General Abbreviations |
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xii | |
Acknowledgments |
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xii | |
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xiii | |
Preface |
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xv | |
Prologue: Bach and the Notion of ``Musical Science'' |
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1 | (464) |
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Springs of Musical Talent and Lifelong Influences |
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13 | (20) |
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Ambrosius Bach and His Family |
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13 | (8) |
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In the Ambience of Home, Town, Court, School, and Church |
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21 | (12) |
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33 | (20) |
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In the Care of His Older Brother |
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33 | (9) |
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Sebastain's Musical Beginnings |
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42 | (11) |
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Bypassing a Musical Apprenticeship |
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53 | (24) |
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From Luneburg to Weimar, 1700-1703 |
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Choral Scholar at St. Michael's in Luneburg |
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53 | (7) |
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Bohm, Reinken, and the Celle Court Capelle |
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60 | (6) |
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The Interim: Thuringian Opportunities |
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66 | (5) |
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Early Musical Achievements |
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71 | (6) |
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77 | (40) |
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Organist in Arnstadt and Muhlhausen, 1703-1708 |
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At the New Church in Arnstadt |
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77 | (15) |
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``First Fruits'' and the Buxtehude Experience |
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92 | (10) |
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At the Blasius Church in Muhlhausen |
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102 | (15) |
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Exploring ``Every Possible Artistry'' |
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117 | (30) |
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Court Organist and Cammer Musicus in Weimar, 1708-1714 |
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The First Six Years at the Ducal Court |
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117 | (19) |
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Clavier Virtuoso and Organ Expert |
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136 | (11) |
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Expanding Musical Horizons |
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147 | (40) |
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Concertmaster in Weimar, 1714-1717 |
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147 | (8) |
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Mostly Music for ``The Heaven's Castle'' |
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155 | (14) |
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``Musical Thinking'': The Making of a Composer |
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169 | (6) |
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175 | (12) |
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Pursuing ``the Musical Contest for Superiority'' |
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187 | (50) |
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Capellmeister in Cothen, 1717-1723 |
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187 | (20) |
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207 | (18) |
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A Canon of Principles, and Pushing the Limits |
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225 | (12) |
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Redefining a Venerable Office |
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237 | (68) |
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Cantor and Music Director in Leipzig: The 1720s |
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A Capellmeister at St. Thomas's |
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237 | (16) |
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253 | (35) |
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``The Great Passion'' and Its Context |
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288 | (17) |
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305 | (36) |
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Counterpoint of Practice and Theory |
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Performer, Composer, Teacher, Scholar |
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305 | (6) |
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Music Director at the University |
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311 | (8) |
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Professorial Colleagues and University Students |
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319 | (12) |
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Materials and Metaphysics |
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331 | (10) |
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Traversing Conventional Boundaries |
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341 | (50) |
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Special Engagements: The 1730s |
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341 | (10) |
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Director of the Collegium Musicum and Royal Court Composer |
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351 | (22) |
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The Clavier-Ubung Project |
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373 | (8) |
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381 | (10) |
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A Singing Bird and Carnations for the Lady of the House |
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391 | (26) |
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Domestic and Professional Life |
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391 | (18) |
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Balancing Official Duties and Private Business |
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409 | (8) |
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Contemplating Past, Present, and Future |
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417 | (48) |
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The Final Decade: The 1740s |
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417 | (14) |
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The Art of Fugue, the B-Minor Mass, and a Place in History |
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431 | (11) |
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442 | (12) |
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Estate and Musical Legacy |
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454 | (11) |
Epilogue: Bach and the Idea of ``Musical Perfection'' |
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465 | (8) |
Notes |
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473 | (38) |
Music Examples |
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511 | (34) |
Appendixes |
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525 | (10) |
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2. Places of Bach's Activities |
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535 | (4) |
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3. Money and Living Costs in Bach's Time |
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539 | (4) |
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4. The Lutheran Church Calendar |
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543 | (2) |
Bibliography |
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545 | (10) |
Genre Index of Bach's Works |
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555 | (9) |
Title Index of Bach's Works |
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564 | (9) |
General Index |
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573 | |