The compositional nature and performance practice of the Grave of Johann Sebastian Bach's Toccata in C, BWV 564

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The compositional nature and performance practice of the Grave of Johann Sebastian Bach's Toccata in C, BWV 564

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dc.contributor.advisor Hancock, Gerre, 1934-
dc.contributor.advisor Nardini, Luisa
dc.creator Ahlman, Christopher Stephen
dc.date.accessioned 2011-08-01T21:53:54Z
dc.date.available 2011-08-01T21:53:54Z
dc.date.created 2011-05
dc.date.issued 2011-08-01
dc.date.submitted May 2011
dc.identifier.uri http://hdl.handle.net/2152/ETD-UT-2011-05-2936
dc.description.abstract The compositional peculiarities of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 make authoritative performance practice of the same quite difficult. Often, disparate solutions concerning the performance practice thereof, primarily those that concern registration and interpretation of the work, result. Upon discussing the resemblance of BWV 564 in its entirety with that of the genre of the Italian concerto, I assess the precise nature of Italian concerto influence upon the work, assigning primary compositional influence to Tomaso Albinoni, specifically via Johann Gottfried Walther’s transcription of Concerto IV of Albinoni’s Concerto a cinque, Op. 2 of 1700, effectively placing such influence prior to Bach’s c. 1713-1714 encounter with the concerted works of Antonio Vivaldi and thus assigning Bach’s composition of the work to his initial years as court organist and chamber musician at the Weimar ducal chapel. I also assess the resemblance of the sectional character of BWV 564 with that of the early Baroque multisectional Praeludium, exemplified in Dieterich Buxtehude’s Praeludium in A, BuxWV 151, ultimately to assert the rhetorical orientation of BWV 564 and to raise the registration implications thereof. Given the numerous renovations to the Compenius organ in the Weimar ducal chapel that occurred before, during, and after Bach’s tenure as court organist and chamber musician, I set forth a likely specification set for the Compenius organ of the Weimar ducal chapel during the initial years of Bach’s first appointment at Weimar. With the compositional timeframe and physical conditions reasonably established, and on account of both the accompanimental textures and musical idiomatic allusions present in the movement, I advance not only a one-manual performance practice of the Adagio of BWV 564 in its entirety but also a single general registration scheme resonant with continuo performance practices that were contemporaneous with the composition of the work.
dc.format.mimetype application/pdf
dc.language.iso eng
dc.subject Bach
dc.subject Toccata in C
dc.subject BWV 564
dc.subject Compositional nature
dc.subject Performance practice
dc.subject Italian concerto
dc.subject Tomaso Albinoni
dc.subject Johann Gottfried Walther
dc.subject Weimar
dc.subject Multisectional praeludium
dc.subject Dieterich Buxtehude
dc.subject Compenius organ
dc.subject Adagio
dc.subject Continuo performance practice
dc.title The compositional nature and performance practice of the Grave of Johann Sebastian Bach's Toccata in C, BWV 564
dc.date.updated 2011-08-01T21:54:36Z
dc.identifier.slug 2152/ETD-UT-2011-05-2936
dc.contributor.committeeMember Hancock, Judith E.
dc.contributor.committeeMember Olivieri, Guido
dc.contributor.committeeMember Renner, A. D.
dc.contributor.committeeMember Russi, Cinzia
dc.description.department Music
dc.type.genre thesis
dc.type.material text
thesis.degree.department Music
thesis.degree.discipline Music
thesis.degree.grantor University of Texas at Austin
thesis.degree.level Doctoral
thesis.degree.name Doctor of Musical Arts

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