Partita in B Minor; Chromatic Fantasia and Fugue; Italian Concerto

1976 ◽  
Vol 117 (1601) ◽  
pp. 575
Author(s):  
Robert Anderson ◽  
Bach ◽  
Elizabeth de la Porte
Keyword(s):  
Italian Concerto

Italian Concerto, BWV 971

The Piano ◽  
2021 ◽  
pp. 17-20
Author(s):  
BACH
Keyword(s):  
Italian Concerto

Italian "Concerto" ("Conserto") and "Concertare"

Italica ◽  
1958 ◽  
Vol 35 (3) ◽  
pp. 188
Author(s):  
Robert A. Hall
Keyword(s):  
Italian Concerto

London Bach

Tempo ◽  
1955 ◽  
pp. 14-15
Author(s):  
Trevor Fisher
Keyword(s):  
Piano Concerto ◽  
Italian Concerto ◽  
A Minor

When Dr. Albert Schweitzer published his great study of J. S. Bach in 1908 and surveyed a century of progress in the revival (or rescue) of the greatest composer's music, he asked: “Where can we hear, except rarely, performances of the suites, the Well-tempered Clavichord (sic), the Italian Concerto, the Chromatic Fantasia, the piano concerto in A minor, the C major Concerto for two pianos? Where are the Brandenburg orchestral concertos and the orchestral suites securely fixed in our programmes? Where are Bach's secular cantatas regularly given?” And he added: “Statistics of Bach performances on our concert programmes … would show that there are not too many towns where the auditor can really get to know Bach.”

The Italian Concerto before 1700

1943 ◽  
Vol 7 ◽  
pp. 20-22
Author(s):  
Henry G. Mishkin
Keyword(s):  
Italian Concerto

The Italian Concerto before 1700

1943 ◽  
Vol 7 (1) ◽  
pp. 20-22
Author(s):  
Henry G. Mishkin
Keyword(s):  
Italian Concerto

Italian Concerto [and] French Overture. Clavierubung II, BWV 971-831, with Early Version, BWV 831a

Notes ◽  
1979 ◽  
Vol 35 (3) ◽  
pp. 707
Author(s):  
Benito V. Rivera ◽  
Johann Sebastian Bach ◽  
Walter Emery ◽  
Christoph Wolff
Keyword(s):  
Italian Concerto

"Seeing the Big Picture": Piano Practice as Expert Problem Solving

2003 ◽  
Vol 20 (4) ◽  
pp. 465-490 ◽  
Author(s):  
Roger Chaffin ◽  
Gabriella Imreh ◽  
Anthony F. Lemieux ◽  
Colleen Chen
Keyword(s):  
Problem Solving ◽  
The Third ◽  
Big Picture ◽  
Italian Concerto ◽  
Piano Practice ◽  
Concert Pianist ◽  
Artistic Image

Experts in many fields approach a new problem by identifying the general principles involved before starting work on details. Do expert musicians similarly begin work on a new piece with the big picture, an artistic image of the piece, in mind? To find out, a concert pianist recorded her practice of the third movement, Presto, of J. S. Bach's Italian Concerto, commenting as she did so about what she was doing. The behavioral record of where playing started, stopped, and slowed down indicated the musical dimensions affecting practice, while the comments indicated the main focus of the pianist's attention. An artistic image for the piece was already evident in the initial sight-read performance, guided work on technique in sessions 1-6, and was transformed into a plan for performance by practice of performance cues in sessions 7-8. Interpretive details were added in sessions 9-10 and remaining problems touched up in session 11-12. Despite its pervasive effects on practice, the pianist's artistic image was mentioned only indirectly in comments about technique in sessions 1-6 and about structure, memory, and interpretation in later sessions.

Practicing Perfection: Piano Performance as Expert Memory

2002 ◽  
Vol 13 (4) ◽  
pp. 342-349 ◽  
Author(s):  
Roger Chaffin ◽  
Gabriela Imreh
Keyword(s):  
Retrieval Practice ◽  
Declarative Memory ◽  
Auditory Memory ◽  
Formal Structure ◽  
Retrieval Cues ◽  
Retrieval Scheme ◽  
Italian Concerto ◽  
And Performance ◽  
Basic Features ◽  
Concert Pianist

A concert pianist recorded her practice as she learned the third movement, Presto, of J.S. Bach's Italian Concerto. She also described the formal structure of the piece and reported her decisions about basic features (e.g., fingering), interpretive features (e.g., phrasing), and cues to attend to during performance (performance cues). These descriptions were used to identify which locations, features, and cues she practiced most, which caused hesitations when she first played from memory, and which affected her recall 2 years later. Effects of the formal structure and performance cues on all three activities indicated that the pianist used the formal structure as a retrieval scheme and performance cues as retrieval cues. Like expert memorists in other domains, she engaged in extended retrieval practice, going to great lengths to ensure that retrieval was as rapid and automatic from conceptual (declarative) memory as from motor and auditory memory.

Bach the Teacher

Bach ◽  
2020 ◽  
pp. 284-331
Author(s):  
David Schulenberg
Keyword(s):  
University Students ◽  
Church Music ◽  
Professional Musicians ◽  
Private Lessons ◽  
Latin Church ◽  
Vocal Works ◽  
Italian Concerto ◽  
Goldberg Variations

This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.

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