This volume opens with Joshua Rifkin’s seminal study of the early source history of the B-minor orchestral suite. It not only elaborates on Rifkin’s discovery that the work in its present form for solo flute goes back to an earlier version in A minor, ostensibly for solo violin, but also takes this discovery as the point of departure for a wide-ranging discussion of the origins and extent of Bach's output in the area of concerted ensemble music.
Jeanne Swack presents an enlightening comparison of Georg Phillip Telemann’s and Bach's approach to the French overture as concerted movements in their church cantatas, and Steven Zohn views the B-minor orchestral suite from the standpoint of the "concert en ouverture," responding to Rifkin by suggesting that the early version of the B-minor orchestral suite may also have been scored for flute.
Gregory Butler is a professor of musicology at the University of British Columbia, and the author of Bach's Clavier-Übung III: The Making of a Print.
In addition to his novels, short stories, plays, poetry, and a flood of journalism, Theodore Dreiser is estimated to have written an astonishing 20,000 letters. A Picture and a Criticism of Life presents a selection from his previously unpublished letters and shows Dreiser in every mood and circumstance, from crisply professional to happily unbuttoned. Meticulously annotated by Donald Pizer, the selections often shed significant new light on the writer's beliefs and activities during the various stages of his long career.
A volume in the series The Dreiser Edition, edited by Thomas P. Riggio
Christoph Wolff suggests the possibility that Bach's three festive works for Christmas, Easter, and Ascension Day form a coherent group linked by liturgy, chronology, and genre. Daniel R. Melamed considers the many ways in which Bach's passion music was influenced by the famous poetic passion of Barthold Heinrich Brockes. Markus Rathey examines the construction and role of oratorio movements that combine chorales and poetic texts (chorale tropes). Kerala Snyder shows the connections between Bach's Christmas Oratorio and one of its models, Buxtehude's Abendmusiken spread over many evenings. Laurence Dreyfus argues that Bach thought instrumentally in the composition of his passions at the expense of certain aspects of the text. And Eric Chafe demonstrates the contemporary theological background of Bach's Ascension Oratorio and its musical realization