Riemenschneider Bach Institute

 

BACH JOURNAL: Cumulative Index - [D] [E] [F]

BACH JOURNAL: AUTHOR-TITLE-SUBJECT INDEX--CUMULATIVE-1970-2011

DADELSEN, GEORG VON. Friedrich Smend's Edition of the B-Minor Mass by J. S. Bach, (JAMES A. BROKAW, II, Translator), Vol. XX/2 (1989), 49-74.

Dance: On the Performance of Keyboard Allemandes, NATALIE JENNE, Vol. X/2 (1979), 13-30.

Dance Rhythms: Bach's Use of Dance Rhythms in Fugues, NATALIE JENNE, Part I, Vol. IV/4 (1973), 18-26; Part II, Vol. V/1 (1974), 3-8; Part III, Vol. V/2 (1974), 3-21.

David: Hans T. David Writes Concerning "Music History - A Teaching, Learning Performing Experience (Notizbuch für Studenten), Vol. II/3 (1971), 28-32.

David: Hans Theodore David: "A Portrait in Outline," ELINORE L. BARBER, Vol. I/3 (1970), 25-29.

DAVID, HANS T. Bach Analyses, Vol. II/2 (1971), 18-19.

DAVID, HANS T. Bach Analyses, Vol. II/3 (1971), 15-16.

DAVID, HANS T. Bach Form - A Letter and a Ground Plan, Vol. I/2 (1970), 14-17

DAVID, HANS T. Bach Form - Ground Plans, Vol. I/1 (1970), 15-16.

DAVID, HANS T. Bach's Problems and Artistic Creed, Vol. I/2 (1970), 6-13.

DAVID, HANS T. David Collection Relating to American Cultural Life, Vol. VII/4 (1976), 14.

DAVID, HANS T. Deceptive Performance Traditions (ALFRED MANN, Translator), Vol. XXI/2 (1990), 15-30. Reprint with introduction by Max Rudolf, Vol. XXV/2 (1994), 36-53.

DAVID, HANS T. English Translations of Bach Title Pages, Vol. II/3 (1971), 38-39.

DAVID, HANS T. Hans T. David Disclaims the Authenticity of a "Bach Holograph" (Litterae ab musicis), Vol. I/4 (1970), 31-32.

DAVID, HANS T. Hans T. David Writes Alfred Einstein Concerning...the Musical Offering (Litterae ab musicis), Vol. II/1 (1971), 33-34.

DAVID, HANS T. Hans T. David Writes Concerning the Editing of Early Music (Litterae ab musicis), Vol. II/3 (1971), 17-20.

DAVID, HANS T. Hebrew Letters in Polyphonic Settings by Christian Composers, Vol. II/2 (1971), 6-17.

DAVID, HANS T. Johann Sebastian Bach's Great Mass, Vol. II/1 (1971), 29-32.

DAVID, HANS T. Music History - A Teaching, Learning, Performing Experience (Notizbuch für Studenten), Vol. II/3 (1971), 28-32.

DAVID, HANS T. Professor Hans David Speaks to the Topic: "What Every Graduate Student Should Know" (Notizbuch für Studenten), Vol. II/2 (197 1), 27-30.

DAVID, HANS T. Structures of Some Composite Works of the Seventeenth and Eighteenth Centuries, Vol. I/4 (1970), 28-30.

DAVID, HANS T. The Art of the Fugue - A Chart, Vol. I/3 (1970), 21.

DAVID, HANS T. The Art of the Fugue, Vol. I/3 (1970), 5-21.

DAVID, HANS T. The Original Titles of Bach's Works, Vol. I/1 (1970), 5-14.

DAVID, HANS T. The Six-Four Chord without Theory: An "Unofficial" History, Part I, Vol. II/3 (1971), 7-14; Part II, Vol. II/4 (1971), 3-9.

DAVID, HANS T. Translator, J. S. Bach, Title Pages of Cantatas BWV 173 and 194, Vol. II/3 (1971), 38-39.

DAVID, HANS T. Trügerische Aufführungstraditionen, Vol. XXI/2 (1990), 23-30. Reprint with introduction by Max Rudolf, Vol. XXV/2 (1994), 36-53.

Debussy Thanks a Friend for a Gift Received During His Illness (Litterae ab musicis), Vol. VII/3 (1976), 29-30.

Deceptive Edition of the Bach'Cello Suites, A, MARK M. SMITH, Vol. IX/1 (1978), 26-29.

Deceptive Performance Traditions, HANS T. DAVID, (ALFRED MANN, Translator), Vol. XXI/2 (1990), 15-30. Reprint with introduction by Max Rudolf, Vol. XXV/2 (1994), 36-53.

Dedication: ALFRED MANN, Vol. XXII/1 (1991), 3.

DEHN, TONI, (Co-translator) Albert Schweitzer Writes to Elinore Barber, (Litterae ab musicis), May 19, 1963, Vol. II/2 (1971), 20-21.

Dialogue Structures in J. S. Bach's Cantatas: The Basic Form of Worship as a Model for Artistic Shaping, RENATE STEIGER, Vol. XXXIII/2, 35-70.

Did J. S. Bach Compose "Pianoforte Concertos"? EVA BADURA-SKODA, Vol. XXXI/1 (2000), 1-16.

"Dobenecker" Toccata, BWV-Anh. II 85, The,: An Early Bach Work? FRANK MORANA, Vol. XXIV/2 (1993), 26-37.

Document from the Hand of Arthur Mendel, A: Introduction and Commentary, ALFRED MANN. Vol. XX/3 (1989), 4-14.

Doris Ornstein: A Photograph, Reprint, Vol. XXIX/1 (1998), 17-37.

Dryden: The Sources for Dryden's King Arthur, WILLIAM R. HILL, Vol. XII/1 (1981), 23-29. Reprint, Vol. XXV/2 (1994), 107-14.

Dual Chiastic Design of the C Major Prelude, The, BWV 870 (Well-Tempered Clavier, Vol. II), MICHAEL LINTON, Vol. XXVII/1 (1996), 31-56.

DUPRÉ, MARCEL. Marcel Dupré Writes to Albert Riemenschneider (Litterae ab musicis), Vol. III/2 (1972), 31-32.

DUPRÉ, MARCEL. Marcel Dupré Writes to Albert Riemenschneider Concerning the Repair of the Trocadero Organ, Guilmant's Organ, and His Own New Music Room, April 19 and May 30, 1926 (Litterae ab musicis) Vol. VIII/1 (1977), 33-35.

DÜRR, Alfred: The Story Behind Alfred Dürr's "Capriccio," GERHARD HERZ, Vol. XXI/3 (1990), 4-8.

DÜRR, ALFRED. A Special Bi-lingual Offering: The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suite, Part I, Vol. XIII/4 (1982), 2-7; Part II, Vol. XIV/1 (1983), 2-11. Zur Entstehungsgeschichte der Klaviersuiten von Johann Sebastian Bach, Part I, Vol. XIII/4 (1982), 8-13; Part II, Vol. XIV/1 (1983), 12-20.

DÜRR, ALFRED. From the Editor's Desk, 14 November, 1983, Vol. XV/1 (1984), 25-28.

DÜRR, ALFRED. The Historical Background of the Composition of Johann Sebastian Bach's Clavier Suites (Part I and II), Vol. XVI/1 (1985), 53-68.

Dynamics: Performing Bach's Keyboard Music - Dynamics; A Postscript, GEORGE A. KOCHEVITSKY, Vol. VII/1 (1976), 3-11.

Early Handel Prints and a Handel Manuscript in the Bach Institute's Vault Collection, ELINORE L. BARBER, Vol. XVI/2 (1985), 6-17 and 20-70.

Early Music: George Kochevitsky Speaks Concerning the Performance of Early Music (1972-1976), GEROGE KOCHEVITSKY, Vol. XXV/2 (1994), 54-58.

EBERT, ROBERT R. A Comparison of the Prices of the Organs in Bach's Time and the 1980s, Vol. XIX/1 (1988), 28-45.

EBERT, ROBERT R. Thalers, Patrons and Commerce - A Glimpse at the Economy in the Times of J. S. Bach, Vol. XVI/3 (1985), 37-54.

Economics: Thalers, Patrons, and Commerce-A Glimpse at the Economy in the Times of J. S. Bach, ROBERT R. EBERT, Vol. XVI/3 (1985), 37-54.

Editing Early Music: Hans T. David Writes Concerning the Editing of Early Music (Litterae ab musicis), Vol. II/3 (1971), 17-20.

Editing: On Preparing a Performing Edition of Handel's Cantata, Mi palpita il cor, DORIS ORNSTEIN, Vol. X/3 (1979), 3-31. Reprint, Vol. XXIX/1 (1998), 9-37.

Editorial Decisions for Ornaments in Bach's Works. BEVERLY JEROLD, Vol. XXXIII/2 (2002), 1-14.

Editorial Note, ELINORE L. BARBER, Vol. XXIV/2 (1993), 2.

EDITORIAL, (E. B. and A. M.), Vol. XX/1 (1989), 3.

EDITORIALS: Bach Adds a Tempo Mark?, ELINORE L. BARBER, Vol. I/2 (1970), 3-5. Bach and the B-A-C-H Motive, ELINORE L. BARBER, Vol. II/2 (1971), 3-5. Bach's Portrait in Gerber's Lexicon, ELINORE L. BARBER, Vol. II/1 (1971), 3-6. Beethoven and Bach, ELINORE L. BARBER, Vol. I/4 (1970), 4-5. Butter, Guns, and Bach?, ELINORE L. BARBER, Vol. I/3 (1970), 34. Concerning the Three Robin A. Leaver Articles Published in This Issue of BACH, ELINORE L. BARBER, Vol. XVI/4 (1985), 3. Early Handel Prints and a Handel Manuscript in the Bach Institute's Vault Collection, ELINORE L. BARBER, Vol. XVI/2 (1985), 6-17; 20-70. J. S. Bach and the Critics, ELINORE L. BARBER, Vol. II/3 (1971), 4-6. J. S. Bach in the Year of the Moon, ELINORE L. BARBER, Vol. I/1 (1970), 34. Concerning the 25th Anniversary Issue of BACH Journal (Editorial), ELINORE BARBER, Vol. XXV/2 (1994), 5. Concerning BACH Journal: "1995 and Beyond" (Editorial), ELINORE L. BARBER, Vol. XXVI/1-2 (1995), iv. Elinore Barber, Editor of BACH 1970-1998, SUSAN MONSEAU, Vol. XXIX/1 (1998), 5-6. In Tribute to the Work of Doris Ornstein, ELINORE L. BARBER, Vol. XXIX/1 (1998), 7. Vol. XXIX/1 (1998), 87.

Elinore Barber, Editor of BACH 1970-1998 (Editorial), SUSAN MONSEAU, Vol. XXIX/1 (1998), 5-6.
ELINORE L. BARBER (Translator, with Ian Macredie and Alfred Mann). Stylistic Analysis and Text Philology in the Service of "Inner" Chronology" Involving Stylistic Analyses of Selected Arias by Johann Sebastian Bach, REINMAR EMANS, Vol. XXVI/1-2, 1-14.

ELINORE L. BARBER, Bach's Portrait in Gerber's Lexicon (Editorial), Vol. II/1 (1971), 3-6.

ELLER, RUDOLPH. Thoughts on Bach's Leipzig Creative Years, (STEPHEN A. CRIST, Translator,) Vol. XXI/2 (1990), 31-54.

ELLIS, MARK, Motif and Structure in Bach's Fifth Prelude, Vol. XXXVII/1 (2006), 1-25.

EMANS, REINMAR. Stilkritik und Textphilologie im Dienste der "inneren Chronologie." Stilkritische Untersuchungen zu ausgewählten Arien Johann Sebastian Bachs, REINMAR EMANS, Vol. XXVI/1-2, 1-14.

EMANS, REINMAR. Stylistic Analysis and Text Philology in the Service of "Inner" Chronology" Involving Stylistic Analyses of Selected Arias by Johann Sebastian Bach, Vol. XXVI/1-2, 1-14.

Embracing Faith: The Duet as Metaphor in Selected Sacred Cantatas by J. S. Bach, MARY GREER, Vol. XXXIV/1, 1-71.

Embellishments (Acciaccaturas, Broken Chords, Mordents, Inverted Mordents): Performing Bach's Keyboard Music - Embellishments, Part V, Acciaccaturas and Broken Chords; Part VI, Mordents and inverted Mordents, GEORGE A. KOCHEVITSKY, Vol. VI/3 (1975), 20-35.

Embellishments (Appoggiatura): Performing Bach's Keyboard Music - Embellishments, Part IV, The Appoggiatura, GEORGE A. KOCHEVITSKY, Vol. VI/2 (1975), 27-40.

Embellishments (Trill): Performing Bach's Keyboard Music - Embellishments, Part III, The Trill, GEORGE A. KOCHEVITSKY, Vol. VI/1 (1975), 24-35.

Embellishments (Turn, Slide, Compound Ornaments) Performing Bach's Keyboard Music - Embellishments, Part VII, The Turn and the Slide; Part VIII, Compound Ornaments; Part IX, Additional Remarks, GEORGE A. KOCHEVITSKY, Vol. VI/4 (1975), 23-29.

Embellishments: Keyboard Music: Performing Bach's Keyboard Music - Embellishments, GEORGE A. KOCHEVITSKY, Part I: Vol. V/3 (1974), 37-40; Part II: Vol. V/4 (1974), 25-30.

Emperor's Headgear: A Brief Response to Don Smithers, The, JOSHUA RIFKIN, Vol. XXX/1, 70-73.

Emperors' New Clothes Reappraised, The; or Bach's Musical Resources Revealed, DON L. SMITHERS, Vol. XXVIII/1-2 (1997), 1-81.

English Translations of Bach Title Pages, HANS T. DAVID, Vol. II/3 (1971), 38-39.

ESPINOSA, ALMA. More on the Figured-Bass Accompaniment in Bach's Time: Friedrich Erhard Niedt and The Musical Guide, Vol. XII/1 (1981), 13-22.

Establishment of Tempo in Bach's Goldberg Variations, The, WALTER SCHENKMAN, Vol. VI/3 (1975), 3-10.

European Bach Interpretation at the Turn of the Millennium, NICHOLAS BAUMGARTNER, Vol. XXXIII/1 (2002), 1-56.

EVERDELL, WILLIAM R., Review of Bach's Dialogue with Modernity by John Butt, Vol. XL/1 (2012), 84-89.

F-Major Sinfonia (BWV 1046a; formerly 1071): On Linking Bach's F-Major Sinfonia and His Hunt Cantata, BWV 208, MICHAEL MARISSEN, Vol. XXIII/2 (1992), 31-46.

FAIRLEIGH, JAMES P. Italian Prototypes of the Baroque Ritomello, Vol XIV/3 (1983), 2-11.

FAIRLEIGH, JAMES P. Lully as Secrétaire du Roi, Vol. XV/4 (1984), 16-22.

Fasch and the Beginning of Modern Artistic Choral Singing, BEVERLY JEROLD, Vol. XXXV/1 (2004), 61-86.

Fantasy and Fugue in G Minor (BWV 542): A Source Study for Organists, WILLIAM H. BATES, Vol. XXXIX/1 (2008).

FAULKNER, QUENTIN. Jacob Adlung's Musica Mechanica organoedi the "Bach Organ," Vol. XXI/1 (1990), 42-59.

Fermatas: Toward a Correct Performance of Fermatas in Bach's Chorales, DAVID SCHILDKRET, Vol. XIX/1 (1988), 21-27.

Fiddlers: Bach and the Beer Fiddlers, WALTER SCHENKMAN, Vol. XXVI/1-2 (1995), 48-56.

Figured-Bass Accompaniment: More on the Figured-Bass Accompaniment in Bach's Time: Friedrich Erhard Neidt and The Musical Guide, ALMA ESPINOSA, Vol. XII/1 1981), 13-22.


Figured-Bass Accompaniment: The Figured-bass Accompaniment in J. S. Bach's Time: A Brief Summary of Its Development and An Examination of Its Use, Together with a Sample Realization, (Notizbuch für Studenten), MARLA HAMMEL, Part I, Vol. VIII/3 (1977), 26-3 1; Part II, Vol. IX/1 (1978), 30-36; Part III, Vol. M2 (1978), 37-39.

FLINDELL, E. FREDERICK. Apropos Bach's Inventions, Part I, Forkel's Report Vol. XIV/4 (1983), 3-14; Part II, Athanasius Kircher, Christoph Bernhard, and J. G. Walther, Vol. XV/1 (1984), 3-16; Part III, J. A Reincken, Andreas Werckmeister, and Meinrad Spiess, Vol. XV/2 (1984), 3-17; Bach and the Middle Ages, Vol. XXXVI/2 (2005), 1-119.

FLINDELL, E. FREDERICK. Bach's Tempos and Rhetorical Applications, Vol. XXVIII/1-2 (1997), 151-236.

FLINDELL, E. FREDERICK. Correction, A, Apropos Bach's Inventions, Vol. XV/4 (1984), 36.

FLINDELL, E. FREDERICK. From the Editor's Desk, April 20, 1984. Vol. XV/2 (1984), 16-17; Vol. XV/3 (1984), 11.

Flute Sonatas: The Bach Flute Sonatas: Recent Research and a Performer's Observations JANE AMBROSE, Vol. XI/3 (1980), 32-45.

Footnote to "Bach and the B-A-C-H Motive, " A. EWALD V. NOLTE (From Our Readers), Vol. II/3 (1971), 37.

"For the Church as well as for the Orchestra" : J. S. Bach, the Missa, and the Dresden Court, 1700-1750, MARY OLESKIEWICZ, Vol. XXXVIII/2 (2007), 1-38.

For the Love of Bach: The Charles Burney - Samuel Wesley Correspondence, SAMUEL J. ROGAL, Vol. XXIII/1 (1992), 31-37.

FORKEL, JOHANN NICHOLAS.  Über Johann Sebastian Bachs Leben Kunst und Kunstwerke; für patriotische Verehrer echter musikalischer Kunst (Vault Holdings), Vol. II/3 (1971), 21-24.

FORRESTER, DONALD W. Pablo Nasarre's Contrapuntal Method, Vol. XV/4 (1994), 23-31.

FRANKLIN, DON O. The Carnegie Manuscript and J. S. Bach, Vol. XXII/1 (1991), 5-15.

Friedrich Smend's Edition of the B-Minor Mass by J. S. Bach, from the German of GEORG VON DADELSEN (JAMES A. BROKAW, II, Translator), Vol. XX/2 (1989), 49-74.

From Bull to Bach: In Search of Precedents for the "Complete" Version of the Canon by Augmentation and Contrary Motion in J. S. Bach's "Musical Offering," DENIS COLLINS, Vol. XXXVIII/2 (2007), 39-63.

From Johannes Brahms to Robert Kahn: 1887, HELMUTH RILLING (Litterae ab musicis), Vol. VI/4 (1975), 20-22.

From Ohrdruf to Mühlhausen: A Subversive Reading of Bach's Relationship to Authority. SARA BOTWINICK, Vol. XXXV/2 (2004), 1-59.

FROM OUR READERS Vol. II/3 (1971), 37. Vol. II/4 (1971), 36-37. Vol. III/1, (1972), 34. Vol. III/2 (1972), 40-43. Vol. III/3 (1972), 43-44. Vol. III/4 (1972), 4 1. Vol. V/1 (1974), 33-34. Vol. V/2 (1974), 50-51. Vol. V/3 (1974), 41. Vol. VI/1 (1975), 36-39. Vol. VIII/1 (1977), 25-29. Vol. VIII/2 (1977), 26-27. Vol. VIII/3 (1977), 32-35.

FROM THE EDITOR'S DESK Vol. IV/2 (1973), 40. Vol. IV/4 (1973), 36. Vol. V/4 (1974), 31. Vol. VI/1 (1975), 40. Vol. VI/2 (1975), 26. Vol. VI/3 (1975), 40. Vol. VI/4 (1975), 29, 36. Vol. VII/2 (1976), 22. Vol. VII/4 (1976), 22. Vol. VIII/3 (1977), 35. Vol. XI/4 (1980), 21. Vol. XII/1 (1981), 22. Vol. XII/2 (1981), 19. Vol. XIV/3 (1983), 29-30. Vol. XV/1 (1984), 25-28. Vol. XV/2 (1984), 16. Vol. XV/3 (1984), 11. Vol. XV/4 (1984), 32-33.

Fugue: Significance of the Original Subject and its Variants in Bach's Die Kunst der Fuge, ADEL HEINRICH, Vol. XV/3 (1984), 24-32.

Fugue Subjects: The Influence of Hexachordal Thinking in the Organization of Bach's Fugue Subjects, WALTER SCHENKMAN, Vol. VII/3 (1976), 7-16.

FUHR, HAYES M. (1891-1975). Memorial Dedication, Vol. VI/3 (1975), 19.

Fully Notated Articulation in Bach s Mature Keyboard Music, JOHN BOE, Part I, Vol. VII/1 (1976), 12-19; Part II, Vol. VII/2 (1976), 14-22.

Funeral Sermon for Heinrich Schütz, The, ROBIN A. LEAVER, Part I, Vol. IV/4 (1973), 3-17; Part II, Vol. V/1 (1974), 9-22; Part III, Vol. V/2 (1974), 22-35; Part IV, Vol. V/3 (1974), 31-20. Reprint, Vol. XXV/2 (1994), 115-129.

Further Thoughts on B-A-C-H, ROBIN A. LEAVER (From Our Readers), Vol. II/4 (1971), 36-37.

Future Editor of BACH Journal, The, MELVIN P. UNGER, Vol. XXVIII/1-2 (1997), v.

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