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Editorial Reviews
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Though he begins by bemoaning "the difficulty of writing anything on Bach remotely worthy of its subject," Malcolm Boyd goes on to do exactly that. This volume from the Master Musicians Series (which also includes Julian Budden on Verdi and Michael Kennedy on Richard Strauss) intermingles chapters on Bach's life with chapters on his music (also roughly chronological) in a delightfully clearheaded way. Boyd is perfectly willing to say whether he finds a piece of music to be substandard and freely takes issue with the scholarship of earlier analysts. Taking nothing for granted, Boyd disproves common assumptions about relative dates of compositions. The section on cantatas begins with brief notes on the genre, a few antecedents, and the subtypes of secular and sacred. Boyd then briskly reviews the surviving works, dwelling on a few for some enlightening and representative details. In "Canons and Counterpoint," he sorts out the Musical Offering in a remarkable few paragraphs before having a go at The Art of the Fugue. Boyd's charts are very easy to follow (appropriate for a composer whose music is often compared to architecture), and his musical examples--especially in the chapter titled "Orchestral, Instrumental, and Keyboard Music"--are spectacularly well chosen. There is room for a few choice incidental observations (e.g., cantatas for the winter months were shorter, sparing the choirboys time in the unheated organ lofts). A 22-page work list (revised in 1997), a life calendar, and a brief chapter on numerology round out a highly rewarding volume. --William R. Braun --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Forty pages longer than its predecessor, this edition of a standard work on J.S. Bach, first published in England in 1983, includes information obtained from Eastern European sources inaccessible to scholars a decade ago. In some cases, whole chapters have been recast, and Bach scholar Boyd (The Oxford Composer's Companion: Johann Sebastian Bach) embraces the current emphasis in Bach scholarship on the interplay between Bach's social setting and his music. This 250th-anniversary year of Bach's death is producing many Bach works, including Christoph Wolff"s singular Johann Sebastian Bach: The Learned Musician (LJ 3/15/00). Boyd's work is authoritative and provides commentary on a wide body of Bach scholarship. This edition supersedes the other editions, though libraries owning the 1997 American second edition may cringe at having to replace it so soon.DBonnie Jo Dopp, Univ. of Maryland Libs.
Copyright 2000 Reed Business Information, Inc.
See all Editorial Reviews
Though he begins by bemoaning "the difficulty of writing anything on Bach remotely worthy of its subject," Malcolm Boyd goes on to do exactly that. This volume from the Master Musicians Series (which also includes Julian Budden on Verdi and Michael Kennedy on Richard Strauss) intermingles chapters on Bach's life with chapters on his music (also roughly chronological) in a delightfully clearheaded way. Boyd is perfectly willing to say whether he finds a piece of music to be substandard and freely takes issue with the scholarship of earlier analysts. Taking nothing for granted, Boyd disproves common assumptions about relative dates of compositions. The section on cantatas begins with brief notes on the genre, a few antecedents, and the subtypes of secular and sacred. Boyd then briskly reviews the surviving works, dwelling on a few for some enlightening and representative details. In "Canons and Counterpoint," he sorts out the Musical Offering in a remarkable few paragraphs before having a go at The Art of the Fugue. Boyd's charts are very easy to follow (appropriate for a composer whose music is often compared to architecture), and his musical examples--especially in the chapter titled "Orchestral, Instrumental, and Keyboard Music"--are spectacularly well chosen. There is room for a few choice incidental observations (e.g., cantatas for the winter months were shorter, sparing the choirboys time in the unheated organ lofts). A 22-page work list (revised in 1997), a life calendar, and a brief chapter on numerology round out a highly rewarding volume. --William R. Braun --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Forty pages longer than its predecessor, this edition of a standard work on J.S. Bach, first published in England in 1983, includes information obtained from Eastern European sources inaccessible to scholars a decade ago. In some cases, whole chapters have been recast, and Bach scholar Boyd (The Oxford Composer's Companion: Johann Sebastian Bach) embraces the current emphasis in Bach scholarship on the interplay between Bach's social setting and his music. This 250th-anniversary year of Bach's death is producing many Bach works, including Christoph Wolff"s singular Johann Sebastian Bach: The Learned Musician (LJ 3/15/00). Boyd's work is authoritative and provides commentary on a wide body of Bach scholarship. This edition supersedes the other editions, though libraries owning the 1997 American second edition may cringe at having to replace it so soon.DBonnie Jo Dopp, Univ. of Maryland Libs.
Copyright 2000 Reed Business Information, Inc.
See all Editorial Reviews
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