The American Bach Society

Publications

Bach Perspectives 8: Bach and the Oratorio Tradition, Daniel R. Melamed, ed. (in preparation)

Bach Perspectives 7: J. S. Bach's Concerted Ensemble Music, The Concerto, Gregory G. Butler, ed. (University of Illinois Press, 2007)

• Gregory Butler: Bach the Cobbler: The Origins of J. S. Bach's E-Major Concerto (BWV 1053)

• Pieter Dirksen: J. S. Bach's Violin Concerto in G Minor

• David Schulenberg: The Sonate auf Concertenart: A Postmodern Invention?

• Christoph Wolff: Sicilianos and Organ Recitals: Observations on J. S. Bach's Concertos

Bach Perspectives 6: J. S. Bach's Concerted Ensemble Music, The Ouverture, Gregory G. Butler, ed. (University of Illinois Press, 2007)

• Joshua Rifkin: The "B-Minor Flute Suite" Deconstructed: New Light on Bach's Ouverture BWV 1067

• Jeane Swack: A Comparison of Bach's and Telemann's Use of the Ouverture as Theological Signifier

• Steven Zohn: Bach and the Concert en ouverture

Bach Perspectives 5: Bach in America, Stephen Crist, ed.  (University of Illinois Press, 2002)

• Barbara Owen: Bach Comes to America

• Matthew Dirst: Doing Missionary Work: Dwight's Journal of Music and the American Bach Awakening

• Michael Broyles: Haupt's Boys: Lobbying for Bach in Nineteenth-Century Boston         

• Mary J. Greer" "The Public . . . Would Probably Prefer Something that Appeals Less to the Brain and More to the Senses": The Reception of Bach's Music in New York City, 1855–1900

• Hans-Joachim Schulze: "A Lineal Descendant of the Great Musician, John Sebastian Bach"?: Bach Descendants in the United States and the Problem of Family Oral Tradition

• Christoph Wolff: Descendants of Wilhelm Friedemann Bach in the United States

• Peter Wollny: On Miscellaneous American Bach Sources

• Carol K. Baron: "Father Knew (and Filled Me Up with) Bach": Bach and Ives--Affinities in Lines and Spaces

• Stephen A. Crist: The Role and Meaning of the Bach Chorale in the Music of Dave Brubeck

Bach Perspectives 4: The Music of J. S. Bach: Analysis and Interpretation, David Schulenberg, ed. (University of Nebraska Press, 1999)

• Alfred Mann: Introduction: Bach's Orchestral Music
• Gregory G. Butler: The Question of Genre in the Fourth Brandenburg Concerto
• Jeanne Swack: Modular Structure and the Perception of Ritornello in Bach's Brandenburg Concertos
• John Koster: The Harpsichord Culture in Bach's Environs
• Mary Oleskiewicz: The Trio Sonata in the Musical Offering: A Salute to Frederick the Great's Tastes and Quantz's Flutes
• David Schulenberg: Versions of Bach: Performing Practices in the Keyboard Works
• William Renwick: "39 Praeludia et Fugen del Signor Johann Sebastian Bach": The Langloz Manuscript
• Paul Walker: Fugue in the Music-Rhetorical Analogy and Rhetoric in the Development of the Fugue
• John Butt: Bach Recordings from 1980 to 1995: A Mirror of Historical Performance

Bach Perspectives 3: Creative Responses to Bach, from Mozart to Hindemith, Michael Marissen, ed. (University of Nebraska Press, 1998)

• Ludwig Finscher: Bach's Posthumous Role in Music History.
• Thomas Christensen: Bach among the Theorists.
• Robert L. Marshall: Bach and Mozart's Artistic Maturity.
• William Kinderman: Bachian Affinities in Beethoven.
• Walter Frisch: Bach, Brahms, and the Emergence of Musical Modernism.
• Stephen Hinton: Hindemith, Bach, and the Melancholy of Obligation

Bach Perspectives 2: J. S. Bach, the Breitkopfs, and Eighteenth-Century Music Trade, George B. Stauffer, ed. (University of Nebraska Press, 1996)

• George B. Stauffer: Introduction: The Breitkopf Family and its Role in Eighteenth-Century Publishing.
• Ernest May: Connections between Breitkopf and J. S. Bach.
• Andreas Glöckner: Church Cantatas in the Breitkopf Catalogs.
• Hans-Joachim Schulze: J. S. Bach's Vocal Works in the Breitkopf Nonthematic Catalogs of 1761 to 1836.
• Yoshitake Kobayashi: Breitkopf Attributions and Research on the Bach Family.
• Peggy Daub: The Publication Process and Audience for C.P.E. Bach's Sonaten für Kenner und Liebhaber.
• Neal Zaslaw: The Breitkopf Firm's Relations with Leopold and Wolfgang Mozart.
• Yoshitake Kobayashi: On the Identification of Breitkopf's Manuscripts.
• George R. Hill: Identifying Breitkopf House Copies Produced by the Firm's Own Scribes: A Preliminary Survey.
• Robert M. Cammarota: The Magnificat Listings in the Early Breitkopf Nonthematic Catalogs.
• Gregory G. Butler: Johann Gottlob Immanuel Breitkopf: The Formative Years.
• Ortrun Landmann: Breitkopf's Music Trade as Reflected in the Holdings of the Sächsische Landesbibliothek.
• George B. Stauffer: The Thomasschule and the Haus "zum Goldenen Bären": A Bach-Breitkopf Architectural Connection.

Bach Perspectives 1, Russell Stinson, ed. (University of Nebraska Press, 1995)

• David Schulenberg: Composition and Improvisation in the School of J. S. Bach.
• Russell Stinson: The Compositional History of Bach's Orgelbüchlein.
• Michael Marissen: Concerto Styles and Signification in Bach's First Brandenburg Concerto.
• Eric T. Chafe: Anfang und Ende: Cyclic Recurrence in Bach's Cantata Jesu, nun sei gepreiset, BWV 41.
• Stephen A. Crist: The Question of Parody in Bach's Cantata Preise dein Glücke, gesegnetes Sachsen, BWV 215.
• James A. Brokaw II, The Perfectability of J. S. Bach, or Did Bach Compose the Fugue on a Theme by Legrenzi, BWV 574a?

Compact Disc: The Uncommon Bach: Johann Sebastian Bach Organ Works--Variants, Rarities, and Transcriptions
(PGM Recordings, 1997; co-sponsored by PGM and ABS)

George Ritchie, organist
            Prelude and Fugue in G Minor, BWV 535a
            Trio Sonata in G Major, BWV 1027a
                        Adagio
                        Allegro ma non tanto
                        Andante
                        [Allegro moderato]
            Toccata in D Major, BWV 912
            An Wasserflüssen Babylon, BWV 635b

Joan Lippincott, organist
            Prelude, Largo, and Fugue in C Major, BWV 545
            Three Chorale Preludes
                        Vom Himmel hoch, da komm' ich her, BWV Anh. 64
                        Fantasia sopra Wir glauben all' an einen Gott, Vater, BWV Anh. 69
                        Wir glauben all' an einen Gott, Vater, BWV 740
            Fugue in D Major, BWV 532a
            Concerto in A Minor for Four Harpsichords (Vivaldi-Bach), BWV 1065,
                        transcribed for organ by Joan Lippincott
                        [Allegro]
                        Largo
                        Allegro