Relevant bibliographies by topics / Bach Toccata BWV 916

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  2. Dissertations / Theses
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Academic literature on the topic 'Bach Toccata BWV 916'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Bach Toccata BWV 916"

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Wiemer, Wolfgang. "Ein Bach-Doppelfund: Verschollene Gerber-Abschrift (BWV 914 und 996) und unbekannte Choralsammlung Christian Friedrich Penzels." Bach-Jahrbuch 73 (May 9, 2018): 29–73. http://dx.doi.org/10.13141/bjb.v19872556.

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Der Autor dieses Aufsatzes kam 1984 in den Besitz von zwei Bachquellen. Die erste ist eine Kopie der Toccata BWV 914 und der Suite BWV 996 aus der Hand von Bachs Schüler Heinrich Nicolaus Gerber; diese Quelle galt jahrzehntelang als verloren. Das zweite Manuskript ist eine 1780 zusammengetragene Sammlung von mehr als 100 vierstimmigen Chorälen. Die meisten davon stammen von Johann Sebastian Bach; 32 bisher unbekannte Sätze sind - trotz gewisser Kompositionsfehler - möglicherweise auch auf Bach zurückzuführen. (Übertragung des englischen Resümees am Ende des Bandes)
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Schulenberg, David. "Review: Toccaten: BWV 910–916, by Johann Sebastian Bach, edited by Peter Wollny. Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke, ser. 5, vol. 9.1.; Sechs kleine Praeludien: BWV 933–938. Einzeln überlieferte Klavierwerke I: Praeludium BWV 921; Fantasie BWV 917, 918, 922; Praeludium und Fuge BWV 894, 895, 896, 923/951, 951a; Chromatische Fantasie und Fuge BWV 903, 903a; Fantasie und Fuge BWV 904, 906, 944; Fuge BWV 946, 948, 949, 950, 952, 959; Fughetta BWV 961; Sonate BWV 967, by Johann Sebastian Bach, edited by Uwe Wolf. Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke, ser. 5, vol. 9.2; Bearbeitungen fremder Werke: Concerti BWV 972–987, 592a; Sonaten BWV 965, 966; Fuga BWV 954, by Johann Sebastian Bach, edited by Karl Heller. Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke, ser. 5, vol. 11." Journal of the American Musicological Society 55, no. 2 (2002): 353–65. http://dx.doi.org/10.1525/jams.2002.55.2.353.

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Dirksen, Pieter. "Zur Frage des Autors der A-Dur-Toccata BWV Anh. 178." Bach-Jahrbuch 84 (March 8, 2018): 121–36. http://dx.doi.org/10.13141/bjb.v19981658.

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Zu den bedeutendsten Werken, die im Anhang des Bach-Werke-Verzeichnis aufgeführt werden, zählt die Toccata A-Dur 178. Die Autorschaft Johann Sebastian Bachs wurde jedoch häufig in Zweifel gezogen, und das Stück wurde unter anderem mit Michelangelo Rossi, Robert King und Henry Purcell in Verbindung gebracht. Quellenkundliche und stilistische Überlegungen zeigen jedoch, dass das Stück mutmaßlich von Johann Adam Reincken stammt. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)
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Anderson, Martin. "Ronald Stevenson et al. - RONALD STEVENSON Piano Music. CD1: Prelude and Chorale; L'Art nouveau du Chant appliqué au Piano, Vols. 1 and 2; Scottish Ballad No. 1; Fugue on a Fragment of Chopin; Pensées sur des Préludes de Chopin; Variations-Study on a Chopin Waltz; Etudette d'après Korsakov et Chopin; Three Contrapuntal Studies on Chopin Waltzes; BACH-STEVENSON Komm, süsser Tod, BWV.478. CD2: Le festin d'Alkan; Norse Elegy; Canonic Caprice on The Bat; YSAŸE-STEVENSON Six Sonates pour violon seul, op. 27, Nos. 1 and 2. CD3: Melody on a Ground of Glazunov; Ricordanza di San Romerio; Little Jazz Variations on Purcell's ‘New Scotch Tune’; Two Musical Portraits; MOZART-STEVENSON Fantasia, K.608; Romance (from Piano Concerto in D minor, K.466); PURCELL-STEVENSON Three Grounds; Toccata; Hornpipe; The Queen's Dolour; BULL-STEVENSON Three Elizabethan Pieces after John Bull. Murray McLachlan (pno). Divine Art DDA 21372 (3-CD set)." Tempo 67, no. 266 (2013): 106–9. http://dx.doi.org/10.1017/s0040298213001095.

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Dissertations / Theses on the topic "Bach Toccata BWV 916"

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Feil, Arnold. "”Alte Musik als ästhetische Gegenwart”: Versuch zur Musikwissenschaft als Interpretationswissenschaft anhand von Bachs Toccata D-Dur (BWV 912)." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37206.

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Hua, Ye. "A study of J. S. Bach’s Toccata BWV 916; L. van Beethoven’s Sonata Op. 31, No. 3; C. Debussy’s Images Book One; F. Chopin’s Scherzo No. 2, Op. 31: historical, theoretical and stylistic implications." Kansas State University, 2016. http://hdl.handle.net/2097/32600.

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Master of Music<br>School of Music, Theatre, and Dance<br>Slawomir Dobrzanski<br>This Master’s Report is a study of four piano compositions performed on April 10, 2016 at the author’s Master’s Piano Recital. These discussed pieces are including Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E-flat major, Op. 31, No. 3; Claude Debussy’s Images Book One; Fryderyk Chopin’s Scherzo No. 2, Op. 31. This study focus on historical, theoretical and stylistic implications of each composition.
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Krajciova, Jana. "A study of J. S. Bach’s Toccata BWV 916, L. van Beethoven’s Sonata op. 31, no. 3, F. Chopin’s Ballade, op. 52, l. Janáček’s In the Mists, I, III; and S. Prokofiev’s Sonata, op. 28: historical, theoretical, stylistic and pedagogical implications." Kansas State University, 2012. http://hdl.handle.net/2097/13738.

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Master of Music<br>Department of Music<br>Slawomir P. Dobrzanski<br>The following report analyzes compositions performed at the author’s Master’s Piano Recital on March 15, 2012. The discussed pieces are Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E flat major, op. 31, no. 3; Frederic Chopin’s Ballade in F minor, op. 52; Leoš Janáček’s In The Mists: I. Andante, III. Andantino; and Sergei Prokofiev’s Sonata in A minor, op. 28. The author approaches the study from the historical, theoretical, stylistic and pedagogical perspectives.
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Heimo, Minna. "Tyglad extas : om retorik i J.S. Bachs Toccata C-dur BWV 564:1." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2496.

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I detta examensarbete presenteras de vanligaste musikaliskt-retoriska figurerna samt retorikens historia i musikaliska sammanhang. Skribenten undersöker också vilka retoriska figurer som går att hitta i J.S. Bachs Toccata i C-dur BWV 564 och om vetskapen om retorik kunde hjälpa henne med interpretationen av detta stycke.
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Kim, Jung Won. "An analysis of J.S. Bach’s Partita in B flat major, BWV 825; W.A. Mozart’s Piano Sonata in D major, K.576; F. Chopin’s Mazurkas, Opus 17; A. Khachaturian’s Toccata: theoretical, stylistic, and historical background." Kansas State University, 2015. http://hdl.handle.net/2097/20101.

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Master of Music<br>Music, Theatre, and Dance<br>Slawomir Dobrzanski<br>This Master’s report analyzes four piano compositions performed on April 9, 2015 at the author’s Master’s recital. The works under consideration are Johann Sebastian Bach’s Partita in B flat major, BWV 825; Wolfgang Amadeus Mozart’s Piano Sonata in D major, K.576; Fryderyk Chopin’s Four Mazurkas, Opus 17; and Aram Khachaturian’s Toccata. This analysis includes the discussion of the theoretical, stylistic, and historical background of each composition.
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Mace, Abigail. "Style and interpretation in the seven keyboard toccatas of J.S. Bach, BWV 910-916." 2012. http://hdl.handle.net/2152/19741.

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The keyboard toccatas of J. S. Bach, BWV 910-916, present a formidable challenge of interpretation to the modern-day performer. These works contain some of the most unusual compositional techniques to be found in Bach’s output due to their use of an improvisatory, virtuosic style inherited from the seventeenth century. While pianists of today are trained to perform with perfect fidelity to the score, the treatises from the time of Bach point to a rhythmically free approach to the improvisatory features of these toccatas. The goal of this treatise is to explore how the historical tradition from
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王櫻蒨. "An Analysis and Interpretation of J. S. Bach Toccata in D minor, BWV. 913." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/48525132693455187039.

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碩士<br>臺北市立教育大學<br>音樂學系碩士班<br>97<br>Learn the process of piano at each person will play the keyboard work of Bach (Johann Sebastian Bach, 1685-1750), Have it the special feature at Bach each keyboard works of period. We can see the fusion that the Bach's basic skill in the suites, can see different style in the part of Invention works, can see the Bach being in the innovation on the harmony in the Temperament. The writer touches skill song as the object of research by Bach, because touches there is more difficult technique in the skill song and become more huge to the organization of , the harm
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Lu, Chia-Neng, and 呂佳能. "An Analytical Study of Bach-Busoni Toccata and Fugue in D Minor, BWV 565." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/49855978255602102045.

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碩士<br>國立中山大學<br>音樂學系研究所<br>104<br>Compared with piano, the organ has the wider register and more colorful sonority. J. S. Bach, Buxtehude and other composers had written many organ works worthy to study. In the nineteenth century of Europe, many composers began to revive Bach’s music by adapting the organ’s works for piano playing, so these sublime repertoires became more and more well-known. Today, among the numerous transcriptions, Bach-Busoni Toccata and Fugue BWV 565 is one of the most often performed pieces. There are three main chapters besides the preface and conclusion in this report.
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Ahlman, Christopher Stephen. "The compositional nature and performance practice of the Grave of Johann Sebastian Bach's Toccata in C, BWV 564." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2936.

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The compositional peculiarities of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 make authoritative performance practice of the same quite difficult. Often, disparate solutions concerning the performance practice thereof, primarily those that concern registration and interpretation of the work, result. Upon discussing the resemblance of BWV 564 in its entirety with that of the genre of the Italian concerto, I assess the precise nature of Italian concerto influence upon the work, assigning primary compositional influence to Tomaso Albinoni, specifically via Johann Gottfried Walth
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Books on the topic "Bach Toccata BWV 916"

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Eisert, Christian. Die Clavier-Toccaten BWV 910-916 von Johann Sebastian Bach: Quellenkritische Untersuchungen zu einem Problem des Frühwerks. Schott, 1994.

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Blanken, Christine. Recently Rediscovered Sources of Music of the Bach Family in the Breitkopf Archive. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041488.003.0005.

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This chapter treats newly discovered Bach manuscripts found in the archive of the Leipzig firm Breitkopf &amp; Härtel, which was the most influential music publisher in eighteenth century Europe. Highlights include J. S. Bach’s autograph entries in early Weimar keyboard sources (Toccatas BWV 913/914); sources copied during J. S. Bach’s Leipzig period; and important new sources of instrumental works by three Bach sons. The manuscripts not only illustrate the performance repertoire of Leipzig music societies, such as the Gewandhaus concerts, during the mid-eighteenth century and after Sebastian
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Book chapters on the topic "Bach Toccata BWV 916"

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"Bach: Toccata in D major BWV 912." In Reading Musical Interpretation. Routledge, 2017. http://dx.doi.org/10.4324/9781315089133-5.

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Schulenberg, David. "Bach the Concertmaster." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0007.

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Bach’s title as concertmaster was new in the early eighteenth century; at Weimar it implied direction of the court music ensemble, at least in the new vocal works that Bach was now expected to produce every four weeks. Beginning in 1714 he composed several dozen church cantatas on a regular basis, including BWV 182, 12, and 31. These were preceded by a handful of significant vocal works, among them the “Hunt Cantata” (BWV 208). But the greatest number of compositions from this period are for organ and keyboard, including the “Great Eighteen” chorales, the “Dorian” toccata and fugue, transcriptions of concertos, and the Chromatic Fantasia, all discussed in this chapter. Also considered is the influence of Telemann on Bach and his compositions.
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