of the Internationale Bachakademie Stuttgart
Published by Prof. Dr. Ulrich Prinz (Vol. 1-12), Dr. Norbert Bolin (Vol. 13-15), Dr. Michael Gassmann (Vol. 16-19)
The Internationale Bachakademie Stuttgart’s scholarly series was launched in 1988 and now encompasses 19 volumes devoted to the music of Johann Sebastian Bach and to aspects of theology and dramaturgy. The series reflects the Bachakademie’s commitment to scholarship. Future publications on musical performance practice are envisaged. The leading publication of the series is the renowned monumental Bach-Kommentar by Martin Petzoldt. The first two volumes have been published. The Bach-Kommentar is moving towards its completion with two volumes to follow: Volume III contains commentaries on Bach’s Passions, the festive and occasional cantatas and cantatas unassigned to a known occasion. Volume IV contains the commentaries on Bach’s mass compositions, the Magnificat and motets, and the index to all four volumes. Volume III will be published in the second half of 2017. Volume IV is planned for 2018.
Volume 19 | Bachs h-Moll Messe – Entstehung. Deutung. Rezeption.
The composition, theological interpretation and international reception of Johann Sebastian Bach’s Mass in B minor are the topics explored in this volume. Was the composition of the Mass perhaps connected with the service of homage in Leipzig in 1733? When might Bach’s Mass in B minor have become known in Vienna? Which motivations lay behind plans by the English Bach enthusiast Samuel Wesley to publish an edition of the Credo at the beginning of the nineteenth century? Can a conclusive history of interpretation be discerned in recordings of the Mass from 1950 onwards? Was Bach inspired by Italian influences from Dresden when composing the Kyrie-Gloria Mass of 1733? And does Bach’s subsequent decision to devote a separate movement to the Et incarnatus relate to the central position of the cross in Luther’s theology? These questions are explored by: Michael Maul, Otto Biba, Michael Gassmann, Dominik Sackmann, Gerhard Poppe and Martin Petzoldt.
2014, 134 pages, ISBN 9783761823316, 24,95 €
Volume 18 | Der eine Gott und die Vielfalt der Klänge. [The one God and the diversity of sounds]
A glance at the sacred music of the three monotheistic religions reveals astounding similarities and striking differences. On the one hand there is the primacy of vocal music, scepticism about the infiltration of secular, profane sounds and the “sacredness” of the sung words of scripture, but there is also the radical drifting apart of sacred music cultures – even within a religion – through the course of history. Although links can be drawn between Gregorian chant and the reciting of the Koran and Jewish liturgical chant, works such as the Mozart masses or the cantatas of Bach would be completely inconceivable in Islam, or even in the Orthodox Christian churches. In this volume, which resulted from an interdisciplinary symposium at the 2012 MUSIKFESTUTTGART, Jewish and Christian scholars discuss the wide variety of sounds in the context of sacred music, its history, development and theological backgrounds. With contributions by Ahmad Milad Karimi, Gustav A. Krieg, Hans Maier, Jascha Nemtsov, Samir Odeh-Tamimi, Christoph Schwöbel and Dominik Skala.
2013, 227 pages, ISBN 9783761823309, €39.95
Volume 17 | Bachs Johannes-Passion - Poetische, musikalische, theologische Konzepte
Johann Sebastian Bach’s St John Passion, consummate yet incomplete, is a work with many facets. The role of the many authors who worked on the libretto in its four versions deserves to be identified and evaluated, and Bach’s motivations and strategies which lie behind these versions need to be recognized. The bold step from Passion story to Passion drama, which the composer expected Leipzig congregations to take, offered new opportunities for the listener to identify with the individual roles in the Passion. This volume brings together lectures given by musicologists and theologians during the Stuttgart Bach Week 2011. Michael Gassmann (ed.), Martin Geck, Joachim Kremer, Martin Petzoldt and Meinrad Walter.
2012, 134 pages, ISBN 978-3-7618-2285-2, 24,95 €
Volume 16 | Die Musik der Nacht
Hearing is our night-time sensibility. Where we cannot see anything, we listen more closely. In the dark we are sensitive to sounds and noises – an archaic reflex which protects against danger, and the effect of music is greatly increased in the night. And it’s not only the darkness, but also the stillness of the night which allows us to experience nocturnal music differently from music we hear in light, and which is therefore influenced by external distractions. In the night, music has a direct effect. Churches have made use of this directness, this special magic, this special intensity of beautiful nocturnal sounds for the liturgy in their most important festivals, and princely courts for their entertainments. It has inspired painters and poets to capture the exceptional effect of these sounds in darkness in their own artistic medium, something which they have done throughout the centuries. Composers have created new musical genres such as serenades and notturni, or they have composed music which takes darkness itself as a theme. This volume brings together lectures by composers, musicologists and literary scholars, theologians and art historians which were given as part of a symposium held by the Internationale Bachakademie on music of the night during the Musikfest Stuttgart 2010. From Volume 16 onwards, this well-established scholarly series was published for the first time in a new, fresh layout.
2011, 67 pages, ISBN 978-3-7618-2239-5, 29,90 €