Moreover, the governors of the School were the Town Council, a body which had little sympathy with or appreciation of Bach's artistic aims and temperament. To these difficulties must be added another. The Town Musicians, on whom Bach relied for the nucleus of his orchestra, were few in number and inefficient.
So long as Ernesti lived, there was little prospect of reform. But, after his death, in October , Bach made vigorous representations to the Town Council. Already he had remonstrated with the Council for presenting to foundation scholarships boys who lacked musical aptitude. The Council [pg 40] retaliated by accusing Bach of neglecting his singing classes, absenting himself without leave, and of other irregularities. The document reveals the conditions amid which Bach worked. Its representations may be summarised: The foundation scholars of St. Thomas' are of four classes: Trebles, Altos, Tenors, Basses.
The foundation scholars number fifty-five, by whom the choirs of the four Churches, St. Thomas', St. Nicolas', St. Peter's, and the New Church are provided. For the instrumental accompaniments at least twenty players are required: viz. To fill these places there are eight Town Musicians, and at the moment there are no players available for third Tromba, Timpani, Viola, Violoncello, Contrabasso, third Oboe or Taille.
To augment the Town Musicians the Cantor has been wont in the past to employ University students and instrumental players in the School. But the Council, by its recent resolution, no longer affords the Cantor the means to employ them. To place the scholars in the orchestra weakens the choir, to which they naturally belong. By presenting to foundation scholarships boys unskilled and ignorant of music, the resources at the Cantor's disposal are still farther lessened.
In Gesner procured the withdrawal of the Council's ban on Bach's perquisites. The fallen fortunes of the School revived, and Bach did not again make an effort to leave Leipzig. In the grant of the [pg 42] post of Hof-Componist to the Saxon Court gave him at length a title which compelled the deference of his civic masters. Bach's early misunderstanding with the University cut him off from association with the most dignified, if not the most important, institution in Leipzig, and deprived him of opportunity to display his genius beyond the radius of his Church duties.
The situation changed in , when he became director of the University Society, and he held the post for about ten years. The Society gave weekly concerts on Fridays, from 8 to 10, and an extra concert, during the Fair season, on Thursdays at the same hour. It performed vocal and instrumental music and was the medium through which Bach presented his secular Cantatas, Clavier and Violin Concertos, and Orchestral Suites to the public. The proficiency of his elder sons and pupils, and his wife's talent as a singer, were a farther source of strength to the Society, whose direction undoubtedly made these years the happiest in Bach's life.
His increasing reputation as an organist, gained in his annual autumn tours, also enlightened his fellow-townsmen regarding the superlative worth of one whom at the outset [pg 43] they were disposed to treat as a subordinate official. Bach's conductorship of the University Society enabled him to perform festival works with the resources they required, and to augment the band and chorus needed for their adequate performance. Even before he undertook the direction of the University Society, Bach more than once provided the music for University celebrations.
In he revived an old Cantata to celebrate the birthday of another of the Leipzig teachers. In the same year the appointment of Dr. But Bach's activity as a secular composer at Leipzig was chiefly expended on patriotic celebrations. His compositions of this character are particularly numerous during the years , while he was seeking from the Dresden Court the post of Hof-Componist.
The first of these celebrations took place on May 12, , the birthday of Augustus II. The King was present and listened to the performance from a convenient window. The music is lost. Six years elapsed before Bach was invited to collaborate in another celebration of the royal House. On September 5, , less than two months after his application for the post of Hof-Componist, the University Society celebrated the eleventh birthday of the Electoral Prince by performing Bach's dramma per musica, Die Wahl des Herkules, or Herkules auf dem Scheidewege.
On no less than three occasions in Bach did [pg 45] homage to his unheeding sovereign. The music had already done duty in Dr. Two days later, on October 7, , the King's birthday was celebrated by another Bach Cantata, Schleicht spielende Wellen, performed by the Collegium Musicum. Apart from his musical activities and the house in which he lived there is little that permits us to picture Bach's life at Leipzig. Gottsched and his musical wife, Johann Abraham Birnbaum, among the Professoriate, Picander and Christian Weiss, Bach's regular librettists, suggests the amenities of an academic and literary circle.
But the claims of [pg 46] his art and the care of his large family had the first call upon Bach's interest. And few men had a happier home life. While his elder sons were at home the family concerts were among his most agreeable experiences. As his fame increased, his house became the resort of many seeking to know and hear the famous organist.
Late in the thirties he resigned his directorship of the University Society. His sons were already off his hands and out of his house, and he turned again to the Organ works of his Weimar period. Their revision occupied the last decade of his life, and the hitherto constant flow of Church Cantatas ceased. Pupils resorted to him and filled his empty house, to one of whom, Altnikol, he gave a daughter in marriage. Four, perhaps only three, contemporary portraits of Bach are known.
One is in the [pg 47] possession of the firm of Peters at Leipzig and once belonged to Carl Philipp Emmanuel's daughter, who with inherited impiety sold it to a Leipzig flute player. The second hung in St. Thomas' School and is reproduced at p. It was painted in and restored in The third portrait belonged to Bach's last pupil, Kittel, and used to hang on the Organ at Erfurt, whence it disappeared after , during the Napoleonic wars. Recently Professor Fritz Volbach of Mainz has discovered a fourth portrait, which is printed at p.
He supposes it to be none other than the Erfurt portrait, as indeed it well may be, since it represents a man of some sixty years, austere in countenance, but of a dignity that is not so apparent in Haussmann's portraiture. In consequence his widow, Anna Magdalena, burdened with the charge of a step-daughter and two daughters, was entitled to only one-third of her husband's estate. But the fact cannot excuse gross neglect of their father's widow.
Her own sons were in a position to make such a contribution to her income as would at least have kept want from her door. In fact she was permitted to become dependent on public charity, and died, an alms-woman, on February 27, , nearly ten years after her great husband.
The three daughters survived her. One died in , the second in The third, Regine Susanna, survived them, her want relieved by gifts from a public that at last was awakening to the grandeur of her father. Beethoven contributed generously. Regine Susanna died in December , the last of Bach's children. In her nephew, Johann Christoph Friedrich's son, also died. With him the line of Johann Sebastian Bach expired. As a Clavier player Bach was admired by all who had the good fortune to hear him and was the envy of the virtuosi of his day.
His method greatly differed from that of his contemporaries and predecessors, but so far no one has attempted to explain in what the difference consisted. The same piece of music played by ten different performers equally intelligent and competent will produce a different effect in each case. Each player will emphasise this or that detail. This or that note will stand out with differing emphasis, and the general effect will vary consequently. And yet, if all the players are equally competent, ought not their performances to be uniform? The fact that they are not so is due to difference of touch, a quality which to the Clavier stands as enunciation to human speech.
Distinctness is essential for the enunciation of vowels and consonants, and not less so for the articulation of a musical phrase. But there are gradations of distinctness. If a sound is emitted indistinctly it is comprehensible only [pg 50] with effort, which occasions us to lose much of the pleasure we should otherwise experience. On the other hand, over-emphasis of words or notes is to be avoided.
Otherwise the hearer's attention will be diverted from the tout ensemble. To permit the general effect to be appreciated every note and every vowel must be sounded with balanced distinctness. I have often wondered why Carl Philipp Emmanuel Bach's Essay on the Right Manner of playing the Clavier does not elucidate the qualities that constitute a good touch. For he possessed in high degree the technique that made his father pre-eminent as a player. The right method lies between the two extremes. As he has not done so, I must try to make the matter as clear as is possible in words.
Bach placed his hand on the finger-board so that his fingers were bent and their extremities poised perpendicularly over the keys in a plane [pg 51] parallel to them. Observe the consequences of this position.
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First of all, the fingers cannot fall or as so often happens be thrown upon the notes, but are placed upon them in full control of the force they may be called on to exert. In the second place, since the force communicated to the note needs to be maintained with uniform pressure, the finger should not be released perpendicularly from the key, but can be withdrawn gently and gradually towards the palm of the hand.
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In the third place, when passing from one note to another, a sliding action instinctively instructs the next finger regarding the amount of force exerted by its predecessor, so that the tone is equally regulated and the notes are equally distinct. In other words, the touch is neither too long nor too short, as Carl Philipp Emmanuel complains, but is just what it ought to be. I point out merely the most important of them. To begin with, if the fingers are bent, their movements are free. The notes are struck without effort and with less risk of missing or hitting too hard, a frequent fault with people who play with their fingers elongated or insufficiently bent.
In the second place, the sliding finger-tip, and the consequently rapid transmission of regulated force from one finger to another, tend to bring out each note clearly and to make every passage sound uniformly brilliant and distinct to the hearer without exertion.
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In the third place, stroking the note with uniform pressure permits the string to vibrate freely, improves and prolongs the tone, and though the Clavichord is poor in quality, allows the player to sustain long notes upon it. And the method has this advantage: it prevents over-expenditure of strength and excessive movement of the hand. We gather that the action of Bach's fingers was so slight as to be barely perceptible. Only the top joint seemed to move. His hand preserved its rounded shape even in the most intricate passages.
It is hardly necessary to say that that other limbs of his body took no part in his performance, as is the case with many whose hands lack the requisite agility. To be a first-rate performer many other qualities are needed, and Bach possessed them all in a notable degree.
Some fingers are longer and stronger than others. Hence players are frequently seduced to use the stronger whenever they can readily do so. Consequently successive notes become unequal in tone, and passages which leave no choice as to the finger to be used may become impossible to play. Bach recognised this fact very early in his career. To get over the difficulty he invented exercises for his own use in which the fingers of both hands were made to practise passages in every conceivable position.
Besides these improvements, Bach invented a new system of fingering. Even so it was not customary to use every one of the twenty-four major and minor keys. Again, [pg 56] good players in those days hardly ever used the thumb, except when a large interval had to be stretched. But when Bach began to melodise harmony so that his middle parts not merely filled in but had a tune of their own, when, too, he began to deviate from the Church modes then in general vogue in secular music, using the diatonic and chromatic scales indifferently, and tuning the Clavier in all the twenty-four keys, he found himself compelled to introduce a system of fingering better adapted to his innovations than that in use, and in particular, to challenge the convention which condemned the thumb to inactivity.
It is held by some writers that Couperin forestalled Bach's method of fingering, in his L'Art de toucher le Clavecin, published in But that is not the case. In the first place, Bach was above thirty years old in , and had already developed a distinctive method of his own.
And in the second place, Couperin's system differs materially from Bach's, though both made more frequent use of the thumb than was so far customary. Consequently Couperin [pg 56] had not an equally urgent need to use the thumb. We need only compare Couperin's with Bach's system of fingering, as Carl Philipp Emmanuel explains it, to discover that Bach's permits every passage, however intricate and polyphonic, to be played with ease, whereas Couperin's is hardly effective even for his own compositions.
Bach was acquainted with Couperin's works and highly esteemed them, as he did those of other French Clavier composers, for their finish and brilliance. But he considered them affected in their excessive use of ornaments, scarcely a single note being free from them. He held them, also, superficial in matter.
Bach's easy, unconstrained use of the fingers, his musical touch, the clearness and precision of every note he struck, the resourcefulness of his fingering, his thorough training of every finger of both hands, the luxuriance of his thematic material and his original method of stating it, all contributed to give him almost unlimited power over his instrument, so easily did he surmount the difficulties of its keyboard.
Whether he improvised or played his compositions from notes, he systematically employed every finger of each hand, and his fingering was as uncommon as the compositions themselves, yet so accurate that he [pg 57] never missed a note. Moreover, he read at sight other people's compositions which, to be sure, were much easier than his own with the utmost facility. Indeed, he once boasted to a friend at Weimar that he could play at sight and without a mistake anything put before him. But he was mistaken, as his friend convinced him before the week was out.
Having invited Bach to breakfast one morning, he placed on the Clavier, among other music, a piece which, at a first glance, seemed perfectly easy. On his arrival, Bach, as was his custom, sat down at the Clavier to play or look through the music. Meanwhile his friend was in the next room preparing breakfast. In a short time Bach took up the piece of music destined to change his opinion and began to play it.
He had not proceeded far before he came to a passage at which he stopped. After a look at it he began again, only to stop at the same place. It can't be done. He found no more difficulty in piecing together the [pg 58] separate parts when laid side by side before him. If a Continuo part, however badly figured, was put before him he could improvise a Trio or Quartet upon it.
Nay, when he was in the mood and at the height of his powers, he would convert a Trio into a Quartet by extemporising a fourth part. On such occasions he used a Harpsichord with two manuals and pedal attachment. Bach preferred the Clavichord to the Harpsichord, which, though susceptible of great variety of tone, seemed to him lacking in soul. The Pianoforte was still in its infancy and too coarse. He held the Harpsichord, or Clavicembalo, incapable of the gradations of tone obtainable on the Clavichord, an instrument which, though feeble in quality, is extremely flexible.
No one could adjust the quill plectrums of his Harpsichord to Bach's satisfaction; he always did it himself. He tuned his Harpsichord and Clavichord, and was so skilful in the operation that it never took him more than a quarter of an hour. It enabled him to play in any key he preferred, and placed the whole twenty-four of them at his disposal, so that he could modulate into the remoter as easily and naturally as into the more nearly related keys. Those who heard him frequently could hardly detect the fact that he had modulated into a distant key, so smooth were his transitions.
In chromatic movements his modulation was as easy and sequent as in diatonic. His Chromatic Fantasia, which is now published, bears out my statement. In his extemporisation he was even freer, more brilliant and expressive. He contrived to introduce so much variety that every piece became a sort of conversation between its parts. If he wished to express deep emotion he did not strike the notes with great force, as many do, but expressed his feeling in simple melodic and harmonic figures, relying rather on the internal resources of his art than external dynamics.
Therein he was right. True emotion is not suggested by hammering the Clavier. All that results is that the notes cannot be heard distinctly, much less be connected coherently. What has been said regarding Bach's admirable Clavier playing applies generally to his skill as an organist. The Clavier and Organ have points in common, but in style and touch are as different as their respective uses. What sounds well on the Clavier is ineffective on the Organ, and vice versa.
The most accomplished Clavier player may be, and usually is, a bad organist unless he realises the differing natures of the two instruments and the uses they serve. Both were finished Clavier performers, but no trace of the Clavier style was apparent when they played the Organ. Melody, harmony, and pace were carefully selected with due regard to the nature and distinctive use of each instrument.
When Wilhelm Friedemann played the Clavier his touch was elegant, delicate, agreeable. When he played the Organ he inspired a feeling of reverent awe. On the one he was [pg 62] charming. On the other he was solemn, impressive.
So also was his father, and to an even greater degree. Wilhelm Friedemann was a mere child to him as an organist, and frankly admitted the fact. His improvisation was even more inspired, dignified, and impressive: for then his imagination was untrammelled by the irksomeness of expressing himself on paper.
What is the essence of this art? Let me, though imperfectly, attempt an answer. When we compare Bach's Clavier compositions with those written for the Organ it is at once apparent that they differ essentially in melodic and harmonic structure. Hence we conclude that a good organist must select fitting themes for his instrument, and let himself be guided by its character and that of the place in which it stands and by the objects of its use. Its great body of tone renders the Organ ill-adapted to light and jaunty music.
Its echoes must have liberty to rise and fall in the dim spaces of the church, otherwise the sound becomes confused, blurred, and unintelligible. What is played upon it [pg 63] must be suited to the place and the instrument, in other words, must be congruous to a solemn and majestic fabric. Occasionally and exceptionally a solo stop may be used in a Trio, etc.
But the proper function of the Organ is to support church singing and to stimulate devotional feeling. The composer therefore must not write music for it which is congruous to secular surroundings. What is commonplace and trite can neither impress the hearer nor excite devotional feeling. It must therefore be banished from the Organ-loft.
How clearly Bach grasped that fact! Even his secular music disdained trivialities. Much more so his Organ music, in which he seems to soar as a spirit above this mortal planet. Of the means by which Bach attained to such an altitude as a composer for the Organ we may notice his harmonic treatment of the old Church modes, his use of the obbligato pedal, and his original registration.
The remoteness of the ecclesiastical modes from our twenty-four major and minor keys renders them particularly appropriate to the service of religion. But no one can realise how the Organ sounds under a similar system of harmonic treatment unless he has heard it. It becomes a choir of four or five parts, each in its natural [pg 64] compass. Compare the following chords in divided harmony:. We realise instantly the effect when music in four or more parts is played in the same manner.
Bach always played the Organ so, adding the obbligato pedal, which few organists know how to use properly. He employed it not only to sound the low notes which organists usually play with the left hand, but he gave it a regular part of its own, often so complicated that many organists would find it difficult to play with their five fingers. To these qualities must be added the exquisite art Bach displayed in combining the stops of the Organ. His registration frequently astonished organists and Organ builders, who ridiculed it at first, but were obliged in the end to admit its [pg 65] admirable results and to confess that the Organ gained in richness and sonority.
Very early in his career he made a point of giving to each part of the Organ the utterance best suited to its qualities, and this led him to seek unusual combinations of stops which otherwise would not have occurred to him. Nothing escaped his notice which had the slightest bearing on his art or promised to advance it. For instance, he made a point of observing the effect of large musical compositions in different surroundings. The practised ear, which enabled him to detect the slightest error in music even of the fullest and richest texture, and the art and rapidity with which he tuned his instrument, alike attest his intuitive skill and many-sidedness.
When he was at Berlin in he was shown the new Opera House. He took in its good and bad qualities at a glance, whereas others had done so only after experience. He was shown the large adjoining Saloon and went up into the gallery that runs round it. If a [pg 66] person puts his face to the wall in one corner of it and whispers a few words, another person at the corner diagonally opposite can hear them distinctly, though to others between them the words are inaudible.
The effect arises from the span of the arches in the roof, as Bach saw at a glance. These and similar observations suggested to him striking and unusual combinations of Organ stops. Bach brought the methods I have indicated to bear upon Church music, and they help to explain his extraordinarily dignified and inspired playing, which was at once so appropriate and filled the listener with deep awe and admiration.
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Quantz has expressed the [pg 67] same opinion. It is to be hoped that when he dies it will not be suffered to decline or be lost, as is to be feared from the small number of people who nowadays bestow pains upon it. On those occasions he was wont to select and treat a theme in various ways, making it the subject of each extemporisation even if he continued playing for two hours. As a beginning he played a Prelude and Fugue on the Great Organ.
Then he developed it with solo stops in a Trio or Quartet. A Hymn-tune followed, whose melody he interrupted in the subtlest fashion with fragments of the theme in three or four parts. Last came a Fugue, with full Organ, in which he treated the subject alone or in association with one or more accessory themes. Here we have the art which old Reinken of Hamburg considered to be lost, but which, as he afterwards found, not only survived but attained its greatest perfection in Bach.
Bach's pre-eminent position and his high reputation often caused him to be invited to examine candidates for vacant organistships, and to report on new Organs.
In both cases he acted so conscientiously and impartially that he generally made [pg 68] enemies. He could as little prevail on himself to praise a bad instrument as to recommend a bad organist. He was, therefore, severe, though always fair, in the tests he applied, and as he was thoroughly acquainted with the construction of the instrument it was hopeless to attempt to deceive him. First of all he drew out all the stops, to hear the Full Organ. He used to say jokingly, that he wanted to find out whether the instrument had good lungs!
Then he gave every part of it a most searching test. But his sense of fairness was so strong that, if he found the work really well done, and the builder's remuneration [pg 69] too small, so that he was likely to be a loser, Bach endeavoured, and often successfully, to procure for him an adequate addition to the purchase price. When the examination was over, especially if the instrument pleased him, Bach liked to exhibit his splendid talent, both for his own pleasure and the gratification of those who were present.
Bach's first attempts at composition, like all early efforts, were unsatisfactory. Lacking special instruction to direct him towards his goal, he was compelled to do what he could in his own way, like others who have set out upon a career without a guide. Most youthful composers let their fingers run riot up and down the keyboard, snatching handfuls of notes, assaulting the instrument in wild frenzy, in hope that something may result from it.
He realised that musical ideas need to be subordinated to a plan and that the young composer's first need is a model to instruct his efforts. Opportunely Vivaldi's Concertos for the Violin, then recently published, gave him the guidance he needed. He had often heard them praised as admirable works of art, and conceived the happy idea of arranging them for the Clavier.
Moreover, in adapting to the Clavier ideas and phrases originally written for the Violin Bach was compelled to put his brain to work, and so freed his inspiration from dependence on his fingers. Henceforth he was able to draw ideas out of his own storehouse, and having placed himself on the right road, needed only perseverance and hard work to succeed. And how persevering he was! He even robbed [pg 72] himself of sleep to practise in the night what he had written during the day!
But in that kind of music little can be accomplished with inadequate technique. Bach's first object, therefore, was to develop his power of expressing himself before he attempted to realise the ideal that beckoned him. Music to him was a language, and the composer a poet who, whatever the idiom he affects, must first of all have at his disposal the means of making himself intelligible to others.
But the technique of his period Bach found limited in variety and insufficiently pliable. Therefore he set himself at the outset to refashion the accepted harmonic system. He did so in a manner characteristically individual and bearing the impress of his personality. The addition of a Bass puts it upon a harmonic foundation and clarifies it, but defines rather than gives it added richness.
In the first case the accompaniment is subordinate, and serves merely to support the first or principal part. In the second case the two parts are not similarly related. New melodic combinations spring from their interweaving, out of which new forms of musical expression emerge.
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If more parts are interwoven in the same free and independent manner, the apparatus of language is correspondingly enlarged, and becomes practically inexhaustible if, in addition, varieties of form and rhythm are introduced. Hence harmony becomes no longer a mere accompaniment of melody, but rather a potent agency for augmenting the richness and expressiveness of musical conversation. To serve that end a simple accompaniment will not suffice. True harmony is the interweaving of several melodies, which [pg 74] emerge now in the upper, now in the middle, and now in the lower parts.
From about the year , when he was thirty-five, until his death in , Bach's harmony consists in this melodic interweaving of independent melodies, so perfect in their union that each part seems to constitute the true melody. Herein Bach excels all the composers in the world. Even in his four-part writing we can, not infrequently, leave out the upper and lower parts and still find the middle parts melodious and agreeable. But in harmony of this kind each part must be highly plastic; otherwise it cannot play its role as an actual melody and at the same time combine with the other parts.
To produce it Bach followed a course of his own, upon which the textbooks of his day were silent, but which his genius suggested to him. Its originality consists in the freedom of his part writing, in which he transgresses, seemingly, at any rate, rules long established and to his contemporaries almost sacred. Bach, however, realised their object, which was simply to facilitate the flow of pure melody on a sound harmonic basis, in other words, successive and coexistent euphony, and he succeeded with singular success though by [pg 75] unfamiliar means.
Let me explain my meaning more closely. Between simple intervals there is little difficulty in deciding whether the second note must rise or fall. And in regard to phrases, or sections of a phrase, if we analyse their structure and follow out their harmonic tendency, their resolution is equally clear. But this sense of destination may be provoked in each part by different intervals.
As we have observed already, every one of the four parts must flow melodically and freely. But to secure that result it will be necessary to introduce between the notes which begin a phrase and establish its general atmosphere other notes which often are not consonant with those employed in the other parts and whose incidence is governed by the accent. This is what we call a transitus regularis et irregularis.
No one has made more use of such progressions than Bach in order to colour his parts and give them a characteristic melodic line. Hence, unless his music is played with perfect fluency, occasional passages will sound harshly and we may be tempted to accuse him of exaggeration. But the charge is ill founded. Once we play them as Bach intended [pg 76 ] them, such passages reveal their full beauty and their attractive though bizarre dissonance opens up new vistas in the realm of sound.
But, to speak in detail of Bach's transgression of recognised rules. To begin with, he admitted octaves and fifths provided they sounded well; that is, when the cause of their being forbidden did not arise. Bach's octaves and fifths never produce bad or thin harmony, and he was very definite as to when they could and could not be used. In certain circumstances he would not permit hidden fifths and octaves even between the middle parts, though we exclude them only between the outer parts.
Yet, on occasion he used them in such a barefaced manner as to puzzle the beginner in composition.
But their use very soon commends itself. Even in the last revision of his early compositions we find him altering passages, which at first sight appear impeccable, with the object of enriching their harmony and without scrupling to use hidden octaves. A remarkable instance occurs [pg 77] in the first part of the Well-tempered Clavier, in the E major Fugue, between the fifth and fourth bars from the end. I stupidly preferred the older, more correct, and harsher reading, though in the later text the three parts run easily and smoothly.
And what more can one demand? Again, there is a rule that every note raised by an accidental cannot be doubled in the chord, because the raised note must, from its nature, resolve on the note above. If it is doubled, it must rise doubled in both parts and, consequently, form consecutive octaves. Such is the rule. But Bach frequently doubles not only notes accidentally raised elsewhere in the scale but actually the semitonium modi or leading-note itself. Yet he avoids consecutive octaves. His finest works yield examples of this. In general what is called an Organ point is merely a retarded close.
Bach, however, did not hesitate to employ it in the middle of a piece; a striking example occurs in the last Gigue of the English Suites. But it grows more beautiful as it becomes more familiar, and what seemed harsh is found to be smooth and agreeable, until one never tires of playing and hearing it.
Bach's modulation was as original and characteristic as his harmony, and as closely related to it. But the two things, though closely associated, are not the same. By harmony we mean the concordance of several parts; by modulation, their progression through keys. Modulation can take place in a single part. Harmony requires more than one. I will endeavour to make my meaning clearer. Most composers stick closely to their tonic key and modulate out of it with deliberation. In music that requires a large number of performers, and in a building, for instance a church, where the large volume of sound dies away slowly, such a habit shows good sense in the composer who wishes his work to produce the best possible effect.
But in chamber or instrumental music it is not always a proof of wisdom, but rather of mental poverty. Bach saw clearly that the two [pg 79] styles demand different treatment. In his large choral compositions he bridles his exuberant fancy. In his instrumental works he lets himself go. As he never courted popularity, but always pursued his ideal, Bach had no reason to suppress the nobility of his inspirations, or to lower their standard for public consumption.
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That man is Horst Soundtrack Witness for the Prosecution. Her father was a police lieutenant and imbued in her a military attitude to life. Marlene was known in school for her "bedroom eyes" and her first affairs were at this stage in her life - a professor at the school was terminated. She entered the cabaret scene in s Germany, first as a spectator Actor The Longest Day. With his whitish blond crew-cut, slow, menacing drawl and Germanic manner, Van Eyck was destined to be typecast as stereotypically scowling, arrogant Nazi officers.
This was ironic, because being an avowed anti-fascist, he had left Germany in -- two years before Adolf Hitler came to power. Actor Ich suche dich. He was married to Anna Usell. Actress Das Erbe der Guldenburgs. She was previously married to Bigler, Dr. Actor Out of Africa. Gave his debut as an actor in Member of the 'Wiener Burgtheater' in Vienna since Played at the 'Salzburger Festspiele' since Directed plays since Debuted as a movie actor in Actress Tess.
In , she met director Roman Polanski , who urged her to study method acting with Lee Strasberg in the United States. Kinski starred in the Italian romantic In , she began studying acting. Even before the fall of the Third Reich, she appeared in several films, but most of them were only released after the war. To avoid being raped by Soviet soldiers, she dressed like a Actor Hatari! At thirteen years, German-born and raised Hardy Kruger became a member of the "Hitler Jugend" Hitler Youth , as did all year-old boys in Germany then.
The purpose of the organization was to prepare the boys for military service. At age 15, Hardy made his film debut in a German picture Young Actor Sieben Jahre Pech. He was married to Blanca Moser. He died on June 19, in Vienna, Austria. To paraphrase the Beatles, one could say that, like Michelle and Ma Belle, Peter Alexander and Music are words that go together well, for the Austrian entertainer musician, singer and actor was associated with music from cradle to tomb.
Born in Vienna in , the son of a banker and his wife, Actress Amico mio. She is an actress, known for Amico mio , Die Unzertrennlichen and Inspector Montalbano Actress The Four Poster. A charming, elegant, and exceedingly popular international film star with a gentle, understated beauty, actress Lilli Palmer was born as Lilli Marie Peiser on May 24, , in Posen, Prussia. Actor National Lampoon's European Vacation. Willy Millowitsch was born on January 8, in Cologne, Germany. He died on September 20, Actress Holiday in St.
Edith Hancke was born on October 14, in Berlin, Germany. She was an actress, known for Holiday in St. She was married to Klaus Sonnenschein and Lutz Moik. She died on June 4, in Charlottenburg-Wilmersdorf Actress Das kann ja heiter werden. She was an actress, known for Das kann ja heiter werden , Die Kartenlegerin and Tratsch im Treppenhaus She was married to Hans Mahler. She died on June 15, in Hamburg. Actor Otto - Der Film. Actress One, Two, Three. Liselotte Pulver was born on October 11, in Berne, Switzerland.
She was previously married to Helmut Schmid. Thomas Fritsch was born on January 16, in Dresden, Germany. Actor Mandragola. Herbert Herrmann was born on June 7, in Berne, Switzerland. He is an actor, known for Mandragola , Ich heirate eine Familie He has been married to Nora von Collande since He was previously married to Susanne Uhlen. Actor Ein Mann geht durch die Wand.
Actor Der Alte. He was an actor, known for The Old Fox , Dr. He was married to Marianne Probst and Elisabeth Felber. He died on June 27, Actor Judgment at Nuremberg. Like Jannings, Schell won the Oscar, but unlike him, he was a dedicated anti-Nazi. Indeed, with the exception of Maurice Chevalier and Actress L'important c'est d'aimer. Romy Schneider was born on 23 September in Vienna, Austria into a family of actors. Blue and gray diplomacy a history of union and confederate foreign relations littlefield history of the civil.
Applications of cognitive psychology problem solving. Nt van die bruid afrikaans editionhedge fu. Endspurt vorklinik physik die skripten furs physikum german edition. Ics annotatedsatan versus yahve el infierno contra el cielo del gen. Ch editionle page de napoleon french edition.