In Essays in Honor of Christopher Hogwood: The Maestro's Direction, Thomas Donahue has collected several essays from authors who have been motivated and inspired by the distinguished keyboard player, music editor, writer, and conductor, Christopher Hogwood, in honor of his 70th birthday in 2011. As is clearly shown in the assembled articles, Hogwood has had considerable influence in the latter half of the 20th century in advocating the historically informed performance of early music. Contributions from such scholars as Yo Tomita, Richard Troeger, Sabine K. Klaus, Bridget Cunningham, and Annette Richards pay tribute to this major musician of the 20th century, one of the strongest advocates for the performance of early music. The volume begins with a foreword by Bernard Brauchli, followed by a chronology of Hogwood's education and career, including his publications and awards. The succeeding essays cover a variety of subjects associated with Hogwood's approach to early music, including the interpretation of composers' notations, discussions of musical instrument construction and use, elucidation of performance traditions and conventions of the past, and analysis of the music itself. The essays provide insights on the music of Handel, Haydn, Mozart, Beethoven, and J.S. and C.P.E. Bach and consider various keyboard instruments such as the clavichord, square piano, spinet, and claviorgan. An afterword by Hogwood himself completes this well rounded collection.

C. P. E. Bach Studies collects together nine wide-ranging essays by leading scholars of eighteenth-century music. Offering fresh perspectives on one of the towering figures of the period, the authors explore Bach's music in its cultural contexts, and show in diverse and complementary ways the reciprocal relationship between Bach's work and contemporary literary, theological, and aesthetic debates. Topics include Bach's relation to theories of sensibility and the sublime; the free fantasy and concepts of self and being; and Bach's engagement with music history and the legacy of his predecessors. Wider questions of C. P. E. Bach reception also play an important part in the book, which explores not only the interpretation of Bach's music in his time, but also its reception over the two centuries since his death.

This book examines the renowned portrait collection assembled by C. P. E. Bach, J. S. Bach's second son. One of the most celebrated German composers of the eighteenth century, C. P. E. Bach spent decades assembling an extensive portrait collection of some four hundred music-related items-from oil paintings to engraved prints. The collection was dispersed after Bach's death in 1788, but with Annette Richards's painstaking reconstruction, the portraits once again present a vivid panorama of music history and culture, reanimating the sensibility and humor of Bach's time. Far more than a mere multitude of faces, Richards argues, the collection was a major part of the composer's work that sought to establish music as an object of aesthetic, philosophical, and historical study. The Temple of Fame and Friendship brings C. P. E. Bach's collection to life, giving readers a sense of what it was like for visitors to tour the portrait gallery and experience music in rooms thick with the faces of friends, colleagues, and forebears. She uses the collection to analyze the "portraitive" aspect of Bach's music, engaging with the influential theories of Swiss physiognomist Johann Caspar Lavater. She also explores the collection as a mode of cultivating and preserving friendship, connecting this to the culture of remembrance that resonates in Bach's domestic music. Richards shows how the new music historiography of the late eighteenth century, rich in anecdote, memoir, and verbal portrait, was deeply indebted to portrait collecting and its negotiation between presence and detachment, fact and feeling.

C. P. E. Bach Studies collects together nine wide-ranging essays by leading scholars of eighteenth-century music. Offering fresh perspectives on one of the towering figures of the period, the authors explore Bach's music in its cultural contexts, and show in diverse and complementary ways the reciprocal relationship between Bach's work and contemporary literary, theological, and aesthetic debates. Topics include Bach's relation to theories of sensibility and the sublime; the free fantasy and concepts of self and being; and Bach's engagement with music history and the legacy of his predecessors. Wider questions of C. P. E. Bach reception also play an important part in the book, which explores not only the interpretation of Bach's music in his time, but also its reception over the two centuries since his death.

A crucial category across all the arts in the late eighteenth century, the picturesque has lost its currency in modern musical criticism, in spite of its rich potential to shed new light on the fantastical elements of instrumental music in general and the genre of the free fantasia in particular. Just as English garden architecture, in which the picturesque found its origins, was changing the landscape of continental Europe, the fantastical elements of irregularity, temporal displacement, ambiguity, interruption, and self-referentiality in the music of Bach, Haydn and Beethoven were both lauded and criticized in terms borrowed from the discourse of the picturesque. This study reaffirms the centrality of the free fantasia and fantastical gesture in late eighteenth- and early nineteenth-century musical culture through an interdisciplinary approach that combines the visual, the literary and the musical.

This book brings together music and visual arts, especially the art of landscape gardening, in the context of late eighteenth- and early nineteenth-century English and German culture. The aesthetic of the picturesque, derived from the controlled wilderness of the landscape garden, provided writers on music with a language in which to describe the musical genre of the free fantasia, and the picturesque emerges here as a vital means for understanding the fantastical elements in the music of C. P. E. Bach, Haydn, and Beethoven.

This volume includes five sonatas and a prelude (Wq 70/2-7) for organ by C.P.E. Bach.