Social and Religious Designs of J. S. Bach's Brandenburg Concertos
Regular price
€49.99
14 days return policy
Shipping & Delivery
A01=Michael Marissen
Abbreviation (music)
Accidental (music)
Allgemeine musikalische Zeitung
Ambitus (music)
American Musicological Society
Author_Michael Marissen
Bach family
Baroque music
Baroque violin
Carl Philipp Emanuel Bach
Category=AVLA
Category=AVN
Category=AVP
Cello Suites (Bach)
Choir
Chorale
Christ lag in Todesbanden
Christian Friedrich Penzel
Christmas Oratorio
Christoph Wolff
Church cantata
Church cantata (Bach)
Church music
Composer
Concertino (composition)
Dance Suite (Bartok)
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Felix Mendelssohn
Flute Sonata (Poulenc)
Friedrich Wilhelm Zachow
Giovanni Bononcini
Harpsichord
Harpsichordist
Heinrich Besseler
Johann Adam Hiller
Johann Christoph Altnickol
Johann Friedrich Reichardt
Johann Gottfried Walther
Johann Joachim Quantz
Johann Joseph Fux
Johann Mattheson
Johann Nikolaus Forkel
Johann Peter Kellner
Johann Sebastian Bach
John Butt (musician)
Joseph Haydn
Ludwig van Beethoven
Lutheranism
Messiah (Handel)
Mode (music)
Modulation (music)
Music of Germany
Music publisher (popular music)
Music theory
Musico
Musicology
Oboe
Opera
Orchestra
Partita
Philosophy of music
Phrase (music)
Ripieno
Ritornello
Singakademie
St John Passion
St Matthew Passion
Stile antico
The Musical Offering
The New Grove Dictionary of Music and Musicians
Tomaso Albinoni
Tonic (music)
Trauermusik
Triple concerto
Violino piccolo
Product details
- ISBN 9780691006864
- Weight: 227g
- Dimensions: 197 x 254mm
- Publication Date: 21 Jul 1999
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
This new investigation of the Brandenburg Concertos explores musical, social, and religious implications of Bach's treatment of eighteenth-century musical hierarchies. By reference to contemporary music theory, to alternate notions of the meaning of "concerto," and to various eighteenth-century conventions of form and instrumentation, the book argues that the Brandenburg Concertos are better understood not as an arbitrary collection of unrelated examples of "pure" instrumental music, but rather as a carefully compiled and meaningfully organized set. It shows how Bach's concertos challenge (as opposed to reflect) existing musical and social hierarchies. Careful consideration of Lutheran theology and Bach's documented understanding of it reveals, however, that his music should not be understood to call for progressive political action. One important message of Lutheranism, and, in this interpretation, of Bach's concertos, is that in the next world, the heavenly one, the hierarchies of the present world will no longer be necessary. Bach's music more likely instructs its listeners how to think about and spiritually cope with contemporary hierarchies than how to act upon them.
In this sense, contrary to currently accepted views, Bach's concertos share with his extensive output of vocal music for the Lutheran liturgy an essentially religious character.
Michael Marissen is Assistant Professor of Music at Swarthmore College. His most recent book is Lutheranism, Anti-Judaism, and Bach's "St. John Passion."
