In J. S. Bach at His Royal Instrument, author Russell Stinson delves into various unexplored aspects of the organ works of Johann Sebastian Bach. Drawing on previous research and new archival sources, he sheds light on many of the most mysterious aspects of these masterpieces, and their reception, and shows how they have remained a fixture of Western culture for nearly three hundred years.
Johann Sebastian Bach's legacy is undeniably one of the richest in the history of music, with a vast influence on posterity that has only grown since his rediscovery in the early nineteenth century.
Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. This book should be read by anyone interested in the organ, the music of Bach, or the musical culture of the nineteenth century.
2 For an English translation, see Russell Stinson, The Reception of Bach's Organ Works from Mendelssohn to Brahms (New ... J. S. Bach at His Royal Instrument: Essays on His Organ Works (New York: Oxford University Press, 2012), 43–45.
This is the only volume in English or German to include all of the verses of all the chorales set by Bach in the organ works, in the original German...
This volume, beginning with a 1915 Saint-Sa lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound.
The book concludes with a discussion of the Orgelbuchlein's reception from the eighteenth century to the present.
Originally published: New York: G. Schirmer, 1889.
The 16 essays collected here of two kinds: stylistic and historical inquiries, and studies of the original sources. The articles deal with the music and shed new light on the...
... Joseph P. Kahn, "A Bach Score,” Boston Globe, 30 September 1999; and Michael Ellison, “Search Uncovers Lost Bach Treasures,” The Guardian, 6 August 1999. ... explained to me by Bach-Archiv scholar Peter Wollny in Leipzig.
Discusses Bach's musical accomplishments through the stages of his life, from his humble origins as a self-taught court musician to his role as kapellmeister and cantor of St. Thomas's Church.