|
Einleitung |
| I. |
Johann Christian Bachs Erbe -- Die
Formprinzipien der vergangenen Zeit |
| |
1. Der sogenannte Liedtzpus
2. Der Fortspinnungstzpus |
| II. |
Johann Christian Bach -- Eine biographische
Skizze |
| |
1. Leipzig (1735-1750)
2. Berlin (1750-1755)
3. Italien (1755-1762)
4. London (1762-1782) |
| III. |
Zur Entstehungszeit der Sonaten op. V von
Johann Christian Bach |
| |
1. Die Quellen
2. Stilistische
Gesichtspunkte
3. Ein Sonderfall: Die
Sonate op. V, Nr.6 |
| IV. |
Die Klaviersonaten op. V von Johann Christian
Bach |
| |
1. Das Rondo aus der
Sonate Nr. 4, Es-Dur -- Der Refrain
2. Das menuett aus der
Sonate Nr. 2, D-Dur -- Die erste Reprise
3. Das Andante di
molto aus der Sonate Nr. 2, D-Dur -- Die erste Reprise
4. Übersicht
5. Das Andante di
molto aus der Sonate Nr. 2, D-Dur -- Die zweite Reprise
6. Das Rondo aus der
Sonate Nr. 4, Es-Dur -- Die Couplets
7. Das Minuett aus der
Sonate Nr. 2, D-Dur -- Die zweite Reprise
8. Übersicht und
Tabellen -- Der gesamte Zyklus op. V |
| V. |
Die Konzerte KV 107 von Wolfgang Amadeus
Mozart |
| |
1. Übersicht und
Tabellen zum gesamten Zyklus KV 107
2. Das Andante aus KV
107/2
3. Das Allegretto aus
KV 107/3
4. Das Tempo di
Minuetto aus KV 107/1 |
| VI. |
Schluß: Kommentar zu gängigen formalen
und entwicklungsgeschichtlichen Klassifikationen |
| |
1. Übersicht
2. Vor-Urteile |
|
Notenausgaben
Literatur
Nachwort
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how it looks.
|
In an age in which J.C. Bach’s stature was rising, it became commonplace to
accuse him of having abandoned his long and respectable family tradition of
musicianship for a flamboyant life-style in London. I for one feel that this
was hardly fair, as mastery of fashionable music was a requirement for
survival in England.
Setting aside the issue of conscious reaction to his father's music, there are
also other issues that the study of Christian Bach can shed light on our better
understanding of his father's music, such as his legacy and influence on the
next generation of musicians.
This monograph is the author's PhD dissertation submitted to University of Tübingen.
In it she observes from various angles how the musical forms changed over the
years from the Baroque to pre-Classical eras. Particularly relevant for the Bach Studies
are the first two chapters. In Chapter 1, she uses 25 minuets from Bach's works
(see 'works covered' in the above summary) to demonstrate her points, breaking them down structurally,
harmonically, and motivically for further analysis and discussion.
Chapter 2--a biographical sketch of Christian Bach--is a reliable, up-to-date critical biography. Bieler seems to have done an excellent job here,
incorporating many facts that have come to light recently as well as those that
were often overlooked and misunderstood (e.g. in which year Christian left
Berlin for Italy).
The remaining chapters are case studies on specific pieces, which are not
directly relevant to the Bach Studies.
While much of discussion was devoted to analytical details of selected
pieces, it is clear that Bieler has distinct contribution to a wider audience: how Bach's concept of
binary form is taken up by his younger generations and became the foundation for
their formal vocabulary. It is pity that there is no
index of works or names provided. |
