Christoph Wolff – författare

In this companion volume to Johann Sebastian Bach: The Learned Musician, Christoph Wolff contextualises his famous subject by delving deeply into the composer’s rich collection of music. Emerging from this complex and massive oeuvre, Bach’s Musical Universe is a focused discussion of a meaningful selection of compositions.Unlike any previous study, this book details Bach’s creative process across the various instrumental and vocal genres, and centres on what the composer himself judiciously presented in carefully designed benchmark collections and individual works—all consequential to Bach’s musical art. Tracing Bach’s evolution as a composer, Wolff compellingly illuminates the ideals and legacy of this giant of classical music in a new, refreshing light for everyone, from the amateur to the virtuoso.

Although we have heard the music of J. S. Bach in countless performances and recordings, the composer himself still comes across only as an enigmatic figure in a single familiar portrait. In this award-winning biography, author Christoph Wolff presents a picture that brings to life this towering figure of the Baroque era, revealing Bach as the living, breathing, and sometimes imperfect human being that he was, while bringing to bear all the advances of the last half-century of Bach scholarship. Wolff demonstrates the intimate connection between the composer's life and his music, showing how Bach's superb inventiveness pervaded his career as musician, composer, performer, scholar, and teacher. And throughout, we see Bach in the broader context of his time: its institutions, traditions, and influences.

Although we are acquainted with the music of J. S. Bach through countless performances and recordings, the composer himself continues to come across as the somewhat enigmatic figure depicted in a single, familiar portrait. Published in 2000 to mark the 250th anniversary of Bach's death, author and leading Bach scholar Christoph Wolff presents a new picture that brings to life this towering figure of the Baroque era. Now available in paperback, this engaging biography portrays Bach as the living, breathing--and sometimes imperfect--human being that he was, while bringing to bear all the advances gained in the last half-century of Bach scholarship. Wolff demonstrates the intimate connection between the composer's life and his music, showing how Bach's superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher. And throughout, we see Bach in the broader context of his time: its institutions, traditions, and influences. With this highly readable book, Wolff sets a new standard in Bach biography.

Such questions concern the role of the cantatas in Bach's compositional development, musical models for the works, and performance practice during the composer's lifetime. In this book, Bach scholars place the works in their historical and biographical context, guiding the reader through their literary, musical, aesthetic and theological features. This volume--the first of three which complement a recording project by the Amsterdam Baroque Orchestra and incorporating the complete Bach cantatas--covers the sacred cantatas he wrote during the first 28 years of his life, before his move to Leipzig in 1723.

Although we have heard of the music of J.S. Bach in countless performances and recordings, the composer himself still comes across only as an enigmatic figure in a single familiar portrait. As we mark the 250th anniversary of Bach's death, author and leading Bach scholar, here Christoph Wolff presents a new picture that brings to life this towering figure of the Baroque era. This engaging new biography portrays Bach as the living, breathing, and sometimes imperfect human being that he was, while bringing to bear all the advances of the last half-century of Bach scholarship. Wolff demonstrates the intimate connection between the composer's life and his music, showing how Bach's superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher. And throughout, we see Bach in the broader context of his time: its institutions, traditions, and influences. With this highly readable book, Wolff sets a new standard for Bach biography.

The Organs of J. S. Bach is a comprehensive and fascinating guide to the organs encountered by Bach throughout Germany in his roles as organist, concert artist, examiner, teacher, and visitor. Newly revised and updated, the book's entries are listed alphabetically by geographical location, from Arnstadt to Zschortau, providing an easy-to-reference overview.  Includes detailed organ-specific information: high-quality color photographseach instrument's history, its connection to Bach, and its disposition as Bach would have known it architectural histories of the churches housing the instrumentsidentification of church organists Lynn Edwards Butler's graceful translation of Christoph Wolff and Markus Zepf's volume incorporates new research and many corrections and updates to the original German edition. Bibliographical references are updated to include English-language sources, and the translation includes an expanded essay by Christoph Wolff on Bach as organist, organ composer, and organ expert.  The volume includes maps, a timeline of organ-related events, transcriptions of Bach's organ reports, a guide to examining organs attributed to Saxony's most famous organ builder Gottfried Silbermann, and biographical information on organ builders.  Publication of this volume is supported by the American Bach Society.

The Organs of J. S. Bach is a comprehensive and fascinating guide to the organs encountered by Bach throughout Germany in his roles as organist, concert artist, examiner, teacher, and visitor. Newly revised and updated, the book''s entries are listed alphabetically by geographical location, from Arnstadt to Zschortau, providing an easy-to-reference overview.   Includes detailed organ-specific information: high-quality color photographs each instrument''s history, its connection to Bach, and its disposition as Bach would have known it architectural histories of the churches housing the instruments identification of church organists   Lynn Edwards Butler''s graceful translation of Christoph Wolff and Markus Zepf''s volume incorporates new research and many corrections and updates to the original German edition. Bibliographical references are updated to include English-language sources, and the translation includes an expanded essay by Christoph Wolff on Bach as organist, organ composer, and organ expert.   The volume includes maps, a timeline of organ-related events, transcriptions of Bach''s organ reports, a guide to examining organs attributed to Saxony''s most famous organ builder Gottfried Silbermann, and biographical information on organ builders.   Publication of this volume is supported by the American Bach Society.

"I now stand at the gateway to my fortune," Mozart wrote in a letter of 1790. He had entered into the service of Emperor Joseph II of Austria two years earlier as Imperial-Royal Chamber Composer—a salaried appointment with a distinguished title and few obligations. His extraordinary subsequent output, beginning with the three final great symphonies from the summer of 1788, invites a reassessment of this entire period of his life. Readers will gain a new appreciation and understanding of the composer's works from that time without the usual emphasis on his imminent death. The author discusses the major biographical and musical implications of the royal appointment and explores Mozart's "imperial style" on the basis of his major compositions—keyboard,chamber, orchestral, operatic, and sacred—and focuses on the large, unfamiliar works he left incomplete. This new perspective points to an energetic, fresh beginning for the composer and a promising creative and financial future.

Through hundreds of letters, family papers, anecdotes, and records, the Bach Reader established a new approach to biography by offering original documents in impeccable translations. In The New Bach Reader, Christoph Wolff has incorporated numerous facsimiles and added many newly discovered items, reflecting the current state of scholarship about the composer's life and music. The readings in this volume provide an accurate and vivid picture of Bach's world and of his far-reaching influence.

The forced migration of artists and scholars from Nazi Germany is a compelling and often wrenching story. The story is twofold, of impoverishment for the countries the musicians left behind and enrichment for the United States. The latter is the focus of this eminent collection, which approaches the subject from diverse perspectives, including documentary-style newspaper accounts and an exploration of Walt Whitman's poetry in the work of Paul Hindemith and Kurt Weill. The flood of musical migration from Germany and Austria from 1933 to 1944 had a lasting impact. Hundreds of musicians and musicologists came to the United States and remained here, and the shaping power of their talents is incalculable. Several essays provide firsthand insights into aspects of American cultural history to which these emigres made essential contributions as conductors, professors, and composers; other essays tell of the traumatic experience of being exiled and the difficulties of finding one's way in a foreign country. While the migration infused the U.S. with a distinctly European musical awareness, at the same time the status and authority of its participants tended to intervene in the development of a genuinely American cultural voice.The story of the unprecedented migration that resulted from Nazism has many dimensions, and Driven Into Paradise illuminates them in deeply human terms.

Johann Sebastian Bach holds a singular position in the history of music. A uniquely gifted musician, he combined outstanding performing virtuosity with supreme creative powers and remarkable intellectual discipline. More than two centuries after his lifetime, Bach’s work continues to set musical standards.The noted Bach scholar Christoph Wolff offers in this book new perspectives on the composer’s life and remarkable career. Uncovering important historical evidence, the author demonstrates significant influences on Bach’s artistic development and brings fresh insight on his work habits, compositional intent, and the musical traditions that shaped Bach’s thought. Wolff reveals a composer devoted to an ambitious and highly individual creative approach, one characterized by constant self-criticism and self-challenge, the absorption of new skills and techniques, and the rethinking of riches from the musical past.Readers will find illuminating analyses of some of Bach’s greatest music, including the B Minor Mass, important cantatas, keyboard and chamber compositions, the Musical Offering, and the Art of Fugue. Discussion of how these pieces “work” will be helpful to performers—singers, players, conductors—and to everyone interested in exploring the conceptual and contextual aspects of Bach’s music. All readers will find especially interesting those essays in which Wolff elaborates on his celebrated discoveries of previously unknown works: notably the fourteen “Goldberg” canons and a collection of thirty-three chorale preludes.Representing twenty-five years of scholarship, these essays—half of which appear here in English for the first time—have established Christoph Wolff as one of the world’s preeminent authorities on J. S. Bach. All students, performers, and lovers of Bach’s music will find this an engaging and enlightening book.

Schoenberg’s quartets and trio, composed over a nearly forty-year period, occupy a central position among twentieth-century chamber music. This volume, based on papers presented at a conference in honor of David Lewin, collects a wide range of approaches to Schoenberg’s pieces.The first part of the book provides a historical context to these works, examining Viennese quartet culture and traditions, Webern’s reception of Schoenberg’s Second Quartet, Schoenberg’s view of the Beethoven quartets, and the early reception of Schoenberg’s First Quartet. The second part examines musical issues of motive, text setting, meter, imitative counterpoint, and closure within Schoenberg’s quartets and trio.

Cultural landscape and geography have affected the history of Western music from its earliest manifestations to the present day. City, Chant, and the Topography of Early Music brings together essays by thirteen leading scholars that explore ways that space, urban life, landscape, and time transformed plainchant and other musical forms. In addressing a broad array of topics and regions—ranging from Beneventan chant in Italy and Dalmatia, to music theory in medieval France, to later transformations of chant in Iceland and Spain—these essays honor and build upon Thomas Forrest Kelly’s work in keeping cultural, geographic, and political factors close to the heart of the musicology of chant, early music, and beyond. Two essays complement Kelly’s scholarly and pedagogical interests by investigating the role of the city in premieres of works composed long after the end of the Middle Ages.

Glücklich am kaiserlichen Hof und mit neuen Plänen. Der renommierte Mozartforscher Christoph Wolff verwirft das weit verbreitete Bild von Mozarts letzten Lebensjahren voller Finanzsorgen und Todesahnungen. vor der Pforte meines Glückes , schrieb Mozart in einem Brief von 1790, zwei Jahre nach seiner Ernennung zum Komponisten der kaiserlich-königlichen Kammermusik . Aus dieser Sicht heraus, beginnend mit den drei Sinfonien des Sommers 1788, zeigt Wolff in Mozarts Werken und Fragmenten neue Ansätze und schlägt einen neuen Blick auf den Komponisten vor.

Was bleibt? Johann Sebastian Bach gestaltete und verfeinerte sein reiches musikalisches Erbe sehr bewusst: Über Jahrzehnte hinweg trug er sorgfältig angelegte Sammlungen, Originaldrucke und reinschriftliche Partituren zusammen, mit denen er Maßstäbe setzen und der Nachwelt im Gedächtnis bleiben wollte – wie eine musikalische Autobiografie. Christoph Wolff porträtiert in seinem neuen Buch anhand dieser Referenzwerke Bachs bahnbrechende künstlerische Leistungen quer durch die verschiedenen Gattungen der Instrumental- und Vokalmusik: Präludien, Fugen und Orgelchoräle, Suiten, Sonaten und Konzerte sowie Kantaten, Passionen, Oratorien und Messen. Auf dieser imponierenden Strecke trieb Bach mit seiner musikalischen Logik und ausdrucksvollen Tonsprache die Kompositionsgeschichte voran.

Was bleibt? Johann Sebastian Bach gestaltete und verfeinerte sein reiches musikalisches Erbe sehr bewusst: Über Jahrzehnte hinweg trug er sorgfältig angelegte Sammlungen, Originaldrucke und reinschriftliche Partituren zusammen, mit denen er Maßstäbe setzen und der Nachwelt im Gedächtnis bleiben wollte – wie eine musikalische Autobiografie.Christoph Wolff porträtiert im vorliegenden Buch anhand dieser Referenzwerke Bachs bahnbrechende künstlerische Leistungen quer durch die verschiedenen Gattungen der Instrumental- und Vokalmusik: Präludien, Fugen und Orgelchoräle, Suiten, Sonaten und Konzerte sowie Kantaten, Passionen, Oratorien und Messen. Auf dieser ganzen imponierenden Breite trieb Bach mit seiner musikalischen Logik und ausdrucksvollen Tonsprache die Kompositionsgeschichte voran.

In einer Aufführung von Bachs h-Moll-Messe mitwirken zu können, zählt zu den Höhepunkten im Leben eines Chorsängers. Aber auch für die Zuhörer ist die Darbietung des Werks ein eindrückliches Ereignis. Der Komponist versammelt in diesem Opus ultimum seine kunstvollsten Vokalsätze mit einer ungewöhnlichen Vielfalt von Kompositionsarten, Stilen und Ausdrucksformen.Die Messe als älteste Gattung abendländischer Vokalpolyphonie bot Bach in seinem letzten Lebensjahrzehnt das ideale Gefäß für die Zusammenfassung seiner kompositorischen Erfahrungen auf dem Gebiet der Vokalmusik. Zudem diente ihm der klassische Text der Messe als vorzügliches Beispiel für wort- und inhaltsbezogene Vertonung. In diesem Sinne besitzt die h-Moll-Messe gleichsam Vermächtnischarakter.Der renommierte Bach-Forscher Christoph Wolff zeichnet in dieser leicht verständlichen Werkeinführung zunächst die Entstehung des Werks über die Jahre und Jahrzehnte nach und beschreibt die Strategien, mit denen Bach seine Kompositionen vor dem Schicksal des Vergessens bewahrte. Im zweiten Teil des Buches geht er auf die musikalische Gestaltung der einzelnen Werkteile und Sätze ein.- Ebenso fundierte wie leicht verständliche Einführung in das Werk, das Bach als Vermächtnis seiner Kompositionskunst ansah- Ein Muss für Chorsänger und Freunde geistlicher MusikDer AutorChristoph Wolff lehrt seit 1976 Musikwissenschaft an der Harvard University. Er war langjähriger Mitarbeiter der "Neuen Bach-Ausgabe" und ist seit 2001 Direktor des Bach-Archivs Leipzig. Er veröffentlichte zahlreiche Bücher zu Johann Sebastian Bach, darunter "Die Welt der Bach-Kantaten" (Kassel/Stuttgart 2006). Zur Reihe "Bärenreiter Werkeinführungen" trug er bereits einen Band über Mozarts Requiem bei.