention I talked to Rifkin about Edw. Lowinsky's ideas concerning the authenticity and dating of certain motets by Josquin (a debate thereon had arisen due to an article by Thos. Noblitt), and J.R. replied to the effect that such questions were secondary to the quality of the music itself. The same attitude, I believe, is applicable to the Bach choir issue.
The music is incredibly lovely when performed by expert singers, one on a part. Does it add anything to our experience to believe that this is the "authentic" means of performance? What about the fact that most people today experience this performance as sound waves emanating from a speaker, or that today's singers are probably healthier than their 18th c. counterparts, etc.?
I believe that the intellectual appreciation of "what is authentic" is a valid and interesting exercise in its own right...but that it should be quite separate from the sensuous appreciation of the music, however it is performed. It doesn't do the music any good to be heard with a sense of moral righteousness OR indignation.
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0 of 1 people found the following review helpful By esseyo on August 14, 2013
Format: Paperback
This is a very interesting book arguing that Bach mainly used only 1 singer per part in the performances of his own vocal works. The document most cited in this book is the "Entwurff" of 1730 written by Bach to the Leipzig town council. In it, Bach expressed his discontent with the state of the musical resources allowed him by the council and there Bach requests for at least 3 singers per part per choir. It is that statement that some use to dismiss the use of 1 singer per part as advocated by Joshua Rifkin in 1981.

The arguments in the first half of the book concentrated on Bach's extant scores, iconography, and contemporaneous accounts of Baroque practices. At this point of the book, I was not completely convinced by this information. The arguments in the second half of the book focused on resource, balance, and instrument-singer ratio. The arguments from the second half are far stronger in my opinion and they strengthen and validate the arguments from the first half. The book is very well illustrated and includes the original text and a translation of the 1730 Entwurff.

Joshua Rifkin's 1981 recording of the Mass in B minor used 1 singer per part. Andrew Parrott's own recording in 1985 used a mix of 1 and 2 singers per part which I consider probably the most satisfying recording of the Mass in B minor that I've ever heard. Rifkin later went on to record a number of Bach cantatas with 1 singer per part. The argument from the 1700s that the use of one singer per part brings clarity and beauty is spectacularly evident in these recordings. For me, the musical result of using 1 or 2 singers per part trumps any historical argument.

Unfortunately for various reasons that I won't go into but are related to the size and nature of today's music venues, 1 singer per part does not work as well in live performances as it does in a recording.
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