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From continuo to obligato cembalo: a study of the changing role of the harpsichord in J. S. Bach's harpsichord concertos and solo sonatas with obligato cembalo

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Regalstandort	Literaturabteilung	Bandzählg.	Zweigstelle	Status
FI 5 G174	Wissenschaftliche Literatur		Lesesaal	. *, Präsenzbestand .

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Feldname	Details
Verfasser	Galloway, Robert James
T I T E L	From continuo to obligato cembalo
Zusatz zum Titel	a study of the changing role of the harpsichord in J. S. Bach's harpsichord concertos and solo sonatas with obligato cembalo
Verfasserangabe	by Robert James Galloway
Verlagsort	Ann Arbor, Mich.
Verlag	UMI
Erscheinungsjahr	2003
Umfang	XIII, 340 S. : zahlr. Notenbeisp.
Format	22 cm
Anmerkung	printed in 2003
Hochschulschrift	East Lansing, Mich., Univ., Diss., 1995
Klassifikation	FI 5
Schlagwörter	Bach, Johann Sebastian
	Basso continuo
	Cembalo <obligat>
	Dissertation
Kurzbeschreibung	One of the most significant and far-reaching developments in 18th-c. music was the change in attitude toward the basso continuo (thoroughbass). The continuo, a prerequisite for the performance of all music from the beginning of the 17th c. on, was more than a mere performance practice—it controlled the style and texture of virtually all composition. The continuo role became the principal function of the harpsichord, and many treatises were written on the subject of thoroughbass accompaniment. Despite such widespread acceptance, however, adherence to basso continuo began to weaken in the mid-18th c., and the practice was practically obsolete by the 1770s-80s. The change was most apparent in chamber music with smaller instrumentation, and a number of Bach chamber works not only make use of the emergent obbligato harpsichord but also provide a means of observing the transformation, since the harpsichord part is derived to a considerable degree from what previously had been a continuo part. Parallel versions of Bach concertos and sonatas shed light on the process of adaptation. While the concertos generally are more brilliant in execution than the sonatas, there are nonetheless common elements, particularly with regard to the derivation and formation of the harpsichord bass. The harpsichord concertos BWV 1052-58 reflect not only the emerging solo role of the harpsichord but also the early evolution of the keyboard concerto. This development, transmitted by Bach's sons Carl Philipp Emanuel and Johann Christian, helped shape a new genre that was fully realized in the keyboard concertos of Mozart and Beethoven.
SWB-Titel-Idn	369012178
Notation	FI 5
Schlagwort	keyboard / organ
Schlagwort	Concerto

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