Sturm und Drang in the keyboard music of Wilhelm Friedemann Bach

detected evidences in Polonaise N.4, in D minor

Authors

Keywords:

Keyboard, Bach, W. F, Musical styles, Expressiveness

Abstract

This paper intends to point out contextual and musical elements, especially those relative to expressiveness, that brings Wilhelm Friedemann Bach’s keyboard works close to German Sturm und Drang, that happened during the beginning of the second half of the eighteenth century, through the identification of the literary and musical procedures and the analysis of the Polonaise number 4, in D minor, as a representative work of this style.

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Author Biographies

Stella Almeida Rosa, University of Campinas (UNICAMP) (Brazil)

Pianist and harpsichordist, she graduated in piano from UNESP (1987) and holds a Master of Music (harpsichord) from UNICAMP (2007). She is the pianist of the Banda Sinfônica do Estado de São Paulo, linked to the dissemination of contemporary Brazilian music, in addition to being a regular guest musician with the São Paulo State Symphony Orchestra. As a harpsichordist, she is a founding member of the Chamber Orchestra Engenho Barroco, with which she recorded the CDs "Engenho Barroco", with repertoire of the European Baroque, and a collection of three CDs contemplating the "Acervo Musical de Mariana", by the Petrobrás Project of Dissemination and Restoration of Sheet Music, and also of the Bachiana Chamber Orchestra, whose first CD was dedicated to the Orchestral Suites of J. S. Bach. She dedicates herself to the performance of historically oriented early music, participating in various chamber formations with period or modern instruments. She taught continuo bass at the V Festival "Music in the Mountains", and teaches Chamber Music at EMESP-Tom Jobim and at Conservatório Souza Lima in São Paulo. She is a doctoral student in music at UNICAMP.

Helena Jank, University of Campinas (UNICAMP) (Brazil)

D. in Music from the State University of Campinas in 1988. Professor at the same university, she is a specialist in the interpretation of historically-oriented Baroque music. She develops research on musical rhetoric of the Baroque period, the text-music relationship, and the use of rhetorical figures in the expression of affections in music of this period. In her doctoral project, she presented an interpretative analysis of J. S. Bach's Goldberg Variations, a work that became a determining factor for her musical conception. During his undergraduate studies, he taught harpsichord, bass continuo, chamber music, and music history, chamber music, and music history. At the post-graduate level, she supervises master's and doctoral projects related to the research lines of interpretive practices and historical musicology. She was director of the Arts Institute between 1999 and 2003.

References

BACH, Carl Ph. E. Essay on the True Art of Playing Keyboard Instruments. Translated and edited by William J. Mitchell. New York, London: W. W. Norton & Company, 1949.

BURNEY, Charles. The Present State of Music in Germany, the Netherlands, and United Provinces. The Second Edition, Corrected. London: T. Becket, Strand; J. Robson, New- Bond Street; and G. Robinson, Pasternoster-Row, 1775. Disponível em http://books.google.com.br/books. Acesso em 27/06/2009.

DOWNS, Philip G. Classical music: the era of Haydn, Mozart and Beethoven. New York: W. W. Norton, 1992.

FALCK, Martin. Wilhelm Friedemann Bach. Sein Leben und seine Werke. Lindau/B: C. F. Kahnt, 1957.

GEIRINGER, Karl et Irène. Bach et sa Famille. Sept Générations de Génies Créateurs. Paris: Editions Buchet/Castel, 1979.

HELM, Eugene. Wilhelm Friedemann Bach. In: The New Grove Bach Family. New York, London: W. W. Norton & Company, 1983.

PAULY, Reinhard G. Music in the Classic Period. Upper Saddle River, New Jersey: Prentice-Hall, Inc., 2000.

ROSENFELD, Anatol. História do Teatro e da Literatura Alemães. São Paulo: Perspectiva: Editora da Universidade de São Paulo; Campinas: Editora da Universidade Estadual de Campinas, 1993.

SAGHAARD, Terezinha. Os estilos musicais na obra para teclado de C. Ph. E. Bach. Instituto de Artes – UNESP. São Paulo, 2001.

VAN ESS, Donald H. The Heritage of Musical Style. New York: Holt, Rinehart and Winston, Inc., 1970.

YOUNG, Percy M. The Bachs. New York: Thomas Y. Crowell Company, 1970.

WOLLNY, Peter. Wilhelm Friedemann Bach. In: The New Grove Dictionary of Music and Musicians. Second Edition. Vol. 2, p.382-387. London: Macmillan, 2001.

______. “...welche dem Grössten Concerte gleichen”: the Polonaises of Wilhelm Friedemann Bach. In: The Keyboard in Baroque Music. Edited by Christopher Hogwood. NY: Cambridge, 2003.

Partitura

W. F. Bach. Zwölf Polonaisen. Prefácio de Andreas Böhnert. München: G. Henle Verlag, 1993.

Gravações

Wilhelm Friedemann Bach Keyboard Works vol. 1. 12 Polonaises, sonata in D major, Fantasia. Robert Hill, fortepiano. Naxos, 2007.

Wilhelm Friedemann Bach Keyboard Works vol. 2. Fantasias und Fugues. Julia Brown, harpsichord. Naxos, 2008.

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Published

2011-07-11

How to Cite

Rosa, Stella Almeida, and Helena Jank. 2011. “Sturm Und Drang in the Keyboard Music of Wilhelm Friedemann Bach: Detected Evidences in Polonaise N.4, in D Minor”. Per Musi, no. 24 (July):1-8. https://periodicos.ufmg.br/index.php/permusi/article/view/40467.

Issue

No. 24 (2011): General Topics

Section

Articles in Portuguese/Spanish

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