Scan 59
Baker's biographical dictionary of musicians, 1919
12 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1BACH—BACH
3London, 1884–5; 2d ed., 1899); R. L. Poole, S. B. (London, 1882); H. Barth, J. S. B. (Berlin, 1902); A. Pirro, B. (Paris, 1906); C. H. H. Parry, J. S. B. (N. Y. and London, 1909); Ph. Wolfrum, J. S. B. (2 vols., Leipzig, 1910); J. Tiersot, B. (Paris, 1912).
5B. CRITICAL, ANALYTICAL: M. Hauptmann, Erläuterung zu J. S. B.'s Kunst der Fuge (Leipzig, 1841); R. Franz, Über Bearbeitungen älterer Tonwerke, namentlich Bachscher u. Händelscher Vokalmusik (Leipzig, 1871; new ed. as Ges. Schriften über die Wiederbelebung Bachscher u. Händelscher Werke, 1910); H. Tudor, Das Heroentum in der Deutschen Musik (1891; a study of the music of Bach, Beethoven and Wagner); H. Riemann, Katechismus der Fuge (3 vols., Leipzig, 1890–1; 3rd ed., 1914; a complete analysis of Das wohltemperirte Klavier and Kunst der Fuge; Engl. transl. by J. S. Shedlock, London, 1893); A. Pirro, l'Orgue de J. S. B. (Paris, 1894; Engl. transl. by W. Goodrich, N. Y., 1902); W. His, J. S. B. Forschungen über dessen Grabstätte, Gebeine u. Antlitz (Leipzig, 1895); B. Todt, Vademecum durch die Bachschen Cantaten (Leipzig, 1895); J. Sittard, J. S. B., H moll Messe (Frankfort, 1895); B. Widmann, J. S. B., Matthäuspassion (ib., 1895); S. Taylor, The Life of J. S. B. in Relation to his Work as a Church Musician and Composer (Cambridge, 1897); F. Iliffe, The 48 Preludes and Fugues of J. S. B. (London, 1897); W. Carte, Étude sur J. S. B. (2nd augm. ed., Paris, 1898); P. I. Mayrhofer, B.-Studien. Ästhetische u. technische Fingerzeige zum Studium der Bachschen Orgel- u. Klavierwerke (vol. i, Orgelwerke, Leipzig, 1901); J. A. Fuller-Maitland, The Age of B. and Händel (vol. iv of the Oxford Hist. of Mus., Oxford, 1902); A. Schweitzer, J. S. B., le musicien-poète (Leipzig, 1905; augm. Ger. ed., 1908; Engl. transl. by E. Newman, 2 vols., London, 1911); A. Pirro, L'esthétique de J. S. B. (Paris, 1907); A. Heuss, J. S. B.'s Matthäuspassion (Leipzig, 1909); A. Blass, Wegweiser zu J. S. B. (Berlin, 1909); F. Haschagen, J. S. B. als Sänger u. Musiker des Evangeliums u. der lutherischen Reformation (Wismar, 1909); G. Robert, Le descriptif chez B. (Paris, 1909); J. Schreyer, Beiträge zur B.-Kritik (2 vols., Dresden, 1910–12); W. Voigt, Die Kirchenkantaten J. S. B.'s (Stuttgart, 1911).
7Under the auspices of the 'Neue Bachgesellschaft' (founded at Leipzig, 1903), A. Schering began in 1904 the publication of a 'Bach-Jahrbuch'; the various vols. contain much valuable material. The same assoc. also publ. J. S. B.'s Handschrift in zeitlich geordneten Nachbildungen (Leipzig, 1911).
916. Bach, Wilhelm Friedemann (Bach of Halle), eldest son of J. Sebastian; b. Weimar, Nov. 22, 1710; d. Berlin, July 1, 1784. Pupil of his father (pf.), and, at 15 years of age, of Graun at Merseburg (vln.). Also st. at the Thomasschule, and at the Univ. of Leipzig, where he distinguished himself in mathematics. Org. of the Sophienkirche, Dresden, 1733–47; of the Marienkirche, Halle, 1747–64. Of superior gifts, grand organist, dexterous fugue-player, and, after his father, the most clever musician in Germany, he unfortunately gave way to dissipation, was removed from his offices, and died in misery. MS. works in the Berlin Royal Library; many have been printed. Cf. M. Falck, W. F.: Bach. Sein Leben u. seine Werke, m. themat. Verzeichniss seiner Kompositionen (Leipzig, 1913).—See also Q.-Lex.
1117. Bach, Karl Philipp Emanuel (the Berlin or Hamburg Bach), 3rd [and 2nd surviving] son of J. Sebastian; b. Weimar, Mar. 8, 1714; d. Hamburg, Dec. 14, 1788. He studied philosophy and law at Leipzig and Frankfort-on-the-Oder; but the inherited passion for music, and completeness of musical study under his father, decided his profession. He conducted a singing-society at Frankfort, for which he also composed. In 1738 he went to Berlin, and was app. chamber-musician and clavecinist to Frederick the Great. In 1767 he went to Hamburg, succ. Telemann as 'Musikdirector' of the principal church there, a position he held until death. He was one of the most brilliant performers of his time, and his compositional style was light, pleasing, and elegant, rather than of great profundity. He may be looked upon as the father of the modern school of pf.-playing, originator of the sonata- and symphony-forms, later perfected by Haydn, Mozart and Beethoven, and a promoter of orchestra development. His important theoretical work, Versuch über die wahre Art, das Clavier zu spielen (2 parts, 1753–62), clumsily reedited by Schelling in 1857; new ed. by W. Niemann, 1906), contains detailed explanations concerning the embellishments in clavichord-playing. His compositions are also voluminous (thematic list by A. Wotquenne, 1905); for clavier they number 210 solo pieces; 52 concertos w. orch.; quartets, trios, duets, sonatas (v. Bülow edited 6 for the Peters' Ed.; C. F. Baumgart edited the entire Sonatensammlung für Kenner und Liebhaber, in 6 books, for Leuckart), sonatinas, minuets, polonaises, solfeggi, fugues, marches, etc. Also 18 orch. symphs.; 34 miscellaneous pcs., f. wind-instrs.; trios f. fl., vln., and bass; do. f. vln. and bass; flute-, 'cello-, and oboe-concertos; soli f. fl., viola di gamba, oboe, 'cello, and harp; duets f. fl. and vln.; f. 2 vlns.; f. 2 clarinets.—Vocal: 2 oratorios, Die Israeliten in der Wüste, and Die Auferstehung und Himmelfahrt Jesu; 22 Passions; cantatas;
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