Keyboard music by Johann Sebastian Bach 3106-MKJSB
The class will focus on the keyboard music by Johann Sebastian Bach, in chronological order. Using examples of various pieces and collections, the development of Bach’s musical language will be discussed, together with forms, genres and stylistic tendencies typical for his music.
The following compositions will be analysed:
‒ Inventions and Sinfonias
‒ French and English Suites
‒ Orgelbüchlein
‒ transcriptions of the Italian and Italianate concertos (BWV 592–596, BWV 972–987)
‒ Preludes, Fugues, Toccatas, and Fantasias for organ
‒ Das Wohltemperierte Clavier
‒ Trio Sonatas
‒ Clavier-Übung series
‒ Schübler Chorales
‒ Leipzig chorales
‒ Musikalisches Opfer
‒ Kunst der Fuge
The discussion will also concentrate on the issue of intended instruments of the pieces analysed in class. The German term Clavier, found in multiple Bach sources, is fairly nebulous and can variously stand for a clavichord or harpsichord, as well as other instruments (spinet, virginal, or even an organ). In the class, assorted points of Bach studies and performance practice traditions will be analysed along with their impact on contemporary understanding of Bach’s music. For example, two pieces that bookend the 1739 collection Part III of Clavier Üubng, i.e. Præludium pro Organo pleno and Fuga à 5 con pedale pro Organo pleno, are currently often considered a single piece called Prelude and Fugue in E-flat major BWV 552. This arrangement stems from the joining of the two pieces into one in early editions of Bach’s works (especially those published by Peters). Despite being completely at odds with source data, it took firm roots in performance practice and survives to this day. This fascinating example will be a starting point for a discussion of the role of the performers and listeners in construing the meaning of musical pieces.
Type of course
Course coordinators
Learning outcomes
1. Students are familiar with Johann Sebastian Bach’s most important keyboard works.
2. Students can name and differentiate between the most important forms, genres and stylistic tendencies of Bach’s keyboard music.
2. Students can correctly analyse and interpret Bach’s keyboard works.
Assessment criteria
Active participation in classes (including reading scholarly articles) and an essay (5 pages) on a work of Bach.
Bibliography
1. D. Schulenberg, The Keyboard Music of J. S. Bach, Routledge, New York – London 2006 [1992].
2. P. Williams, The Organ Music of J. S. Bach, Cambridge University Press, Cambridge 2008 [1980–1984].
3. Bachs Klavier- und Orgelwerke. Das Handbuch, ed. S. Rampe, in series: Das Bach-Handbuch, ed. R. Emans, S. Hiemke, K. Hofmann, Vol. 4, Laaber Verlag, Laaber 2007.
4. Ch. Wolff, Johann Sebastian Bach: the learned musician, Oxford University Press, Oxford – New York 2000.
5. R. Stinson, Bach: The Orgelbüchlein, Oxford University Press, New York–Oxford 1999 [1996].
6. Bach. Das Wohltemperierte Klavier I. Tradition, Entstehung, Funktion, Analyse. Ulrich Siegele zum 70. Geburtstag, ed. S. Rampe, Musikwissenschaftliche Schriften, Vol. 38, Katzbichler, München – Salzburg 2002.
7. D. Ledbetter, Bach’s Well-tempered Clavier: The 48 Preludes and Fugues, Yale University Press, New Haven ‒ London 2002.
8. Ch. Wolff, The Clavier-Übung Series, in: idem, Bach: essays on his life and music, Harvard University Press, Cambridge – London 1991, pp. 189–213.
9. T. Górny, Trzecia część Clavier Übung Johanna Sebastiana Bacha. Muzyka i znaczenie, Universitas, Kraków 2019.
10. P. Williams, Bach: The Goldberg Variations, Cambridge University Press, Cambridge 2001.
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: