Riemenschneider Bach Institute

 

BACH Journal: Cumulative Index - [G] [H] [I]

AUTHOR-TITLE INDEX-SUBJECT--CUMULATIVE-1970-2011

The Galant Style in J. S. Bach's Musical Offering: Widening the Dimensions, GREG BUTLER, Vol. XXXIII/1 (2002), 57-68.

GANZ, BEATRICE. Problems of Articulation in Baroque Keyboard Music (At the Piano or the Organ), Vol. VII/2 (1976), 3-13.

GARCIA, FEDERICO. The Nature of Bach's Italian Concerto BWV 971, Vol. XXXVI/1 (2005), 1-24.

GASPARINI, FRANCESO. L'armonica Practico al Cimbalo (Vault Holdings), Vol. II/2 (1971), 22.

GECK, MARTIN, The Ultimate Goal of Bach's Art, Vol. XXXV/1 (2004), 29-41.

GEIRINGER, KARL (1899-1989). Memorial Dedication, Vol. XX/1 (1989), 5.

GELVIN, MIRIAM P. (1916-1987). Memorial Dedication, Vol. XIX/1 (1988), 2.

George III: Madness and Music: Handel's Porphyric Patron, George III, JANE AMBROSE, Vol. XXVII/1 (1996), 57-65.

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

GERBER, ERNST LUDWIG. Historisch-Biographisches Lexikon der Tonkünstler (Book 1, 1790; Book 2, 1792); (WALTER WINZENBURGER, Translator of the "Bach, Joh. Sebastian" entry in), Part I, Vol. I/2 (1970), 26-30. See also Vault Holdings, Vol. II/1 (1971), 36-37.

GERBER, ERNST LUDWIG. Lexicon (Vault Holdings), Vol. II/1 (1971), 36-37.

GERBER, ERNST LUDWIG. Neues historisch-biographisches Lexikon der Tonkünstler (Book 1, 1812; Book 2, 1812; Book 3, 1813; Book 4, 1814), (WALTER WINZENBERGER, Translator of the "Bach [Johann Sebastian]" entry in), Part II, Vol. I/3 (1970), 30-40.

GETZ, CHRISTINE SUZANNE. A Telemann Concerto for Violin and Strings?: Some Hints on the Reconstruction of an Unidentified Concerto, Vol. XIX/2 (1988), 3-24.

GLEASON, HAROLD. (1892-1980). Memorial Dedication, Vol. XI/4 (1980), 2.

GLEASON, HAROLD. (From Our Readers), Vol. III/4 (1972), 41.

GLEASON, HAROLD. A Seventeenth-Century Organ Instruction Book, Vol. III/1 (1972), 3-12. Reprint, Vol. XII/3 (1981), 11-20.

GLEASON, HAROLD. Wegweiser die Kunst die Orgel recht zu schlagen: A Seventeenth-Century Organ Instruction Book, Vol. XXVII/2 (1996), 60-77.

ANDREAS GLÖCKNER. Alumni and Externals in the Choirs of the Thomas School during Bach's Time, Vol. XL/1 (2009), 1-34.

Gnadengegenwart: Johann Sebastian Bach im Kontext lutherischer Orthodoxie und Frömmigkeit by Renate Steiger. [Review] MARK BANGERT, XXXV/2 (2004), 60-68.

Goldberg Variations: Bach, J. S., Clavierübung IV [The "Goldberg" Variations], Nürnberg [ca. 17421 (Bach Tercentenary Facsimile Project), Vol. XI/1 (1980), 2-40.

Goldberg Variations: The Establishment of Tempo in Bach's Goldberg Variations, WALTER SCHENKMAN, Vol. VI/3 (1975), 3-10. See also BWV 988.

GOLDSMITH, GWEN. (From Our Readers), Vol. III/1 (1972), 34.

GOLDSTEIN, MICHAEL. In Tokyo: A Little-Known Bach Autograph, (GEORGE KOCHEVITSKY, Translator), Vol. IX/2 (1978), 33-36.

GÖNCZ ZOLTÁN. The Sacred Codes of the Six-Part Ricercar, Vol. XLII/1 (2011), 46-69.

Gottfried Reiche: A More Complete Biography, TIMOTHY A. COLLINS, Vol. XIX/3 (1988), 4-18.

Gounod, Charles, Writes to His Friend, the English Conductor and Composer, Sir Michael Costa (Litterae ab musicis), Vol. VIII/2 (1977), 28-29.

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

GREER, MARY. Masonic Allusions in the Dedications of Two Canons by J. S. Bach, BWV 1078 and 1075, Vol. XLIII/2 (2012), 1-45.

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

HAMMEL, MARLA. 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), Part I, Vol. VIII/3 (1977), 26-31; Part II, Vol. XI/1 (1978), 30-36; Part III, Vol. IX/2 (1978), 37-39.

Handel: 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.

Handel, G. F. Jubilate (Vault Holdings), Vol. II/3 (1971), 24. (1685-1759). Memorial Dedication, Vol. XVI/2 (1985), 2. Messiah (Vault Holdings), Vol. II/2 (1971), 23, Vol. II/4 (1971), 17. Mi palpita il cor (A Performing Edition), ed. Doris Ornstein, Vol. X/3 (1979), 11-30. Reprint, Vol. XXIX/1 (1998), 17-37. Organ Concertos, Op. 4 (Vault Holdings), Vol. II/4 (1971), 16-17. Overtures (Vault Holdings), Vol. II/1 (1971), 35-36. Sixty Overtures from All His Operas and Oratorios for Violin in 8 Parts, Vol. VIII/3 (1976), 32-35.

Handel, G. F.: Jubilate (Vault Holdings), Vol. II/3 (1971), 24. (1685-1759).

Handel, G. F.: Memorial Dedication, Vol. XVI/2 (1985).

Handel, G. F.: Messiah (Vault Holdings), Vol. II/2 (1971), 23, Vol. II/4 (1971), 17.

Handel, G. F.: Mi palpita il cor (A Performing Edition), ed. Doris Ornstein, Vol. X/3 (1979), 11-30. Reprint, Vol. XXIX/1 (1998), 17-37.

 Handel, G. F.: Organ Concertos, Op. 4 (Vault Holdings), Vol. II/4 (1971), 16-17.

Handel, G. F.: Overtures (Vault Holdings), Vol. II/1 (1971), 35-36.

Handel, G. F.: Sixty Overtures from All His Operas and Oratorios for Violin in 8 Parts, Vol. VIII/3 (1976), 32-35.

Handel: Madness and Music: Handel's Porphyric Patron, George III, JANE AMBROSE, Vol. XXVII/1 (1996), 57-65.

Handel: 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.

Handel: The Text Selection Process in Handel's Chandos Anthems, HOWARD COX, Vol. XXIV/1 (1993), 21-34.

Handel: Unknown Detail of Handel Biography, An, ALFRED MANN, Vol. XVI/2 (1985), 3-5. Reprint, Vol. XXV/2 (1994) (1994), 59-62.

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

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

Hans T. David Writes Concerning "Music History - A Teaching, Learning, Performing Experience (Notizbuch f�r Studenten), Vol. II/3 (197 1), 28-32.

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

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

HARMON, THOMAS. The Mühlhausen Organ Revisited - Precious Clues to Bach's Preference in Organ Design and Registration, Vol. IV/1 (1973), 3-15. Reprint, Vol. XXVI/1-2 (1995), 57-69.

Harmony: Bach, Theology, and Harmony: A New Look at the Arias, STEPHEN A. CRIST, Vol. XXVII/1 (1996), 1-30.

Harmony of the Spheres: Kepler, Bach, and Gauss: The Celestial Harmony of the Earth's Motion, HERBERT ANTON KELLNER, Vol. XXV/1 (1994), 46-56.

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

Harpsichord: Doris Ornstein's Harpsichord Transcription of BWV 1010, Vol. XXIX/1 (1998), 47-76.

Harpsichord: Marin Marais: Selected Works as Arranged for Harpsichord by Doris Ornstein: Fête Champètre Tambourin (from Book IV of Pièces de Violes), Vol. XXIX/1 (1998), 77-82.

HARRISS, ERNEST. A Chronology of the Works of Johann Sebastian Bach, Part I, Vol. XI/2 (1980), 2-20; Part II, Vol. XI/3 (1980), 2-8; Part III, Vol. XI/4 (1980), 3-7.

HARRISS, ERNEST. J. F. Agricola's Anleitung zur Singkunst: A Rich Source by a Pupil of J. S. Bach, Vol. IX/3 (1978), 2-8.

HARTWELL, ROBERT and SUSAN UNMACK. Baroque Ideals of Text Declamation and Their Relevance to the Falsobordone Genre, Vol XIV/4 (1983), 15-24.

HARTZELL, LAWRENCE. American Music: 1600-1750, Part I, The Spanish Colonies, Vol. VII/3 (1976), 3-6; Part II, The English Colonies, Vol. VII/4 (1976), 26-30; Part III, The German Colonie; Vol. VIII/1 (1977), 18-22.

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

Heinrich Schütz and the Foundations of the Stile recitativo in Germany, MARK A. RADICE, Vol. XVI/4 (1985), 9-23.

Heinrich Schütz as a Biblical Interpreter, ROBIN A. LEAVER, Vol. IV/3 (1973), 3-8. Reprint, Vol. XVI/4 (1985), 4-8.

HEINRICH, ADEL. A Collation of the Expositions in Die Kunst der Fuge of J. S. Bach, Vol. XII/2 (1981), 28-40.

HEINRICH, ADEL. Heretofore Unpublished Conclusions for the "Incomplete" Quadruple Fugue (Die Kunst der Fuge) Project, Part I: Adel Heinrich's 1986 Contribution, Vol. XVII/4 (1986), 30-41.

HEINRICH, ADEL. Significance of the Original Subject and Its Variants in Bach's Die Kunst der Fuge, Vol. XV/3 (1994), 24-32.

Henry Purcell's Contributions to The Gentleman's Journal, MARK A. RADICE, Part I, Vol. IX/4 (1978), 25-30; Part II, Vol. X/1 (1979), 26-31.

Heretofore Unpublished Conclusions for the "Incomplete" Quadruple Fugue (Die Kunst der Fuge) Project, Part I: Adel Heinrich's 1986 Contribution, ADEL HEINRICH, Vol. XVII/4 (1986), 30-41.

HERFORD, JULIUS. (1901-1981). Memorial Dedication, Vol. XII/4 (1981), 2.

HERFORD, JULIUS. Bach's Model(s) of "Good Inventiones" (Notizbuch für Studenten), Part I, Vol. II/4 (1971), 10-14; Part II, Vol. III/1 (1972) 27-30; Part III, Vol. III/2 (1972), 28-30.

HERFORD, JULIUS. Bach's Models of "Good Inventiones" - How to Develop the Same Well, Vol. IV/1 (1973), 16-20.

HERFORD, JULIUS. J. S. Bach's Fugue II in C Minor (The Well-Tempered Clavier, Book I). An Analysis (Notizbuch für Studenten), Vol. IV/3 (1973), 36-40.

HERFORD, JULIUS. Reply to Sol Babitz (From Our Readers), Vol. III/2 (1972), 43.

HERFORD, JULIUS. The C-Major and C-Minor Preludes of the Well-Tempered Clavier, Book I, Vol. IV/2 (1973), 17-2 1.

HERZ, GERHARD. A Bach Signature in the Possession of Gerhard Herz (Vault Holdings) - Tercentenary Facsimile Publication Project, Vol. IX/4 (1978), 23-24.

HERZ, GERHARD. From Our Readers, Vol. VIII/3 (1977), 34-35.

HERZ, GERHARD. Lombard Rhythm in the Domine Deus of Bach's B-Minor Mass An Old Controversy Resolved, Vol. VIII/1 (1977), 3-11.

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

HERZ, GERHARD. Toward a New Image of Bach, Part I, Vol. I/4 (1970), 9-27; Part II Vol. II/1 (1971), 7-28. Reprint, Vol. XVI/1 (1985), 12-52.

HERZ, GERHARD. Translator, "I Had to be Industrious..." Thoughts about the Relationship Between Bach's Social and Musical Character, ULRICH SIEGELE, Vol. XXII/2 (1991), 5-12.

HERZ, GERHARD. Translator, Yoshitake Kobayashi's Article, "On the Chronology of the Last Phase of Bach's Work - Compositions and Performance 1736 to 1750" - An Analysis with Translated Portions of the Original Text, Vol. XXI/1 (1990), 3-25.

HEWLETT, WALTER B. Wegweiser...die Kunst die Orgel recht zu schlagen (In Department: Riemenschneider Bach Institute Vault Holdings), (with W. B. Hewlett's "Introductory Remarks" and Editorial Notes), Part II, Vol. XVIII/2 (1987), 4-63; Part III, vol. XVIII/3 (1987), 11-37; Part IV, Vol. XVIII/4 (1987), 29-54; Part Vol. XIX/2 (1988), 25-56; Part VI, Vol. XIX/3 (1988), 19-74.

HILL, WILLIAM R. The Sources for Dryden's King Arthur, Vol.XII/1 (1981), 23-29. Reprint, Vol. XXV/2 (1994), 99-106.

HIRSCH, ARTUR. Johann Sebastian Bach's Cantatas in Chronological Order, Vol. IV/3 (1973), 18-35.

HIRSCH, ARTUR. Number Symbolism in Bach's First Cantata Cycle: 1723-1724, Part I, Vol. VI/3 (1975), 11-19; Part II, Vol. VI/4 (1975), 14-19; Part III, Vol. VII/1 (1976), 27-32.

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

Historical Precedents for Bach's Evolutio Canon, BWV 1087/10, DENIS COLLINS, Vol. XXIV/1 (1993), 5-14.

Historisch-Biographisches Lexikon der Tonkünstler (Book 1, 1790; Book 2, 1792), ERNST LUDWIG GERBER (WALTER WINZENBERGER, Translator of the "Bach, Joh. Sebastian" entry in), Part I, Vol I/2 (1970), 26-30. See also Vault Holdings, Vol. II/1 (1971), 36-37.

HOCHREITHER, KARL. Some Reflections on the Performance of Bach's Vocal-Instrumental Works, Vol. VIII/2 (1977), 2-14.

Horn: Observations on Bach's Use of the Horn, BERTIL H. VAN BOER, JR., Part I, Vol. XI/2 (1980), 21-29; Part II, Vol. XI/3 (1980), 9-23.

Hungry Soul, The. ISABELLA VAN ELFEREN, Vol. XL (2009), 35-57.

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

Improvisation as a Stimulus to Composition in Bach's Partita II, WARWICK COLE, Vol. XXXI/1 (2000), 96-112.

"I Had to be Industrious..." Thoughts about the Relationship Between Bach's Social and Musical Character, ULRICH SIEGELE, (GERHARD HERZ, Translator), Vol. XXII/2, (1991), 5-12.

In Tokyo: A Little-Known Bach Autograph, MICHAEL GOLDSTEIN (GEORGE KOCHEVITSKY, Translator), Vol. IX/2 (1978), 33-36.

In Tribute to the Work of Doris Ornstein (Editorial), ELINORE L. BARBER, Vol. XXIX/1 (1998), 7.

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

Introduction to Beiträge zur Bachforschung, An, RUSSELL STINSON, Vol. XVIII/1 (1987), 22-24.

Inventions: Organization in the Two-Part Inventions of Johann Sebastian Bach, COURTNEY S. ADAMS, Part I, Vol. XIII/2 (1982), 6-16; Part II, Vol. XIII/3 (1982), 12-19.

Inventory of Bach's Musical Offering, An, MARK A. RADICE, Vol. VI/1 (1975), 12-16.

IRWIN, JOYCE. The Orthodox Lutheranism of Mattheson and Bach, Vol. XLII/1 (2011), 70-83

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

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