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Johann Sebastian Bach's Goldberg Variations Reimagined by Erinn E. Knyt (2024, Hardcover)

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This book provides the first detailed reception history of adaptations of Johann Sebastian Bach's Aria mit 30 Veränderungen (Goldberg Variations, BWV 988). Overall, the book reveals a. It reveals that many recent adaptations are not direct interpretations of an authoritative.

About this product

Product Identifiers

PublisherOxford University Press, Incorporated

ISBN-100197690629

ISBN-139780197690628

eBay Product ID (ePID)4064884376

Product Key Features

Number of Pages360 Pages

Publication NameJohann Sebastian Bach's Goldberg Variations Reimagined

LanguageEnglish

SubjectHistory & Criticism, Individual Composer & Musician

Publication Year2024

TypeTextbook

AuthorErinn E. Knyt

Subject AreaMusic

FormatHardcover

Dimensions

Item Height1.2 in

Item Weight0 Oz

Item Length8.9 in

Item Width5.9 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2023-057137

Reviews"J. S. Bach's music has become omnipresent. As detailed in Erinn E. Knyt's staggeringly comprehensive book, even one work-the Goldberg Variations-has inspired thousands of reimaginings. In a dazzling display of bibliographic control, Knyt unearths every possible manifestation of the Goldbergs, whether as the inspiration for a ballet, the soundtrack of a film, or the impetus for new compositions. A vital reference work for Bach enthusiasts." -- Christina Fuhrmann, Editor, BACH: Journal of the Riemenschneider Bach Institute"Erinn Knyt's exhaustive study of Bach's Goldberg Variations relates the multifaceted history of creative responses in all artistic media to Bach's protean masterpiece: from romantic extravagance to scrupulous textual fidelity to uninhibited 'deconstructions.' The wide-ranging inquiry - a model of reception history at its most enlightening - helps us especially to understand how the radical developments in recent decades reflect far-reaching changes in ideological and aesthetic outlook that question the very nature and purpose of great works of art." -- Robert L. Marshall, Sachar Professor of Music emeritus, Brandeis University"In this intensive case study, Erinn Knyt shows that the reception history of J. S. Bach's Goldberg Variations extends far beyond versions, editions, and performance practices. Taken up by composers, choreographers, filmmakers, dramatists, and visual artists, this set of keyboard variations has been transformed from a closed work to an open one; from a purely musical composition to an interdisciplinary starting point for many arts; and from the product of a mathematical, 'Pythagorean' composer to a creation by a very human Bach. From Feruccio Busoni to Glenn Gould to Hannibal Lecter to TikTok, the Goldberg Variations emerge as a work not just of the eighteenth century but of every era." -- Daniel R. Melamed, Indiana University and the Bloomington Bach Cantata Project, "J. S. Bach's music has become omnipresent. As detailed in Erinn E. Knyt's staggeringly comprehensive book, even one work-the Goldberg Variations-has inspired thousands of reimaginings. In a dazzling display of bibliographic control, Knyt unearths every possible manifestation of the Goldbergs, whether as the inspiration for a ballet, the soundtrack of a film, or the impetus for new compositions. A vital reference work for Bach enthusiasts." --Christina Fuhrmann, Editor, BACH: Journal of the Riemenschneider Bach Institute"Erinn Knyt's exhaustive study of Bach's Goldberg Variations relates the multifaceted history of creative responses in all artistic media to Bach's protean masterpiece: from romantic extravagance to scrupulous textual fidelity to uninhibited 'deconstructions.' The wide-ranging inquiry - a model of reception history at its most enlightening - helps us especially to understand how the radical developments in recent decades reflect far-reaching changes inideological and aesthetic outlook that question the very nature and purpose of great works of art." -- Robert L. Marshall, Sachar Professor of Music emeritus, Brandeis University"In this intensive case study, Erinn Knyt shows that the reception history of J. S. Bach's Goldberg Variations extends far beyond versions, editions, and performance practices. Taken up by composers, choreographers, filmmakers, dramatists, and visual artists, this set of keyboard variations has been transformed from a closed work to an open one; from a purely musical composition to an interdisciplinary starting point for many arts; and from the productof a mathematical, 'Pythagorean' composer to a creation by a very human Bach. From Feruccio Busoni to Glenn Gould to Hannibal Lecter to TikTok, the Goldberg Variations emerge as a work not just of theeighteenth century but of every era." -- Daniel R. Melamed, Indiana University and the Bloomington Bach Cantata Project"Impressive research is evident throughout; for example, a compendium of film soundtracks that include Goldberg bits is startlingly thorough. The book, lovely to read, is ideal for libraries with collections in the arts." -- B. J. Murray, CHOICE"Reading Erinn E. Kynt's Johann Sebastian Bach's Goldberg Variations Reimagined, I was reminded again of just how meaningful it can be to dive deeply into a single musical work-especially when that work continues to burn brightly in popular and artistic imaginations." -- Kristi Brown-Montesano, BACH: Journal of the Riemenschneider Bach Institute"Certainly, if I ever create a course centered on the Goldberg Variations, I will be glad to be able to have such a flexible text on hand. And maybe I should send a copy to Dean Zippelfagottist." -- Kristi Brown-Montesano, Bach Journal, "J. S. Bach's music has become omnipresent. As detailed in Erinn E. Knyt's staggeringly comprehensive book, even one work-the Goldberg Variations-has inspired thousands of reimaginings. In a dazzling display of bibliographic control, Knyt unearths every possible manifestation of the Goldbergs, whether as the inspiration for a ballet, the soundtrack of a film, or the impetus for new compositions. A vital reference work for Bach enthusiasts." -- Christina Fuhrmann, Editor, BACH: Journal of the Riemenschneider Bach Institute"Erinn Knyt's exhaustive study of Bach's Goldberg Variations relates the multifaceted history of creative responses in all artistic media to Bach's protean masterpiece: from romantic extravagance to scrupulous textual fidelity to uninhibited 'deconstructions.' The wide-ranging inquiry - a model of reception history at its most enlightening - helps us especially to understand how the radical developments in recent decades reflect far-reaching changes in ideological and aesthetic outlook that question the very nature and purpose of great works of art." -- Robert L. Marshall, Sachar Professor of Music emeritus, Brandeis University"In this intensive case study, Erinn Knyt shows that the reception history of J. S. Bach's Goldberg Variations extends far beyond versions, editions, and performance practices. Taken up by composers, choreographers, filmmakers, dramatists, and visual artists, this set of keyboard variations has been transformed from a closed work to an open one; from a purely musical composition to an interdisciplinary starting point for many arts; and from the product of a mathematical, 'Pythagorean' composer to a creation by a very human Bach. From Feruccio Busoni to Glenn Gould to Hannibal Lecter to TikTok, the Goldberg Variations emerge as a work not just of the eighteenth century but of every era." -- Daniel R. Melamed, Indiana University and the Bloomington Bach Cantata Project"Impressive research is evident throughout; for example, a compendium of film soundtracks that include Goldberg bits is startlingly thorough. The book, lovely to read, is ideal for libraries with collections in the arts." -- B. J. Murray, CHOICE, "J. S. Bach's music has become omnipresent. As detailed in Erinn E. Knyt's staggeringly comprehensive book, even one work-the Goldberg Variations-has inspired thousands of reimaginings. In a dazzling display of bibliographic control, Knyt unearths every possible manifestation of the Goldbergs, whether as the inspiration for a ballet, the soundtrack of a film, or the impetus for new compositions. A vital reference work for Bach enthusiasts." -- Christina Fuhrmann, Editor, BACH: Journal of the Riemenschneider Bach Institute"Erinn Knyt's exhaustive study of Bach's Goldberg Variations relates the multifaceted history of creative responses in all artistic media to Bach's protean masterpiece: from romantic extravagance to scrupulous textual fidelity to uninhibited 'deconstructions.' The wide-ranging inquiry - a model of reception history at its most enlightening - helps us especially to understand how the radical developments in recent decades reflect far-reaching changes in ideological and aesthetic outlook that question the very nature and purpose of great works of art." -- Robert L. Marshall, Sachar Professor of Music emeritus, Brandeis University"In this intensive case study, Erinn Knyt shows that the reception history of J. S. Bach's Goldberg Variations extends far beyond versions, editions, and performance practices. Taken up by composers, choreographers, filmmakers, dramatists, and visual artists, this set of keyboard variations has been transformed from a closed work to an open one; from a purely musical composition to an interdisciplinary starting point for many arts; and from the product of a mathematical, 'Pythagorean' composer to a creation by a very human Bach. From Feruccio Busoni to Glenn Gould to Hannibal Lecter to TikTok, the Goldberg Variations emerge as a work not just of the eighteenth century but of every era." -- Daniel R. Melamed, Indiana University and the Bloomington Bach Cantata Project"Impressive research is evident throughout; for example, a compendium of film soundtracks that include Goldberg bits is startlingly thorough. The book, lovely to read, is ideal for libraries with collections in the arts." -- B. J. Murray, CHOICE"Reading Erinn E. Kynt's Johann Sebastian Bach's Goldberg Variations Reimagined, I was reminded again of just how meaningful it can be to dive deeply into a single musical work-especially when that work continues to burn brightly in popular and artistic imaginations." -- Kristi Brown-Montesano, BACH: Journal of the Riemenschneider Bach Institute"Certainly, if I ever create a course centered on the Goldberg Variations, I will be glad to be able to have such a flexible text on hand. And maybe I should send a copy to Dean Zippelfagottist." -- Kristi Brown-Montesano, Bach Journal

Dewey Edition23

IllustratedYes

Dewey Decimal786.21825092

Table Of ContentReimagining J. S. Bach's Goldberg Variations1: Prelude: A Reception History of the Goldberg Variations in the Long Nineteenth Century2: The Goldberg Variations Deconstructed: Transcriptions, Arrangements, and Re-Compositions, 1930-20203: The Goldberg Variations Revisited: Multi-Composer Works, Poststructuralism, and the Open Work Concept4: Dancing to the Goldberg Variations5: Bach as Machine/Bach as Human : The Goldberg Variations in Film Soundtracks6: The Goldberg Variations as Protest and Tragedy: Intertextual Readings in Theatrical Works of the Twentieth- and Twenty-First Centuries7: Coda: The Goldberg Variations as Text, Color, and Image

SynopsisThis book offers the first detailed reception history of adaptations of Johann Sebastian Bach's Goldberg Variations from 1800-2020. By focusing on ways the piece has been arranged, transcribed, and reworked, or quoted in in film, dance, literature, visual art, and digital media, it reveals changing views about the role of the composer and score that have impacted recent performance practices and notions of the work concept. Beyond this, it features thework of composers, many from underrepresented backgrounds, who have recently deconstructed Bach by reimagining the subjects, compositional procedures, and forms, using contemporary compositional approaches., This book provides the first detailed reception history of adaptations of Johann Sebastian Bach's Aria mit 30 Veränderungen ( Goldberg Variations , BWV 988). It documents multiple ways Bach's work has appeared in arrangements, transcriptions, and re-compositions from 1800 to 2020. It examines adaptations for the traditional concert hall as well as for dance, theater, cinema, literature, digital media, and visual art. Overall, the book reveals a dramatic increase in adaptations of the piece in the late twentieth and early twenty-first centuries. In addition, it brings the reception history of Bach's Goldberg Variations into dialogue with broader scholarly discourse about performance practice issues. The piece was often performed in transcribed or arranged versions in the nineteenth century and then again in the late twentieth and early twenty-first centuries. Yet if nineteenth-century adaptations of this piece were usually created out of necessity, as a means of performing a lengthy piece without access to the original instrument, many twenty-first century adaptations, which have developed alongside historically informed performances, were motivated by deconstructionist ideologies. This contrasts with the middle part of the twentieth century, when there was a prevalence of historically informed performances and a dearth of adaptations. Comparisons to other works by Bach reveal similar performance practice trends. The reception history documented in the book also considers the musical work concept. It shows that, particularly since the late 1980s, there has been a loosening of the regulative hold of the modernist work concept associated with single authorship, structural unity, and an autonomous score. It reveals that many recent adaptations are not direct interpretations of an authoritative text, but engage in multivalent dialogues as Bach's score becomes an infinite or open text in which multiple people, including subsequent (re)-composers, performers, directors, and audience members enter into inter- and intra-textual conversations. In the process, the book contributes to recent studies about adaptations, the role of musical authorship, and changing notions of Bach and the work concept in the twenty-first century. At the same time, it discusses many recently composed pieces, including ones by underrepresented composers., This book provides the first detailed reception history of adaptations of Johann Sebastian Bach's Aria mit 30 Veränderungen (Goldberg Variations, BWV 988). It documents multiple ways Bach's work has appeared in arrangements, transcriptions, and re-compositions from 1800 to 2020. It examines adaptations for the traditional concert hall as well as for dance, theater, cinema, literature, digital media, and visual art. Overall, the book reveals adramatic increase in adaptations of the piece in the late twentieth and early twenty-first centuries.In addition, it brings the reception history of Bach's Goldberg Variations into dialogue with broaderscholarly discourse about performance practice issues. The piece was often performed in transcribed or arranged versions in the nineteenth century and then again in the late twentieth and early twenty-first centuries. Yet if nineteenth-century adaptations of this piece were usually created out of necessity, as a means of performing a lengthy piece without access to the original instrument, many twenty-first century adaptations, which have developed alongside historically informed performances,were motivated by deconstructionist ideologies. This contrasts with the middle part of the twentieth century, when there was a prevalence of historically informed performances and a dearth ofadaptations. Comparisons to other works by Bach reveal similar performance practice trends.The reception history documented in the book also considers the musical work concept. It shows that, particularly since the late 1980s, there has been a loosening of the regulative hold of the modernist work concept associated with single authorship, structural unity, and an autonomous score. It reveals that many recent adaptations are not direct interpretations of an authoritativetext, but engage in multivalent dialogues as Bach's score becomes an infinite or open text in which multiple people, including subsequent (re)-composers, performers, directors, and audience membersenter into inter- and intra-textual conversations. In the process, the book contributes to recent studies about adaptations, the role of musical authorship, and changing notions of Bach and the work concept in the twenty-first century. At the same time, it discusses many recently composed pieces, including ones by underrepresented composers., This book provides the first detailed reception history of adaptations of Johann Sebastian Bach's Aria mit 30 Veränderungen (Goldberg Variations, BWV 988). It documents multiple ways Bach's work has appeared in arrangements, transcriptions, and re-compositions from 1800 to 2020. It examines adaptations for the traditional concert hall as well as for dance, theater, cinema, literature, digital media, and visual art. Overall, the book reveals a dramatic increase in adaptations of the piece in the late twentieth and early twenty-first centuries.In addition, it brings the reception history of Bach's Goldberg Variations into dialogue with broader scholarly discourse about performance practice issues. The piece was often performed in transcribed or arranged versions in the nineteenth century and then again in the late twentieth and early twenty-first centuries. Yet if nineteenth-century adaptations of this piece were usually created out of necessity, as a means of performing a lengthy piece without access to the original instrument, many twenty-first century adaptations, which have developed alongside historically informed performances, were motivated by deconstructionist ideologies. This contrasts with the middle part of the twentieth century, when there was a prevalence of historically informed performances and a dearth of adaptations. Comparisons to other works by Bach reveal similar performance practice trends.The reception history documented in the book also considers the musical work concept. It shows that, particularly since the late 1980s, there has been a loosening of the regulative hold of the modernist work concept associated with single authorship, structural unity, and an autonomous score. It reveals that many recent adaptations are not direct interpretations of an authoritative text, but engage in multivalent dialogues as Bach's score becomes an infinite or open text in which multiple people, including subsequent (re)-composers, performers, directors, and audience members enter into inter- and intra-textual conversations. In the process, the book contributes to recent studies about adaptations, the role of musical authorship, and changing notions of Bach and the work concept in the twenty-first century. At the same time, it discusses many recently composed pieces, including ones by underrepresented composers.

LC Classification NumberML410.B13K69 2024