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This last in a two-volume study examines Bach's musical compositional development in his later years, including his time at C¿then and Leipzig.
List of contents
- Part I: The Cðthen and Early Leipzig Years: 1717-1729
- 1: Introduction
- 2: The Well-Tempered Clavier I and Other Keyboard Works
- 3: The Brandenburg Concertos and Other Instrumental Works
- 4: Sacred and Secular: the Vocal Works
- 5: Conclusion
- Part II: The Middle Leipzig Years 1729-39
- 1: Introduction
- 2: Clavierübung II-III and other Harpsichord, Organ, and Lute Works
- 3: The Harpsichord Concertos and Other Instrumental Works
- 4: Sacred and Secular: Vocal Works II
- 5: Conclusion
- Part III: The Late Leipzig Years 1739-50
- 1: Introduction
- 2: The Well-Tempered Clavier II and Other Keyboard/Organ Works
- 3: The Musical Offering and Other Instrumental Works
- 4: The B minor Mass and Other Vocal Works
- 5: Conclusion
- Part I: The Cðthen and Early Leipzig Years: 1717-1729
- 1: Introduction
- 2: The Well-Tempered Clavier I and Other Keyboard Works
- 3: The Brandenburg Concertos and Other Instrumental Works
- 4: Sacred and Secular: the Vocal Works
- 5: Conclusion
- Part II: The Middle Leipzig Years 1729-39
- 1: Introduction
- 2: Clavierübung II-III and other Harpsichord, Organ, and Lute Works
- 3: The Harpsichord Concertos and Other Instrumental Works
- 4: Sacred and Secular: Vocal Works II
- 5: Conclusion
- Part III: The Late Leipzig Years 1739-50
- 1: Introduction
- 2: The Well-Tempered Clavier II and Other Keyboard/Organ Works
- 3: The Musical Offering and Other Instrumental Works
- 4: The B minor Mass and Other Vocal Works
- 5: Conclusion
About the author
Richard Jones is a music writer and Editor
Summary
This last in a two-volume study examines Bach's musical compositional development in his later years, including his time at Cðthen and Leipzig.
Additional text
This book qualifies immediately as a towering work of outstanding musical analysis...Jones's new volume continues also to be a valuable digest of the thoughts of other scholars; spanning the Cöthen years as well as Leipzig, it is a masterpiece of compression and precision, yet finds time to ventilate the most interesting aspects of Bach Scholarship.
