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Bach and the Art of Improvisation appeals to pedagogues, performers, church musicians, scholars, and serious students who aspire to reclaim the integrated, communicative art of improvisation, composition, and performance. Organists, pianists, string players, and other musicians, learn how to improvise step-by-step with BAI, an historical, pedagogical, musical, and invaluable resource. "For more than five centuries, improvisation was the normal way of playing a keyboard instrument, particularly for organists. Pamela Ruiter-Feenstra's book, the result of years of research and experience, offers musicians the possibility to develop this art today at the school of one of the best teachers and improvisers, Johann Sebastian Bach. BACH AND THE ART OF IMPROVISATION is a fundamental book with a much-needed historical approach to improvisation, rife with valuable information and practical examples." -Review by Dr. Edoardo Bellotti, Professor of Organ and Improvisation, Hochschule für Kunst und Musik, Bremen, Germany

Recorded in Venice, this is the definitive collection of Rabbath performing Bach. This collection is finally available in the US as a CD with the original cover art, photographs, and notes. For more about Rabbath's unique pedagogy, please see the DVDs Art of the Bow and Art of the Left Hand, also available on CD Baby. From the Solstice notes: Franois Rabbath was born in 1931 in Alep (Syria). At the golden age of the French song, he accompanied the greatest ones: Piaf, Aznavour, Brel, Barbara, M

Simultaneously revolutionary and realistic, Pamela Ruiter-Feenstra resuscitates historic improvisation from relevant treatises and documentation of Bach’s improvisation pedagogy in counterpoint with tried and true applications. She incrementally guides the reader from improvising cadences, chorales, partitas, and dances in Volume One to improvising preludes, fantasias, and ultimately, fugues in Volume Two of Bach and the Art of Improvisation. The chapters on continuo playing alone beckon reform of current practice. According to Edoardo Bellotti, "In BACH AND THE ART OF IMPROVISATION, we are guided step-by-step to discover the "fil rouge" that spanned centuries, reached Bach and now reaches us. And we cannot help but be surprised by the amazing consistency and effectiveness of this route." David Yearsley attests, "This book combines two attributes—erudition and warmth—rare in studies that engage with Bach’s often-daunting legacy. Bach and the Art of Improvisation is both scholarly and welcoming, theoretically grounded yet vigorously practical, broad in its purview while full of specific insights and exercises. Ruiter-Feenstra’s valuable work is an invitation to explore the richness of the past in the service of creative music-making in the present.” Table of Contents: *VOLUME TWO: Free Works and Continuo 8. Interludes and Cadenzas 9. Preludes 10. Fantasias 11. A Thesis on Continuo Playing by J. S. Bach 12. Concerti, Cantatas, and Continuo Playing 13. Chorale Fugatos and Partimento Fughette 14. Bach for a Lifetime: Fugues

Bach and the Art of Improvisation appeals to pedagogues, performers, church musicians, scholars, and serious students who aspire to reclaim the integrated, communicative art of improvisation, composition, and performance. Organists, pianists, string players, and other musicians, learn how to improvise step-by-step with BAI, an historical, pedagogical, musical, and invaluable resource. "For more than five centuries, improvisation was the normal way of playing a keyboard instrument, particularly for organists. Pamela Ruiter-Feenstra's book, the result of years of research and experience, offers musicians the possibility to develop this art today at the school of one of the best teachers and improvisers, Johann Sebastian Bach. BACH AND THE ART OF IMPROVISATION is a fundamental book with a much-needed historical approach to improvisation, rife with valuable information and practical examples." -Review by Dr. Edoardo Bellotti, Professor of Organ and Improvisation, Hochschule für Kunst und Musik, Bremen, Germany

Simultaneously revolutionary and realistic, Pamela Ruiter-Feenstra resuscitates historic improvisation from relevant treatises and documentation of Bach’s improvisation pedagogy in counterpoint with tried and true applications. She incrementally guides the reader from improvising cadences, chorales, partitas, and dances in Volume One to improvising preludes, fantasias, and ultimately, fugues in Volume Two of Bach and the Art of Improvisation. The chapters on continuo playing alone beckon reform of current practice. According to Edoardo Bellotti, "In BACH AND THE ART OF IMPROVISATION, we are guided step-by-step to discover the "fil rouge" that spanned centuries, reached Bach and now reaches us. And we cannot help but be surprised by the amazing consistency and effectiveness of this route." David Yearsley attests, "This book combines two attributes—erudition and warmth—rare in studies that engage with Bach’s often-daunting legacy. Bach and the Art of Improvisation is both scholarly and welcoming, theoretically grounded yet vigorously practical, broad in its purview while full of specific insights and exercises. Ruiter-Feenstra’s valuable work is an invitation to explore the richness of the past in the service of creative music-making in the present.” Table of Contents: *VOLUME TWO: Free Works and Continuo 8. Interludes and Cadenzas 9. Preludes 10. Fantasias 11. A Thesis on Continuo Playing by J. S. Bach 12. Concerti, Cantatas, and Continuo Playing 13. Chorale Fugatos and Partimento Fughette 14. Bach for a Lifetime: Fugues

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Improve your sight-reading by practicing it with a partner, a partner who helps keep the pulse moving. Of course, we learn to keep our eyes on the page and always look ahead. We know to scan for surprises of meter, accidentals or key change. We know, too, that setting reasonable tempos based on the fastest note values ensures a successful performance. But in the final analysis, we must learn not to stop for mistakes, the wayward flat, a dangling mordent or what-in-the-world-kind-of-scale was that anyway. It would be rude to abandon a partner in search of the aforementioned, so it is the duty of each to keep the other on track. Designed for partners of equal skill, this volume includes all 14 fugues and four canons in Bach's original work, the one he was working on at the time of his death. Only number 17 is omitted, as it requires two keyboards. I have also included solo versions of some of the two-part canons to be enjoyed while waiting for the partner to arrive.

Improve your sight-reading by practicing it with a partner, a partner who helps keep the pulse moving. Of course, we learn to keep our eyes on the page and always look ahead. We know to scan for surprises of meter, accidentals or key change. We know, too, that setting reasonable tempos based on the fastest note values ensures a successful performance. But in the final analysis, we must learn not to stop for mistakes, the wayward flat, a dangling mordent or what-in-the-world-kind-of-scale was that anyway. It would be rude to abandon a partner in search of the aforementioned, so it is the duty of each to keep the other on track. Designed for partners of equal skill, this volume includes all 14 fugues and four canons in Bach's original work, the one he was working on at the time of his death. Only number 17 is omitted, as it requires two keyboards. I have also included solo versions of some of the two-part canons to be enjoyed while waiting for the partner to arrive.

Bach: Art Of The Fugue Bach / Von Promnitz, Franns-Wilfrid - CD 4260077710745

Bach: The Art of Fugue Bach, J.S. / Duo Stephanie - CD 747565635086

Bach's cantatas are among the highest achievements of Western musical art, yet studies of the individual cantatas that are both illuminating and detailed are few. In this book, noted Bach expert Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these works. A respected theorist of seventeenth-century music, Chafe is sensitive to the composer's intentions and to the enduring and universal qualities of the music itself. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe shows how Bach strove to mirror both the dogma and the mystery of religious experience in musical allegory. Analyzing Bach Cantatas offers valuable information on the theological relevance of the structure of the liturgical year for the design and content of these works, as well as a survey of the theories of modality that inform Bach's compositional style. Chafe demonstrates that, while Bach certainly employed "pictorialism" and word-painting in his compositions, his method of writing music was a more complex amalgam of theological concepts and music theory. Regarding the cantatas as musical allegories that reflect the fundamental tenets of Lutheran theology as established during Bach's lifetime, Chafe synthesizes a number of key musical and theological ideas to illuminate the essential character of these great works. This unique and insightful book offers an essential methodology for understanding one of the central bodies of work in the Western musical canon. It will prove indispensable for all students and scholars of Bach's work, musicology, and theological studies.

Bach's cantatas are among the highest achievements of Western musical art, yet studies of the individual cantatas that are both illuminating and detailed are few. In this book, noted Bach expert Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these works. A respected theorist of seventeenth-century music, Chafe is sensitive to the composer's intentions and to the enduring and universal qualities of the music itself. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe shows how Bach strove to mirror both the dogma and the mystery of religious experience in musical allegory. Analyzing Bach Cantatas offers valuable information on the theological relevance of the structure of the liturgical year for the design and content of these works, as well as a survey of the theories of modality that inform Bach's compositional style. Chafe demonstrates that, while Bach certainly employed "pictorialism" and word-painting in his compositions, his method of writing music was a more complex amalgam of theological concepts and music theory. Regarding the cantatas as musical allegories that reflect the fundamental tenets of Lutheran theology as established during Bach's lifetime, Chafe synthesizes a number of key musical and theological ideas to illuminate the essential character of these great works. This unique and insightful book offers an essential methodology for understanding one of the central bodies of work in the Western musical canon. It will prove indispensable for all students and scholars of Bach's work, musicology, and theological studies.

Bach's cantatas are among the highest achievements of Western musical art, yet studies of the individual cantatas that are both illuminating and detailed are few. In this book, noted Bach expert Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these works. A respected theorist of seventeenth-century music, Chafe is sensitive to the composer's intentions and to the enduring and universal qualities of the music itself. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe shows how Bach strove to mirror both the dogma and the mystery of religious experience in musical allegory. Analyzing Bach Cantatas offers valuable information on the theological relevance of the structure of the liturgical year for the design and content of these works, as well as a survey of the theories of modality that inform Bach's compositional style. Chafe demonstrates that, while Bach certainly employed "pictorialism" and word-painting in his compositions, his method of writing music was a more complex amalgam of theological concepts and music theory. Regarding the cantatas as musical allegories that reflect the fundamental tenets of Lutheran theology as established during Bach's lifetime, Chafe synthesizes a number of key musical and theological ideas to illuminate the essential character of these great works. This unique and insightful book offers an essential methodology for understanding one of the central bodies of work in the Western musical canon. It will prove indispensable for all students and scholars of Bach's work, musicology, and theological studies.

'What is a self, and how can a self come out of inaminate matter?' This is the riddle that drove Hofstadter to write this extraordinary book. Linking together the music of J.S. Bach, the graphic art of Escher and the mathematical theorems of Godel, as well as ideas drawn from logic, biology, psychology, physics and linguistics, Douglas Hofstadter illuminates one of the greatest mysteries of modern science: the nature of human thought processes. 'Every few decades an unknown author brings outa book of such depth, clarity, range, wit, beauty and originality that it is recognized at once as a major literary event. This is such a work' - Martin Gardner.

Bach's cantatas are among the highest achievements of Western musical art, yet studies of the individual cantatas that are both illuminating and detailed are few. In this book, noted Bach expert Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these works. A respected theorist of seventeenth-century music, Chafe is sensitive to the composer's intentions and to the enduring and universal qualities of the music itself. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe shows how Bach strove to mirror both the dogma and the mystery of religious experience in musical allegory. Analyzing Bach Cantatas offers valuable information on the theological relevance of the structure of the liturgical year for the design and content of these works, as well as a survey of the theories of modality that inform Bach's compositional style. Chafe demonstrates that, while Bach certainly employed "pictorialism" and word-painting in his compositions, his method of writing music was a more complex amalgam of theological concepts and music theory. Regarding the cantatas as musical allegories that reflect the fundamental tenets of Lutheran theology as established during Bach's lifetime, Chafe synthesizes a number of key musical and theological ideas to illuminate the essential character of these great works. This unique and insightful book offers an essential methodology for understanding one of the central bodies of work in the Western musical canon. It will prove indispensable for all students and scholars of Bach's work, musicology, and theological studies.

Focusing his studies on the organ fugues, the 48, the Art of Fugues, and the choral fugues, Dickinson analyzes the polyphonic musical compositions before and after Bach.

There is little to say about the skill of Evgeni Koroliov, the Russian pianist who has settled in Germany, which has not been said already. Ligeti's famous saying that he would choose to take Koroliov's recording of the "Art of Fugue" (TACET 13) to a desert island, where he was "lonely and thirsting", has been frequently quoted; and Koroliov's almost unbelievable capability of expressing each part in a polyphonic piece as clearly as if it were an individual person has been given many accolades.

(SACD-HYBRID) Recorded February 2001 at the Pump house Art Gallery, Niagara on the Lake, Ontario and at the Friedman Concert Hall, Kleinburg, Ontario this release features the important work of J.S. Bach, Antonio Vivaldi and Zoltan Kodaly. Nowhere is Bach's holistic understanding of a stringed instrument more evident than in his works for violoncello solo. Bach writes completely in harmony with the natural pitch, tone quality, and pace of the violoncello. Vivaldi was progressive musically. He es

A record of human creativity from ancient times to the present. From prehistoric rock engravings to Steven Spielberg's moving film Schindler's List, from Shakespeare's love sonnets to Bach's Brandenburg Concertos, this superlative reference reflects the e

Essay on the True Art of Playing Keyboard Instruments is a classic of musical literature in the true sense of the word. The many ramifications of Bach's comprehensive essay have been neatly explained and annotated in a manner that makes the Essay a valuable reference work and an interesting venture in musical literature and history. The translator, William J. Mitchell, brought to his task a long standing familiarity with C. P. E. Bach.