The Essential Bach Choir

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9780851157863: The Essential Bach Choir

What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them in his own music?Seeking to understand the very medium of Bach's incomparable choral output, Andrew Parrott investigates a wide range of sources: Bach's own writings, and the scores and parts he used in performance, but also a variety of theoretical, pictorial and archival documents, together with the musical testimony of the composer's forerunners and contemporaries.Many of the findings shed a surprising, even disturbing, light on conventions we have long taken for granted. A whole world away from, say, the typical oratorio choir of Handel's London with which we are reasonably familiar, the essential Bach choir was in fact an expert vocal quartet (or quintet), whose members were also responsible for all solos and duets. (In a mere handful of Bach's works, this solo team was selectively supported by a second rank of singers - also one per part - whose contribution was all but optional). Parrott shows that this use of a one-per-part choir was mainstream practice in the Lutheran Germany of Bach's time: Bach chose to use single voices not because a larger group was unavailable, but because they were the natural vehicle of elaborate concerted music.As one of several valuable appendices, this book includes the text of Joshua Rifkin's explosive 1981 lecture, never before published, which first set out this line of thinking and launched a controversy that is long overdue for resolution.ANDREW PARROTT has made a close study of historical performing practices in the music of six centuries, and for over twenty-five years he has been putting research into practice with his own professional ensembles, the Taverner Consort, Taverner Players and Taverner Choir.

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Recensione:

This utterly fascinating and ultimately convincing book can only do his cause good in the best of all possible years. INTERNATIONAL RECORD REVIEW (Simon Hughes) As restated here (...with additional material and with admirable clarity), the arguments are utterly convincing... The book is a pleasure to read, fluently written and clearly set out with many illustrations and musical examples. EARLY MUSIC REVIEW A brilliant piece of research...a superb book - and it is going to lead us all to think more carefully about how we approach the performance of Bach. DAVID HILL, WINCHESTER CATHEDRAL I was gripped by this book; it is compulsive reading. If you profess the faith of Bach you simply cannot afford to be without it. CLASSICAL MUSIC Highly recommended for anyone interested in Bach's vocal works. MUSICAL TIMES (Yo Tomita) Utterly fascinating and ultimately convincing. GRAMOPHONE A work of careful and judicious scholarship. OXFORD TIMES What Parrott has delivered is a document which will itself no doubt be a subject of study in years to come. TLS (Andrew Manze)

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Andrew Parrott
Editore: Boydell Brewer Ltd, United Kingdom (2012)
ISBN 10: 0851157866 ISBN 13: 9780851157863
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Descrizione libro Boydell Brewer Ltd, United Kingdom, 2012. Paperback. Condizione libro: New. 246 x 175 mm. Language: English . Brand New Book. What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them in his own music?Seeking to understand the very medium of Bach s incomparable choral output, Andrew Parrott investigates a wide range of sources: Bach s own writings, and the scores and parts he used in performance, but also a variety of theoretical, pictorial and archival documents, together with the musical testimony of the composer s forerunners and contemporaries.Many of the findings shed a surprising, even disturbing, light on conventions we have long taken for granted. A whole world away from, say, the typical oratorio choir of Handel s London with which we are reasonably familiar, the essential Bach choir was in fact an expert vocal quartet (or quintet), whose members were also responsible for all solos and duets. (In a mere handful of Bach s works, this solo team was selectively supported by a second rank of singers - also one per part - whose contribution was all but optional). Parrott shows that this use of a one-per-part choir was mainstream practice in the Lutheran Germany of Bach s time: Bach chose to use single voices not because a larger group was unavailable, but because they were the natural vehicle of elaborate concerted music.As one of several valuable appendices, this book includes the text of Joshua Rifkin s explosive 1981 lecture, never before published, which first set out this line of thinking and launched a controversy that is long overdue for resolution.ANDREW PARROTT has made a close study of historical performing practices in the music of six centuries, and for over twenty-five years he has been putting research into practice with his own professional ensembles, the Taverner Consort, Taverner Players and Taverner Choir. Codice libro della libreria AAH9780851157863

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Descrizione libro John Wiley and#38; Sons, 2000. PAP. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria FW-9780851157863

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Andrew Parrott
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Descrizione libro Boydell Brewer Ltd, United Kingdom, 2012. Paperback. Condizione libro: New. 246 x 175 mm. Language: English . Brand New Book. What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them in his own music?Seeking to understand the very medium of Bach s incomparable choral output, Andrew Parrott investigates a wide range of sources: Bach s own writings, and the scores and parts he used in performance, but also a variety of theoretical, pictorial and archival documents, together with the musical testimony of the composer s forerunners and contemporaries.Many of the findings shed a surprising, even disturbing, light on conventions we have long taken for granted. A whole world away from, say, the typical oratorio choir of Handel s London with which we are reasonably familiar, the essential Bach choir was in fact an expert vocal quartet (or quintet), whose members were also responsible for all solos and duets. (In a mere handful of Bach s works, this solo team was selectively supported by a second rank of singers - also one per part - whose contribution was all but optional). Parrott shows that this use of a one-per-part choir was mainstream practice in the Lutheran Germany of Bach s time: Bach chose to use single voices not because a larger group was unavailable, but because they were the natural vehicle of elaborate concerted music.As one of several valuable appendices, this book includes the text of Joshua Rifkin s explosive 1981 lecture, never before published, which first set out this line of thinking and launched a controversy that is long overdue for resolution.ANDREW PARROTT has made a close study of historical performing practices in the music of six centuries, and for over twenty-five years he has been putting research into practice with his own professional ensembles, the Taverner Consort, Taverner Players and Taverner Choir. Codice libro della libreria AAH9780851157863

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Descrizione libro Boydell Press, 2002. Paperback. Condizione libro: New. Codice libro della libreria DADAX0851157866

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Descrizione libro Boydell & Brewer Ltd, 2000. Condizione libro: Brand new. What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them in his own music? Seeking to understand the very m edium of Bach's incomparable choral output, Andrew Parrott investigates a wide range of sources: Bach's own writings, and the scores and parts he used in performance, but also a variety of theoretical, pictorial and archival docum ents, together with the musical testimony of the composer's forerunners and contemporaries. Many of the findings shed a surprising, even disturbing, light on conventions we have long taken for granted. A whole world away from, say, the typical oratorio choir of Handel's London with which we are reasonably familiar, the essential Bach choir was in fact an expert vocal quartet (or quintet), whose members were also responsible for all solos and duets. (In a mere handful of Bach's works, this solo team was selectively supported by a second rank of singers - also one per part - whose contribution was all but optional). Parrott shows that this use of a on e-per-part choir was mainstream practice in the Lutheran Germany of Bach's time: Bach chose to use single voices not because a larger group was unavailable, but because they were the natural vehicle of elaborate concerted music.As one of several valuable appendices, this book includes the text of Joshua Rifkin's explosive 1981 lecture, never before published, which first set out this line of thinking and launched a controversy that is long overdue for resolution. ANDREW PARROTT has made a close study of historical performing practices in the music of six centuries, and for over twenty-five years he has been putting research into practice with his own professional ensembles , the Taverner Consort, Taverner Players and Taverner Choir. Codice libro della libreria 7348

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Descrizione libro Boydell Pr, 2000. Paperback. Condizione libro: Brand New. 223 pages. 10.00x7.25x0.75 inches. In Stock. Codice libro della libreria __0851157866

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Descrizione libro Boydell & Brewer Ltd. Paperback. Condizione libro: New. 17.7 x 24.9 cm. Our orders are sent from our warehouse locally or directly from our international distributors to allow us to offer you the best possible price and delivery time. Book. Codice libro della libreria MM-60557676

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Descrizione libro 2002. Paperback. Condizione libro: New. 178mm x 16mm x 249mm. Paperback. What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them.Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. 240 pages. 0.549. Codice libro della libreria 9780851157863

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Descrizione libro Boydell Press, 2012. Paperback. Condizione libro: New. Codice libro della libreria P110851157866

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Descrizione libro Condizione libro: Brand New. Book Condition: Brand New. Codice libro della libreria 97808511578631.0

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