Relevant bibliographies by topics / Bach, Wilhelm Friedemann, in fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Bach, Wilhelm Friedemann, in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Bach, Wilhelm Friedemann, in fiction"

1

Schulenberg, D. "Wilhelm Friedemann Bach at 302." Early Music 40, no. 1 (2012): 155–58. http://dx.doi.org/10.1093/em/cas007.

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Zehler, Carl. "W. Friedemann Bach und seine hallische Wirksamkeit." Bach-Jahrbuch 7 (February 23, 2018): 103–32. http://dx.doi.org/10.13141/bjb.v19101253.

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Wollny, Peter. "Ein unbekanntes Autograph von Wilhelm Friedemann Bach." Bach-Jahrbuch 80 (February 8, 2018): 185–90. http://dx.doi.org/10.13141/bjb.v19941170.

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Der Beitrag widmet sich zunächst der Frage nach einem "Spätwerk" W. F. Bachs und stellt anschließend eine in der Leipziger Musikbibliothek aufgefundene Quelle vor, die ein bis dato unbekanntes Klavierstück W. F. Bachs (BR A 62) enthält.
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Schulze, Hans-Joachim. "Vom Landgut in die Stadtbibliothek: Zur Überlieferung der Bach-Kantate "Ach Herr, mich armen Sünder"." Bach-Jahrbuch 87 (March 8, 2018): 179–84. http://dx.doi.org/10.13141/bjb.v20011733.

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Für den Überlieferungsweg der autographen Partitur zu Johann Sebastian Bachs Kantate 'Ach Herr, mich armen Sünder' BWV 135 lässt sich als Besitzerfolge denken: Wilhelm Friedemann Bach, unbekannte Zwischenbesitzer, Carl Heinrich Ludwig Pistor (1827), Julius Rietz (spätestens 1840), Friedrich Kistner/Clementine Kistner geborene Karthauß, Anton Wilhelm Karthauß, Mariane Karthauß, Stadtbibliothek Leipzig. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)
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Hübner, Maria. "Wilhelm Friedemann Bachs Wohnungen in Halle - Einige Ergänzungen." Bach-Jahrbuch 97 (February 9, 2018): 103–16. http://dx.doi.org/10.13141/bjb.v20111230.

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Der Beitrag fasst älteres wie neueres Quellenmaterial zusammen und ist ein Versuch, sich der Kenntnis über Bachs Wohnsituation weiter anzunähern. Eingegangen wird auf die heutigen Adressen Große Nikolaistr. 8/9 und Große Klausstr. 12. Auch Bachs Nachbarschaft wird betrachtet.
 
 Erwähnter Artikel: Carl Zehler: W. Friedemann Bach und seine hallische Wirksamkeit. BJ 1910, S. 103-132
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Ledbetter, David. ""The Music of Wilhelm Friedemann Bach" by David Schulenberg." Performance Practice Review 16, no. 1 (2011): 1–4. http://dx.doi.org/10.5642/perfpr.201116.01.04.

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Bötticher, Jörg-Andreas. "Generalbaßpraxis in der Bach-Nachfolge." Bach-Jahrbuch 79 (February 8, 2018): 103–25. http://dx.doi.org/10.13141/bjb.v19931146.

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Die in der Staatsbibliothek Berlin liegende Quelle "Regeln des Generalbaßes von dem Herrn Musico Heering" (Mus. ms. theor. 348) enthält neben Generalbaß-Grundregeln auch 400 Seiten mit ausgesetzten Generalbässen zu Werken von Johann Sebastian Bach, Carl Philipp Emanuel Bach, Wilhelm Friedemann Bach, Arcangelo Corelli, Johann Gottlieb Graun, Georg Friedrich Händel und Giovanni Battista Pergolesi. Geschrieben wurden sie von Graf Otto Carl Friedrich von Voß. Die Aussetzungen der Werke Johann Sebastian Bachs sind meistens streng vierstimmig. Sie zeigen die retrospektive Musizierpraxis eines Berlin
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8

Ivanov, Arseny I. "Wilhelm Friedemann Bach’s Clavier Fantasies: a Creative Dialogue With the Father." Contemporary Musicology, no. 2 (2021): 39–59. http://dx.doi.org/10.56620/2587-9731-2021-2-039-059.

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W.F. Bach was greatly influenced by the personality and style of his great father Johann Sebastian Bach. As the first teacher of clavier and composition, his father remained Friedemann’s main mentor throughout his life. For him, his father’s music was the highest artistic reference point.W.F. Bach’s woks have numerous quotations and allusions to J. S. Bach’s compositions. These borrowings did not go unnoticed by the composers’ contemporaries. According to the musicologist T. Frumkis, the composer was following his father’s footsteps as a slave. At the same time, an 18th century music theorist
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Nagina, Dana A., and Arseny I. Ivanov. "Wilhelm Friedemann Bach’s Clavier Concertos: Between the Baroque and the Classical Styles." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 8–24. http://dx.doi.org/10.56620/2782-3598.2024.2.008-024.

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Wilhelm Friedemann Bach (1710–1784) was known by his contemporaries primarily as a virtuoso clavier player and a master of improvisation. In his quantitatively small compositional legacy, by 18th century standards, the primary position is reserved to clavier music, most notably, the large-scale genres — fantasias, concertos and sonatas. The six clavier concertos by Wilhelm Friedemann Bach (the authorship of five of them having been confirmed, while the sixth was ascribed to the composer) manifest the characteristic features of his musical style — a combination of baroque and early classical st
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10

Wollny, Peter. "Heinemann, Michael; Strodthoff, Jörg (Hg.): Wilhelm Friedemann Bach [...] Dresden 2005." Bach-Jahrbuch 93 (March 12, 2018): 279–82. http://dx.doi.org/10.13141/bjb.v20071831.

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Dissertations / Theses on the topic "Bach, Wilhelm Friedemann, in fiction"

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Hunt, Janet Evelyn. "The Harpsichord Concertos of Wilhelm Friedemann Bach, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.F. Bach, D. Scarlatti, F. Couperin, J.J. Froberger, G. Ligeti, W. Byrd, and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278911/.

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The harpsichord concertos of Wilhelm Friedemann Bach (1710-1784) have suffered undeserved neglect. The four authenticated solo concertos remain in manuscript, with the result that his contribution to the history of the keyboard concerto has been largely overlooked. This study begins to correct this situation by examining these four concertos--F41 in D Major, F43 in E Minor, F44 in F Major, and F45 in A Minor--as well as the published two-harpsichord Concerto in E-Flat Major, F46, and the incomplete Concerto in E-Flat Major, F42 in order to assess W. F. Bach's contribution to the keyboard conce
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2

Yang, Chao-Hung, and 楊昭紅. "Discussions on Bach''s Clavier-Buchlein for Wilhelm Friedemann and Anna Magdalena." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/sek69y.

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Books on the topic "Bach, Wilhelm Friedemann, in fiction"

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1959-, Heinemann Michael, Strodthoff Jörg, and Hochschule für Musik "Carl Maria von Weber," Dresden., eds. Wilhelm Friedemann Bach: Der streitbare Sohn. Sandstein, 2005.

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2

Christoph, Wolff, ed. Wilhelm Friedemann Bach: Thematisch-systematisches Verzeichnis der musikalischen Werke (BR-WFB). Carus Verlag, 2012.

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3

Taylor, Justin. Wilhelm Friedemann Bach. Lulu Press, Inc., 2010.

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The music of Wilhelm Friedemann Bach. University of Rochester Press, 2010.

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5

Wilhelm Friedemann Bach: Der unterschätzte Sohn. Aisthesis, 2010.

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6

Wilhelm Friedemann Bach und die protestantische Kirchenkantate nach 1750. ortus musicverlag, 2012.

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7

Wilhelm Friedemann Bach: Epigone oder Originalgenie, verquere Erscheinung oder grosser Komponist? Ibidem-Verlag, 2011.

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8

Haupt, Sebastian. Wilhelm Friedemann Bach - Originalgenie oder überschätzter Komponist?: Das Konzertschaffen von Wilhelm Friedemann Bach am Beispiel des Konzertes für Flöte, Streicher und Basso continuo D-Dur. GRIN Verlag GmbH, 2010.

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9

Ritter, C. H. Carl Philipp Emmanuel und Wilhelm Friedemann Bach und Deren Brüder, Erster Band. Creative Media Partners, LLC, 2022.

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10

Wilhelm Friedemann Bach: Sein Leben und Seine Werke, Mit Thematischem Verzeichnis Seiner Kompositionen und Zwei Bildern. Creative Media Partners, LLC, 2018.

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Book chapters on the topic "Bach, Wilhelm Friedemann, in fiction"

1

Wolff, Christoph, Walter Emery, E. Eugene Helm, Ernest Warburton, and Ellwood S. Derr. "Wilhelm Friedemann Bach." In Die Bach-Familie. J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-04417-4_9.

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Jacob, Andreas. "Bach, Wilhelm Friedemann." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_11.

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Wollny, Peter. "Wilhelm Friedemann Bach." In Barockmusikführer. J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_9.

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4

Geiringer, Karl, and Irene Geiringer. "The Halle Bach (Wilhelm Friedemann Bach)." In The Bach Family. Routledge, 2024. http://dx.doi.org/10.4324/9781003543848-18.

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"The Notebooks for Wilhelm Friedemann and Anna Magdalena Bach:." In Bach and Mozart. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctvrdf1wr.8.

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Stauffer, George B. "The Six Sonatas." In J. S. Bach. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780195108026.003.0020.

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Abstract Chapter 19 focuses on the Six Sonatas, written around 1730 to give final polish to the playing skills of Bach’s oldest son, Wilhelm Friedemann, the best organist in the family after his father. In compiling the Sonatas, Bach relied in part on preexisting music drawn from cantata sinfonias and instrumental trios. In other cases, he composed new music altogether. The Sonatas are among the most progressive organ pieces Bach composed. The middle movements, in particular, show galant elements that foreshadow preclassical style—a feature that would have appealed to Wilhelm Friedemann and ot
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"The Notebooks for Wilhelm Friedemann and Anna Magdalena Bach: Some Biographical Lessons." In Bach and Mozart. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787447226.004.

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"2. The Notebooks for Wilhelm Friedemann and Anna Magdalena Bach: Some Biographical Lessons." In Bach and Mozart. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787447226-006.

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9

"Th e Clavier-Büchlein vor Wilhelm Friedemann Bach and Related Works." In The Keyboard Music of J.S. Bach. Routledge, 2013. http://dx.doi.org/10.4324/9780203036167-11.

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10

Paraschivescu, Nicoleta. "Eine neue Quelle zu den beiden Allemanden BWV 836 und BWV 837 im Clavier-Büchlein vor Wilhelm Friedemann Bach." In Bach-Jahrbuch 2022. Evangelische Verlagsanstalt, 2023. http://dx.doi.org/10.5771/9783374072941-69.

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