Annette Richards is Given Foundation Professor in the Humanities and university organist at Cornell University, where she is also professor of music and director of the Cornell-Westfield Center for Historical Keyboard Studies. She is the author of The Free Fantasiaand the Musical Picturesque; the editor of C. P. E Bach Studies; coeditor, with Mark Franko, of Acting on the Past; and the founding editor of Keyboard Perspectives.

“In this vividly drawn portrait of C. P. E. Bach’s gallery, Richards has illuminated much more than the art and act of collecting, and the range and recognition of Bach’s circle in Enlightenment arts and letters. She has reconstructed the shades of feeling animating musical character portraits, reimagined the resonances of playing and hearing music in a space filled with faces, and resituated the genius of Bach in a trans-European and transhistorical context that is nonetheless boldly particularized. Her demonstration that Bach’s collection was materially implicated in the self-conscious invention of music history toward the turn of the nineteenth century is one of the book’s most astonishing revelations.”

• IntroductionChapter 1 Exhibiting: The Bach Gallery and the Art of Self-FashioningChapter 2 Collecting: C. P. E. Bach and Portrait ManiaChapter 3 Speculation: Likeness, Resemblance, and ErrorChapter 4 Character: Faces, Physiognomy, and TimeChapter 5 Friendship: Portrait Drawings and the Trace of Modern LifeChapter 6 Feeling: Objects of Sensibility and the “Portrait of Myself”Chapter 7 Memorializing: Portraits and the Invention of Music HistoryAcknowledgmentsNotesBibliographyIndex

Annette Richards is Given Foundation Professor in the Humanities and university organist at Cornell University, where she is also professor of music and director of the Cornell-Westfield Center for Historical Keyboard Studies. She is the author of The Free Fantasiaand the Musical Picturesque; the editor of C. P. E Bach Studies; coeditor, with Mark Franko, of Acting on the Past; and the founding editor of Keyboard Perspectives.

“In this vividly drawn portrait of C. P. E. Bach’s gallery, Richards has illuminated much more than the art and act of collecting, and the range and recognition of Bach’s circle in Enlightenment arts and letters. She has reconstructed the shades of feeling animating musical character portraits, reimagined the resonances of playing and hearing music in a space filled with faces, and resituated the genius of Bach in a trans-European and transhistorical context that is nonetheless boldly particularized. Her demonstration that Bach’s collection was materially implicated in the self-conscious invention of music history toward the turn of the nineteenth century is one of the book’s most astonishing revelations.”

• IntroductionChapter 1 Exhibiting: The Bach Gallery and the Art of Self-FashioningChapter 2 Collecting: C. P. E. Bach and Portrait ManiaChapter 3 Speculation: Likeness, Resemblance, and ErrorChapter 4 Character: Faces, Physiognomy, and TimeChapter 5 Friendship: Portrait Drawings and the Trace of Modern LifeChapter 6 Feeling: Objects of Sensibility and the “Portrait of Myself”Chapter 7 Memorializing: Portraits and the Invention of Music HistoryAcknowledgmentsNotesBibliographyIndex

Annette Richards is Given Foundation Professor in the Humanities and university organist at Cornell University, where she is also professor of music and director of the Cornell-Westfield Center for Historical Keyboard Studies. She is the author of The Free Fantasiaand the Musical Picturesque; the editor of C. P. E Bach Studies; coeditor, with Mark Franko, of Acting on the Past; and the founding editor of Keyboard Perspectives.

“In this vividly drawn portrait of C. P. E. Bach’s gallery, Richards has illuminated much more than the art and act of collecting, and the range and recognition of Bach’s circle in Enlightenment arts and letters. She has reconstructed the shades of feeling animating musical character portraits, reimagined the resonances of playing and hearing music in a space filled with faces, and resituated the genius of Bach in a trans-European and transhistorical context that is nonetheless boldly particularized. Her demonstration that Bach’s collection was materially implicated in the self-conscious invention of music history toward the turn of the nineteenth century is one of the book’s most astonishing revelations.”

• IntroductionChapter 1 Exhibiting: The Bach Gallery and the Art of Self-FashioningChapter 2 Collecting: C. P. E. Bach and Portrait ManiaChapter 3 Speculation: Likeness, Resemblance, and ErrorChapter 4 Character: Faces, Physiognomy, and TimeChapter 5 Friendship: Portrait Drawings and the Trace of Modern LifeChapter 6 Feeling: Objects of Sensibility and the “Portrait of Myself”Chapter 7 Memorializing: Portraits and the Invention of Music HistoryAcknowledgmentsNotesBibliographyIndex