The motets of J. S. Bach are probably the most sophisticated works ever composed in the genre. Nevertheless, Daniel Melamed maintains, the view that they constitute a body of work quite separate from the German motet tradition is mistaken. He starts by considering the eighteenth-century understanding of the term itself and finds that Bach's own use does indeed agree with his contemporaries and that his motets are rooted in the conventions of the time, particularly in matters of musical construction, performing forces, and type of text. A fresh look at the repertory shows that Bach composed motets all through his career and an appreciation of the contemporary conception of the motet sheds light on questions of how and why Bach himself used the form. Professor Melamed also finds plenty of evidence that motets and motet style played an important role in Bach's exploration of the musical past.
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Book Description
Editorial Reviews
Review
"Melamed's study admirably sets the scene for many new perspectives on Bach and his environment, and presents with exemplary care much new factual detail." John Butt, Journal of the American Musicological Society
Book Description
This study explores the German motet in the music of J. S. Bach. Bach's motets are rooted in the conventions of his time in matters of text type, musical construction, and performing forces. An appreciation of the contemporary conception of the motet sheds light on the composition of Bach's motets.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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First Sentence:
It is by now a commonplace that J. S. Bach rarely called his church cantatas "cantatas," referring to them instead as concertos, or church pieces, or principal music for the worship service. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
lasso dich nicht, dish nicht, motet style, dick nicht, estate catalogue, lasse dich nicht, wecke uns auf, cantata movements, large note values, motet tradition, vocal concerto, motet writing, concerted vocal music, imitative entrances, doubling instruments, chorale movements, chorale texts, other motets, regular phrasing, est anima mea, concerted works, chorale settings, instrumental doubling, continuo part, independent instruments Key Phrases - Capitalized Phrases (CAPs): (learn more)
Altbachisches Archiv, Johann Sebastian, Johann Ludwig, Der Gerechte, Johann Michael Bach, Lebens Licht, Lieber Herr Gott, Carl Philipp Emanuel Bach, Johann Christian, New Year, Philipp Spitta, Georg Poelchau, Max Schneider, Unsers Herzens Freude, Bach's Leipzig, Johann Bernhard, Royal Library, Christoph Wolff, Yoshitake Kobayashi, Auf Gott, Bach's Latin, Bach's Weimar, Bernhard Friedrich Richter, Heinrich Bach, Johann Ambrosius Bach New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
It is by now a commonplace that J. S. Bach rarely called his church cantatas "cantatas," referring to them instead as concertos, or church pieces, or principal music for the worship service. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
lasso dich nicht, dish nicht, motet style, dick nicht, estate catalogue, lasse dich nicht, wecke uns auf, cantata movements, large note values, motet tradition, vocal concerto, motet writing, concerted vocal music, imitative entrances, doubling instruments, chorale movements, chorale texts, other motets, regular phrasing, est anima mea, concerted works, chorale settings, instrumental doubling, continuo part, independent instruments Key Phrases - Capitalized Phrases (CAPs): (learn more)
Altbachisches Archiv, Johann Sebastian, Johann Ludwig, Der Gerechte, Johann Michael Bach, Lebens Licht, Lieber Herr Gott, Carl Philipp Emanuel Bach, Johann Christian, New Year, Philipp Spitta, Georg Poelchau, Max Schneider, Unsers Herzens Freude, Bach's Leipzig, Johann Bernhard, Royal Library, Christoph Wolff, Yoshitake Kobayashi, Auf Gott, Bach's Latin, Bach's Weimar, Bernhard Friedrich Richter, Heinrich Bach, Johann Ambrosius Bach New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 3
books:
5
books
cite this book:
- Johann Sebastian Bach by Percy Young in Back Matter
- Christmas Oratorio (Complete) (Choral Large Works) on page 60
- The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, Revised Edition by Hans T. David in Back Matter
- An Introduction to Bach Studies by Daniel R. Melamed in Back Flap
- C.P.E. Bach: A Guide to Research (Routledge Music Bibliographies) by Doris Powers on page 104
- Bach (Master Musicians) by Malcolm Boyd in Back Matter
- My Only Comfort: Death, Deliverance, and Discipleship in the Music of Bach (Calvin Institute of Christian Worship Liturgical Studies Series) by Calvin R. Stapert in Back Matter
- Oxford Composer Companion: J.S. Bach by Malcolm Boyd in Front Matter
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