Cover

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pp. C-C

Title Page, Copyright Page

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pp. i-iv

Contents

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pp. v-vi

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Preface

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pp. vii-viii

Nearly three centuries after his death in one.taboldstyleseven.taboldstylefive.taboldstylezero.taboldstyle, Johann Sebastian Bach is widely considered to be one of the most inf_luential musicians in history. His works are heard today in churches, concert halls, practice rooms, cars, elevators, and showers in every corner of the globe. One suspects that since at least the mid-twentieth century not a single second has gone by during which someone, somewhere on earth was not hearing something by Bach. And why stop at just one planet? In one.taboldstyle9seven.taboldstyleseven.taboldstyle a recording of the prelude and fugue in C major from part one.taboldstyle of the Well-Tempered ...

Abbreviations

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pp. ix-x

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“He Liked to Hear the Music of Others”: Individuality and Variety in the Works of Bach and His

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pp. 1-23

Does it make sense to compare Bach with his German contemporaries? The question has been asked before, and it is usually answered in the negative. In one.taboldstyle99seven.taboldstyle, for example, Martin Geck wrote in the preface to his collection of Can one understand Bach?s orchestral music without its organizing background, without sideward glances at contemporaries like Georg Philipp Telemann, Christoph Graupner, Johann Friedrich Fasch, Carl Heinrich Graun or Johann Samuel Endler? On the one hand [ . . . ] the topics and composers in question clearly belong together with ...

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Aesthetic Mediation and Tertiary Rhetoric in Telemann’s VI Ouvertures à 4 ou 6

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pp. 24-49

While visiting a recent exhibition of Meissen porcelain in Dresden, a rela-tively unassuming f_igure caught my eye.one.fitted This charming representation of what the exhibition?s curators titled ?Actors as a Musical Shepherd Couple? was modeled by Johann Joachim Kaendler (one.taboldstyleseven.taboldstylezero.taboldstylesix.taboldstyle?seven.taboldstylefive.taboldstyle), who upon completing work in February one.taboldstyleseven.taboldstylefour.taboldstylefour.taboldstyle described it as ?a very exacting small shepherd group, divided up and ready for molding. The shepherdess playing the lute sits under green trees next to the shepherd, who is singing from sheet music; both are most elegantly tricked ...

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Bach, Graupner, and the Rest of Their Contented Contemporaries

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pp. 50-76

Music scholars have long recognized the value of comparing settings of the same cantata texts by Bach and his German contemporaries. Examining the ways in which multiple musical minds chose to set the same words can throw the styles of each into sharp relief. Philipp Spitta devoted eighteen pages of his one.taboldstyleeight.taboldstyleseven.taboldstylethree.taboldstyle Bach biography to comparing settings of an Erdmann Neumeister text by Bach and Georg Philipp Telemann (one.taboldstylesix.taboldstyleeight.taboldstyleone.taboldstyle?one.taboldstyleseven.taboldstylesix.taboldstyleseven.taboldstyle): Uns ist ein Kind geboren (BW.scV one.taboldstylefour.taboldstyletwo.taboldstyle [regarded today as spurious] and TVW.scV one.taboldstyle:one.taboldstylefour.taboldstylefive.taboldstyleone.taboldstyle) and Gleichwie der Regen und Schnee ...

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The Famously Little-Known Gottlieb Muffat

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pp. 77-119

Gottlieb Muffat (one.taboldstylesix.taboldstyle9zero.taboldstyle?one.taboldstyleseven.taboldstyleseven.taboldstylezero.taboldstyle) is regarded today as the most successful com-poser of keyboard music of J. S. Bach?s generation to have worked in Vienna. His reputation is based on (one.taboldstyle) the corpus of extant works, which is signif_i-cantly larger than those of his Viennese contemporaries, including his teacher J.uni00A0J. Fux (ca.one.taboldstylesix.taboldstylesix.taboldstylezero.taboldstyle?one.taboldstyleseven.taboldstylefour.taboldstyleone.taboldstyle); (two.taboldstyle) the dissemination of Muffat?s music during his lifetime; (three.taboldstyle) his f_inancial success; and (four.taboldstyle) G. F. Handel?s extensive borrowings from his music?all of which will be discussed in greater detail below. Yet in spite of his eminence, little ...

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Bach versus Scheibe: Hitherto Unknown Battlegrounds in a Famous Conflict

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pp. 120-144

On May one.taboldstylefour.taboldstyle, one.taboldstyleseven.taboldstylethree.taboldstyleseven.taboldstyle, Johann Adolph Scheibe (one.taboldstyleseven.taboldstylezero.taboldstyleeight.taboldstyle?seven.taboldstylesix.taboldstyle), a twenty-nine-year-old music theorist and composer in Hamburg, published a Sendschreiben (?letter?) describing the experience of a f_ictional musician with twelve living compos-ers.one.fitted Only two of the twelve?Johann Adolph Hasse and Carl Heinrich Graun?were identif_ied by name, chief_ly because Scheibe had nothing but praise for them. Many of the journal?s readers, however, were able to recognize one of the remaining ten composers as Johann Sebastian Bach. Johann Abraham Birnbaum (one.taboldstyleseven.taboldstylezero.taboldstyletwo.taboldstyle?four.taboldstyleeight.taboldstyle), a profes-...

Contributors

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pp. 145-146

General Index

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pp. 147-158