| Uniform title | Zur Aufführungspraxis der Vokal-Instrumentalwerke Johann Sebastian Bachs. English |
| Contents |
The problem areas -- Decline of Protestant church music after Bach's death -- Revival of Bach's vocal works in the Romantic era -- What is the reason for incorrect performance practices? -- Continuo practice -- The thoroughbass instruments -- The lute -- Harpsichord and/or organ -- Seiffert's influence -- The organ was normally the thoroughbass instrument in his sacred works -- Dual accompaniment -- The continuo instruments -- The violoncello -- The viola da gamba -- The violone -- As a rule it doubles the continuo line -- Bach examples for its differentiated use -- Historical playing practice -- It ceases playing when the clef changes -- The bassoon -- Incorrect rule of thumb -- The bassoon in the woodwind trio -- Different traditions of its usage -- Principles of its employment demonstrated in the score of the Missa -- It doubles the vocal bass -- It serves as timbre or forte stop -- Examples from the cantatas -- Its employment as continuo instrument -- Peculiarities of playing technique -- Thoroughbass practice -- Thoroughbass realization -- Extant documents dealing with thoroughbass realization -- Its significance -- Caution regarding incorrect interpretation of the sources -- Four-part texture is the norm -- Gerber's example of thoroughbass realization -- Full-and thin-textured accompaniment -- The simplicity of Gerber's example -- Improper and genuine accompaniments -- Obbligato playing is appropriate only in continuo arias -- The realization must not cross the solo part -- Close voicing the norm -- Playing on two manuals. |
| Abstract |
This book sums up insights gained in a lifetime of researching and performing Bach's cantatas and oratorios. The author treats primarily the area of performance practice, relating the historical evidence to present-day actuality and thus helping practicing musicians make the necesssary decisions. The book provides path into the literature (particularly that of the 18th century) so as to enable the interested reader to broaden their knowledge. It is an important contribution not only for Bach scholars but also for conductors because it succeeds in combining a thorough working knowledge of Bach works with scholarly research. The result is a book that remains readable, with direct practical value, but has a depth of insights into the cultural milieu of the music. It pursues style authenticity without falling into the trap of rigid, reductionist historicism. The book's approximately 50 figures, references to individual works of Bach, copious documentation (nearly 600 endnotes), and two indexes should make it an invaluable research tool for scholars and performers alike. |
| Bibliography note | Includes bibliographical references (pages 193-200) and indexes. |
| Language | Translated from the German. |
| LCCN | 2002022378 |
| ISBN | 0810842580 (alk. paper) |
