This volume of essays brings together the best of recent scholarship on Johann Christian Bach, the youngest son of J.S. Bach and a friend and mentor of Mozart. J.C. Bach had a cosmopolitan career, beginning in Berlin as a pupil of his half-brother, C.P.E. Bach, then a sojourn to Italy where he studied with Padre Martini in Bologna; after making his successful debut with operas for Turin and Naples he moved to London, where he became a leading composer and impresario. The articles selected for this volume represent the principal themes of scholarly research and writing over the past fifty years. The introduction provides a survey of J.C. Bach's career and an overview of recent literature. The collection includes English translations of two articles first published in German in the Bach-Jahrbuch, as well as one article published as recently as 2015. An appendix lists the complete contents of The Collected Works of Johann Christian Bach, using the Warburton catalogue numbers.

Today, the names Bach and Mozart are mostly associated with Johann Sebastian Bach and Wolfgang Amadeus Mozart. But this volume of Bach Perspectives offers essays on the lesser-known musical figures who share those illustrious names alongside new research on the legendary composers themselves. Topics include the keyboard transcriptions of J. S. Bach and Johann Gottfried Walther; J. S. Bach and W. A. Mozart's freelance work; the sonatas of C. P. E. Bach and Leopold Mozart; the early musical training given J. C. Bach by his father and half-brother; the surprising musical similarities between J. C. Bach and W. A. Mozart; and the latest documentary research on Mozart's 1789 visit to the Thomasschule in Leipzig. An official publication of the American Bach Society, Bach Perspectives, Volume 14 draws on a variety of approaches and a broad range of subject matter in presenting a new wave of innovative classical musical scholarship. Contributors: Eleanor Selfridge-Field, Yoel Greenberg, Noelle M. Heber, Michael Maul, Stephen Roe, and David Schulenberg

As a distinguished scholar of Renaissance music, James Haar has had an abiding influence on how musicology is undertaken, owing in great measure to a substantial body of articles published over the past three decades. Collected here for the first time are representative pieces from those years, covering diverse themes of continuing interest to him and his readers: music in Renaissance culture, problems of theory as well as the Italian madrigal in the sixteenth century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the nineteenth century's views of early music.

In this collection, the same subject is seen from several angles, and thus gives a rich context for further exploration. Haar was one of the first to recognize the value of cultural study. His work also reminds us that the close study of the music itself is equally important. The articles contained in this book show the author's conviction that a good way to address large problems is to begin by focusing on small ones.

Originally published in 1998.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

As a distinguished scholar of Renaissance music, James Haar has had an abiding influence on how musicology is undertaken, owing in great measure to a substantial body of articles published over the past three decades. Collected here for the first time are representative pieces from those years, covering diverse themes of continuing interest to him and his readers: music in Renaissance culture, problems of theory as well as the Italian madrigal in the sixteenth century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the nineteenth century's views of early music. In this collection, the same subject is seen from several angles, and thus gives a rich context for further exploration. Haar was one of the first to recognize the value of cultural study. His work also reminds us that the close study of the music itself is equally important. The articles contained in this book show the author's conviction that a good way to address large problems is to begin by focusing on small ones. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This volume contains the Dank-Hymne der Freundschaft (Hymn of Thanks for Friendship), a "Geburtstags-Cantate" (birthday cantata) by C.P.E. Bach, written in 1785. The cantata incorporates the composer's double-choir Heilig, Wq 217.

It is hard to imagine two composers more different in talent and temperament than the French, mostly self-taught Hector Berlioz and German, highly cultivated Felix Mendelssohn. The two were an "odd couple" Berlioz grew up in provincial France, the son of a country doctor; he moved to Paris to study medicine but gravitated toward music in his early twenties. His views and music represent the more progressive Romantic ideals of the nineteenth-century. Mendelssohn, on the other hand, was probably the most talented musician after Mozart. He enjoyed a comfortable life and a fine education in Berlin, where he absorbed the classical tradition in music, religion, and philosophy. As a pathway into their life and music, a new original play, Hector & Felix, tells of the two encounters between the composers, who first met in Rome in 1831 and twelve years later in Leipzig in 1843. Using letters and historical documents of their life, opinions, and music, the play imagines their discussion during two different periods of their career. Act 1 is set in Rome, where Berlioz (aged 27) was in residence at the French Academy after winning the Prix de Rome and where Mendelssohn (aged 22) happened to be visiting at the end of a Grand Tour through Europe. Act 2 is set in Leipzig, where Mendelssohn had established himself as conductor of the Gewandhaus Orchestra and at a time when Berlioz is traveling through Germany organizing concerts to pay his expenses. Each act is divided into scenes in places or venues (e.g., Villa Medici, Cafe Greco, Mendelssohn's living room) where the two men converse about music, art, literature, and other topics.