This book charmed me from the first sight of the dust jacket through the final chapter. I taught organists and music history undergraduates for more than a generation, and if I could find all of those past students today I would urge each of them to read this book. It's firmly rooted in wide-ranging scholarship that ventures into elements that go beyond the simple discussion of 'making music with your feet.' There's an attractive element to the subject that appeals to more people than just organists. Furthermore, it's written in a style that communicates the author's excitement about the subject in a way that a mere factual account could never approach. I thoroughly enjoyed reading it.
Not that I want anyone to think that I rely on other reviews to bolster my opinion, but this book was just awarded the Ogasapian Book Prize by the Organ Historical Society (OHS). What more needs to be said?
Bach's Feet: The Organ Pedals in European Culture (Musical Performance and Reception) Illustrated Edition
by
David Yearsley
(Author)
ISBN-13: 978-0521199018
ISBN-10: 0521199018
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Winner of the 2012 Ogasapian Book Prize from the The Organ Historical Society The organist seated at the king of instruments with thousands of pipes rising all around him, his hands busy at the manuals and his feet patrolling the pedalboard, is a symbol of musical self-sufficiency yielding musical possibilities beyond that of any other mode of solo performance. In this book, David Yearsley presents a new interpretation of the significance of the oldest and richest of European instruments, by investigating the German origins of the uniquely independent use of the feet in organ playing. Delving into a range of musical, literary and visual sources, Bach's Feet demonstrates the cultural importance of this physically demanding mode of music-making, from the blind German organists of the fifteenth century, through the central contribution of Bach's music and legacy, to the newly-pedaling organists of the British Empire and the sinister visions of Nazi propagandists.
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Editorial Reviews
Review
"There is much to enjoy in this compelling study" --Early Music
"Yearsley’s ability to make con- nections among disparate elements shows a rare degree of insight pos- sessed by one at once passionate about the subject matter and deeply immersed in it through lifelong involvement and study. It is a rare book about the organ that can appeal to, and inform, both organ- ists and non-organists. In focusing on the feet, Yearsley crafts a point of view to which anyone can relate." --Early Music America
"Part of his intent in writing Bach’s Feet, which is clearly a labor of love, is to reintroduce the organ into general musicological discourse, and perhaps even attract some lay readers. His book certainly deserves to succeed in its mission, and the organ, as he says, is “ready for a comeback.” --NOTES
"Yearsley’s ability to make con- nections among disparate elements shows a rare degree of insight pos- sessed by one at once passionate about the subject matter and deeply immersed in it through lifelong involvement and study. It is a rare book about the organ that can appeal to, and inform, both organ- ists and non-organists. In focusing on the feet, Yearsley crafts a point of view to which anyone can relate." --Early Music America
"Part of his intent in writing Bach’s Feet, which is clearly a labor of love, is to reintroduce the organ into general musicological discourse, and perhaps even attract some lay readers. His book certainly deserves to succeed in its mission, and the organ, as he says, is “ready for a comeback.” --NOTES
Book Description
Yearsley explores the cultural significance of making music with hands and feet, a mode of performance unique to the organ.
About the Author
David Yearsley is the author of Bach and the Meanings of Counterpoint (Cambridge, 2002) as well as numerous essays on European musical culture in the seventeenth and eighteenth centuries; his scholarly work has appeared in the Journal of the American Musicological Society, Music and Letters, Early Music and Eighteenth-Century Music. Active as a performer on organ and other keyboard instruments, his recordings are available on the Loft and Musica Omnia labels. Yearsley has been an Alexander von Humboldt Fellow at the Humboldt-Universität zu Berlin and a Wenner–Gren Foundation Fellow at Göteborgs Universitet, Sweden. A long-time member of the pioneering synthesizer trio Mother Mallard's Portable Masterpiece Company, he is Professor of Music at Cornell University, New York.
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Product details
- Publisher : Cambridge University Press; Illustrated edition (February 27, 2012)
- Language : English
- Hardcover : 314 pages
- ISBN-10 : 0521199018
- ISBN-13 : 978-0521199018
- Item Weight : 1.54 pounds
- Dimensions : 6.69 x 0.75 x 9.61 inches
- Best Sellers Rank: #5,014,907 in Books (See Top 100 in Books)
- #7,298 in Music (Books)
- #12,617 in Piano & Keyboards
- #13,885 in Music History & Criticism (Books)
- Customer Reviews:
Customer reviews
4.7 out of 5 stars
4.7 out of 5
12 global ratings
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Reviewed in the United States on April 10, 2013
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Reviewed in the United States on September 10, 2012
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This book is unique and is full of material I have been seeking for decades, and makes a very strong case that the pedal is the crowning glory of the organ. It explores the reluctance of the rest of the world to give the pedal its due, a reluctance still with us, and seen, for example, in the occasional large American organ with no independent pedal stops at all. While the book was a bit pricey (about $90), for value received it was the best bargain I have had in years. Interestingly, Yearsley uses "aerobic" to describe some pedal passages, while others might think "acrobatic" would be better. "Acrobatic", however, describes moves the body makes; while "aerobic" describes their effect on the body, and I challenge anyone to play Bach's Fugue in D major (BWV 532) at a reasonable tempo without a quickening of pulse by the end. I found the treatment of double pedalling the most gratifying, and can only agree with Yearsley that such works as the (sadly) rarely heard "Aus tiefer Not" (BWV 686) engage more of the body - including the brain - than any other musical activity. In my opinion it is in performing this kind of music that we are most alive. This book belongs in every serious organist's library.
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5.0 out of 5 stars
Very enjoyable and educational for probably all professional and non-professional organ enthusiasts.
Reviewed in the United States on March 15, 2017Verified Purchase
My formal musical education was as much as a music scholar (history, theory, etc.) as an organ performer. So I greatly enjoyed and learned from this book.
Reviewed in the United States on March 4, 2014
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Both amateur organ afficionadoes and professionals found this interesting. Good visuals (illustrations). The book is attractively done and well researched, apparently.
Reviewed in the United States on February 2, 2013
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This book is definitely for a lover of baroque and german organ music. It has lots of great information and great images, but can be a long and tedious read for people who are not enthusiastic about the organ.
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