Description
Book SynopsisIn the eighteenth century the universal harmony of God's creation and the perfection of the unity (1:1) were philosophically, morally and devotionally significant. Ruth Tatlow employs theoretical evidence and practical demonstrations to explain how and why Bach used numbers in his published compositions.
Trade Review'[This book] takes in all Bach's major collections and more, including the two Passions, three Oratorios and the B minor Mass. In sheer extent and richness of background, and number of works examined, Tatlow's book is a most original and impressive achievement that will need to be taken into account in future discussions of these fascinating compositions.' David Ledbetter, Early Music
'For anyone who wishes to explore the logical pathways of Bach's genius, Tatlow's analysis gets to the heart of the aesthetic, theological and Pythagorean presuppositions underlying the Bachian concepts of 'Vollkommenheit', perfection through calculation; and 'Harmonie' … the harmony of proportion, here a mirror of divine order.' Gian Mario Benzing, translated from Corriere della Sera (La Lettura)
'… Tatlow's approach to the subject matter is unique, and the vigorousness with which her methodology is applied has uncovered numerous new and unexpected facts. Bach scholarship cannot ignore her voice.' Yo Tomita, Music and Letters
… Bach's Numbers clears the way for some promising new directions in Bach scholarship. Tatlow's work should be valued not only for what it suggests for future study, however, but for what it provides in its own right: a bold historical rendering of Bach's compositional process that forces us to view some of the composer's greatest works in a new light, and with deepened appreciation.' Robert L. Wells, Music Analysis
Table of ContentsPart I. Foundations: 1. Bach's numbers; 2. Symmetry, proportion and parallels; 3. Unity, proportions and universal harmony in Bach's world; 4. Bars, compositional planning and proportional parallelism; Part II. Demonstrations: 5. Three collections for strings; 6. Four in two collections for keyboard; 7. Two further collections for keyboard; 8. Two small late collections; 9. Two large late collections; 10. Collections of concertos; 11. Collections of organ works; 12. Great passions and cantatas; 13. Festive cut-and-paste projects: masses and oratorios; 14. Lost blueprints; Appendix 1. Chronological index of musical doctrine.
