J. S. Bach: Life In Music, A

Description:
In this 2006 text, Peter Wiliams approaches the life and music of arguably the most studied of all composers, interpreting both Bach's life by deconstructing his original Obituary in the light of additional information, and his music by evaluating his priorities and irrepressible creative energy. How, though belonging to musical families on both his parents' sides, did he come to possess so bewitching a sense of rhythm and melody, and a mastery of harmony that established nothing less than a norm in western culture? In considering that the works of a composer are his biography, the book's title A Life in Music means both a life spent making music and one revealed in the music itself. A distinguished scholar and performer, Williams re-examines Bach's life as an orphan and a family man, as an extraordinarily gifted composer and player, and an energetic and ambitious artist who never suffered fools gladly.

Review:
Review of the hardback: '... its freshness of approach and practical knowledge of the music are enthralling.' The Herald Review of the hardback: 'Peter Williams' observations in this ... well-written volume add an imaginative and fresh dimension that will keep the 'little grey cells' charged. ... This ... volume could be a useful 'precursor' and we are the beneficiaries as a result.' The Journal of the London Bach Society Review of the hardback: '... Williams is a writer both erudite and compelling ... this is a biography unafraid to raise awkward questions and make a gallant attempt to answer them. ... William's study, a substantial read, fills an important place in English language Bach literature.' BBC Music Magazine Review of the hardback: 'Williams's book is dense and challenging ... a rewarding read, certain to enthral equally any lover of Bach's music and admirer of the techniques of forensic enquiry.' Musical Times

Table of Contents:
Part I. Early Years 1685-1703: 1. 'Honourable Thuringians'; 2. Birth, family; 3. Loss of parents; 4. The 'Moonlight episode'; 5. The move to Luneburg; 6. Visits to Hamburg; 7. French tastes; Part II. First Appointments 1703-1708: 8. The Arnstadt appointment; 9. Further influences; 10. From Arnstadt to Lubeck; 11. Buxtehude; 12. The Muhlhausen appointment; 13. The Muhlhausen organ; 14. First marriage; 15. Letters and writing; Part III. Weimar 1708-1717: 16. Heard by a duke; 17. The Weimar appointment; 18. Weimar organ composition; 19. Other development in Weimar; 20. The Halle audition; 21. Music for Halle?; 22. The Weimar promotion and cantatas; 23. Pupils in Weimar; 24. The competition with Marchand; Part IV. Cothen 1717-1723: 25. The call to Cothen; 26. The Cothen appointment; 27. The 'Brandenburg Concertos'; 28. Some other music at Cothen; 29. Death of wife Maria Barbara; 30. The Hamburg recital (audition?); 31. Second marriage; 32. Some other musical activities; 33. The family; Part V. Leipzig, the First Years: 34. The call to Leipzig; 35. The appointment procedure; 36. New life in Leipzig; 37. The place of cantatas; 38. Some music; 39. Further cantata cycles; 40. The Passions; 41. Other musical activities; Part VI. Leipzig, the Middle Years: 42. The Collegium musicum and chamber repertories; 43. The first published set of pieces; 44. The royal title and associated music; 45. Organs and organ music; 46. Harpsichord music; 47. Other musical developments; 48. Other activities; Part VII. Leipzig, the Final Years; 49. Concerning the last decade; 50. The art of Fugue; 51. The visit to Potsdam; 52. 'The B minor Mass'; 53. Blindness; 54. Deathbed and death; Part VIII. Observations, Descriptions, Criticisms: 55. Circumstances at the Thomaskirche; 56. The letter to Georg Erdmann; 57. The Collegium obsolescent?; 58. Organs and harpsichords; 59. 'Hidden secrets of harmony'; 60. 'Serious and profound music'; 61. 'A light and playful manner of thinking'; 62. The score-reader; 63. The keyboard player; 64. The organ expert; 65. Scheibe's criticism; 66. Character, quarrels; 67. 'Theoretical speculations'; 68. Tuning and temperament; 69. The teacher; 70. What was taught; 71. A note on the four-part chorales; 72. A speculation concerning W. F. Bach; 73. Epilogue: Concerning the life; 74. Concerning the music; 75. Texts, 'appropriate' music, order-plans, parodies; 76. A brief note on aesthetics; Glossary.

Author Biography:
Peter Williams is former Professor and Dean of Music at the University of Edinburgh and is Emeritus Arts and Sciences Professor of Music at Duke University.