Bach Printed Music Database Search Result - Ordered Chronologically

Author : Reininghaus, Frieder
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Type	List	Author: Title, Series, Vol/No (Year/Month/Date of Publication), Pages	Status
	1.	Reininghaus, Frieder:   Internationales Musikfest Stuttgart: Ausverkauft, o liebe Seele... 'So wird Bachs Musik auch hier zum Erlääbnis.' Helmuth Rilling im ZDF, 22.9.1985. Concerto 3/1 (Dec 1985), 9.
	2.	Reininghaus, Frieder:   Auftakt zum Bachjahr. 59. Bachfest in Kassel. Musica 39/1 (Jan-Feb 1985), 43-45. Berichte / Kommentare.
	3.	Reininghaus, Frieder:   Über einige Folgen der arbeitsamen Musik. Bach und die Arbeit. Concerto 3/4 (Jun 1986), 36-38. Concerto-Essay.
	4.	Reininghaus, Frieder:   J. S. Bach und die Arbeit: Kleines Präludium über einige Folgen der 'arbeitsamen Musik'. [cr]Stuttgart1985 (1987), i: 413-417.
	5.	Reininghaus, Frieder:   Der Hammer Gottes und Christi Grab im Keller: Herbert Wernickes Inszenierungen geistlicher Werke. HandbM20Jh 7 (2004), 283-288. [BWV 141]
	6.	Reininghaus, Frieder; Schneider, Katja (eds.):   Experimentelles Musik- und Tanztheater. Frieder Reininghaus; Katja Schneider (Hrsg.). In Verbindung mit Sabine Sanio. Unter Mitarb. von Barbara Barthelmes ... - Laaber: Laaber-Verlag, 2004. 391p. ISBN: 3-89007-427-8. (= Handbuch der Musik im 20. Jahrhundert / wiss. Beirat: Elmar Budde ..., Bd. 7) [contents]
	7.	Reininghaus, Frieder:   Ave Bach: Anfänge des internationalen Aufstiegs. [ce]BachABC (2007), 11-16. [Essay on the C-major prelude from Das wohltemperirte Klavier I, BWV 846, and its remarkable career as the accompaniment in Charles Gounod's setting of the Ave Maria.]
	8.	Reininghaus, Frieder:   1693: Schulschwänzen in Eisenach. [ce]BachABC (2007), 17-18. [While the figure of Bach is always associated with devotion to duty and hard work, the records of the Lateinschule in Eisenach indicate that he was an inveterate cutter of classes at the age of eight or so. The reason, most likely, was that, far from avoiding work, he was helping out in the family business, singing for weddings, baptisms, jubilees, and burials, as would be normal for a musician family in northern Germany at that time.]
	9.	Reininghaus, Frieder:   1703: Erste Arbeit in Arnstadt und Probleme mit der Obrigkeit. [ce]BachABC (2007), 19-23. [Anecdotes of Bach's conflicts with his employers in his earliest full-time jobs, in Arnstadt amd Weimar, between 1703 and 1717.]
	10.	Reininghaus, Frieder:   Brandenburgische Konzerte. [ce]BachABC (2007), 24-28. [Remarks on the extraordinary diversity of form found in the six concertos BWV 1046-51.]
	11.	Reininghaus, Frieder:   Cembalo, Clavecin, Clavier, Clavizymbel, Clavichord. [ce]BachABC (2007), 29-30. [Discusses the terminology of the harpsichord family instruments in Bach's day (plus clavichord and piano) and the different instruments inventoried in the composer's possession at the time of his death.]
	12.	Reininghaus, Frieder:   Dresdner Wettspiel. [ce]BachABC (2007), 31-32. [Retells the story of the harpsichord playing competition between Bach and the French composer-performer Louis Marchand at the Dresden court of King August II in September 1717, from which Marchand ignominiously fled. While the story is most likely untrue, it provides valuable insight into the reception of Bach in the later 18th and 19th c., when the story spread.]
	13.	Reininghaus, Frieder:   Endzweck. [ce]BachABC (2007), 33-34. [Brief account of Bach's employment at Mühlhausen in 1707-08, when he left in favor of a position at Weimar where he felt he would be better able to attain his 'Endzweck' of a 'regulierte kirchen music zu Gottes Ehren.']
	14.	Reininghaus, Frieder:   Flötensonate in h. [ce]BachABC (2007), 35-39. [Wide-ranging remarks on the sonata, BWV 1030, written ca. 1736 either for the musicians' gatherings at Zimmermann's Leipzig coffee house or for the visiting French flutist Pierre-Gabriel Buffardin at the Dresden court; focusing on Bach's innovations in this kind of chamber music and on his frequent recycling of earlier material by himself and other composers.]
	15.	Reininghaus, Frieder:   Goldberg-Variationen und Glenn Gould. [ce]BachABC (2007), 40-43. [Remarks on the variations BWV 988, with particular attention to form, and on its recordings by Glenn Gould.]
	16.	Reininghaus, Frieder:   Hände und Faust des Meisters. [ce]BachABC (2007), 44-45. [Remarks on Bach's hands as remembered by his contemporaries and his keyboard technique.]
	17.	Reininghaus, Frieder:   1736: Bach an der Silbermann-Orgel der Dresdner Frauenkirche. [ce]BachABC (2007), 46-49. [Gottfried Silbermann's new organ for the Dresden Frauenkirche was inaugurated in 1736 and Bach, visiting from Leipzig at the end of the year, had an opportunity to play it in a two-hour recital. The instrument was much restored and rebuilt over the following two centuries and finally, in the Allied bombing campaign of 1945, destroyed. Bach's relations with Silbermann and with the city of Dresden are surveyed.]
	18.	Reininghaus, Frieder:   Italienisches Konzert. [ce]BachABC (2007), 50-53. [Wide-ranging remark on the work, its innovative aspects, and its authentically Italian character]
	19.	Reininghaus, Frieder:   Johannes-Passion. [ce]BachABC (2007), 54-58. [Remarks on the Passion, BWV 245. The issue of anti-Semitism in the text is addressed. Theologically, the portrayal of Perfidia judaica is not an accusation against the Jews as a community but rather represents the perfidy of all humanity in sending Christ to death; nevertheless there are undeniable elements of true anti-Semitism in Luther's later utterances and in the text of the Passion as Bach compiled it.]
	20.	Reininghaus, Frieder:   Kaffeekantate. [ce]BachABC (2007), 59-60. [Discusses Bach's cantata Schweigt stille, plaudert nicht, BWV 211, in the context of the coffee craze in 18th-century Saxony and the Zimmermannsches Kaffeehaus in Leipzig, venue for the weekly performances of Bach's Collegium Musicum.]
	21.	Reininghaus, Frieder:   Leipzig lockt. [ce]BachABC (2007), 61-62. [Brief account of Bach's candidacy for the job of cantor at the Thomaskirche, Leipzig, in 1723.]
	22.	Reininghaus, Frieder:   Mizler, der gute Freund. [ce]BachABC (2007), 63-65. [After the young Johann Adolph Scheibe (anonymously) attacked Bach's music in print for its overly intellectual, artificial character in 1736, Bach's friend Lorenz Mizler came to his defense with an article in his Neu eröffnete musikalische Bibliothek. The rest of Mizler's life is briefly outlined]
	23.	Reininghaus, Frieder:   National-Angelegenheit. [ce]BachABC (2007), 66-67. [Johann Nikolaus Forkel's biography of J.S. Bach, appearing in 1802 in the middle of the Napoleonic wars, had a political as well as a musical significance: 'not merely an artistic matter,' as he said, 'but a national matter.' The relationship between his proto-Romantic picture of Bach and emerging German nationalism is discussed]
	24.	Reininghaus, Frieder:   1829: Mendelssohns Pioniertat—Die Wiederaufführung der Matthäus-Passion. [ce]BachABC (2007), 68-71. [An assessment of the accomplishment of the 20-year-old Mendelssohn and his friend, the actor Eduard Devrient (who sang the role of Jesus), in bringing Bach's Matthäuspassion to performance in Leipzig after a hundred years (sic!).]
	25.	Reininghaus, Frieder:   Ohrdruf. [ce]BachABC (2007), 74-75. [Outlines J.S. Bach's life after the deaths of his parents (1694 and 1695), when he went to stay with his oldest brother Johann Christoph in Ohrdruf, where he attended the Lateinschule and had his first formal music lessons, until 1700]
	26.	Reininghaus, Frieder:   Philipp Emanuel und das große Vermächtnis. [ce]BachABC (2007), 74-77. [Brief account of the life of Carl Philipp Emanuel Bach and of the fate of his treasury of manuscripts, through which his own compositions and those of his brother Wilhelm Friedemann and their father Johann Sebastian Bach have been preserved for posterity.]
	27.	Reininghaus, Frieder:   1941: Friedemann, Sorgenkind des bewegten Lebens, als Filmheld. [ce]BachABC (2007), 78-80. [Wilhelm Friedemann Bach's bad luck was to be a genius of the Sturm und Drang before the Sturm und Drang had begun. His life is outlined, together with the fate of his manuscript collection, which included many of his father's works, and his fictional appearance in the novel Friedemann Bach by Albert Emil Brachvogel (1858), made into a feature film by Gustaf Gründgens (1941).]
	28.	Reininghaus, Frieder:   Quellenlage. [ce]BachABC (2007), 81-83. [Remarks on the difficulties of establishing a firm work list for J.S. Bach and a clear idea of how his works should be performed (with particular attention to tempo).]
	29.	Reininghaus, Frieder:   Ricercar und Rätselkanon: Das musikalische Opfer. [ce]BachABC (2007), 84-87. [Notes on the composition history of Das musikalische Opfer BWV 1079 and the work itself]
	30.	Reininghaus, Frieder:   Suiten. [ce]BachABC (2007), 88-90. [Overview of J.S. Bach's works in suite form.]
	31.	Reininghaus, Frieder:   Tod und Teufel. [ce]BachABC (2007), 91-93. [Brief account of J.S. Bach's death and his family's economic situation at the time, with remarks on his posthumous fame (including legends of a wandering Bach, dressed as a village schoolmaster, going from church to church to try out the organs, prompting one local organist to cry out, 'I don't know who's playing, but it's either Bach or the Devil').]
	32.	Reininghaus, Frieder:   Unterschriften. [ce]BachABC (2007), 94-96. [Remarks on J.S. Bach's self-concept--his view of his own significance--as revealed in the phraseology of the signature in his correspondence, and his use as composer of the B-A-C-H motive]
	33.	Reininghaus, Frieder:   Verschollenes. [ce]BachABC (2007), 97-99. [Discusses lost pieces of J.S. Bach's compositional output, and reconstructions or back transcriptions to fill the gaps.]
	34.	Reininghaus, Frieder:   Wohltemperiertes Klavier. [ce]BachABC (2007), 100-104. [Remarks on the historical background of Das wohltemperirte Klavier, BWV 846–93, and the range of its reception in the 19th and 20th centuries.]
	35.	Reininghaus, Frieder:   1981: Hora mortis—Vertanzte Passion, inszeniert Messe. [ce]BachABC (2007), 105-108. [Remarks on John Neumeier's 1981 choreographed version of the Matthäuspassion in Hamburg and Achim Freyer's staging of the B-minor Mass in Schwetzingen, 1996.]
	36.	Reininghaus, Frieder:   1985: Repräsentatives Standbild—Leipziger Bachfeiern zum 300. Geburtstag. [ce]BachABC (2007), 109-115. [A critical survey. Includes a facsimile of the author's Offener Brief an J.S. Bach originally published in the Bonner Generalanzeiger of 21 March 1985.]
	37.	Reininghaus, Frieder:   2000: Actus tragicus—Bach-Kantaten auf der Bühne. [ce]BachABC (2007), 116-118. [Discussion of Herbert Wernicke's Actus tragicus, a stage production of six Bach cantatas in Basel, 2000.]
	38.	Reininghaus, Frieder:   Zion. [ce]BachABC (2007), 119-122. [Remarks on the concept of Zion in Bach's cantata text and in his own theological perspective.]
	39.	Reininghaus, Frieder:   Epilog: Nicht nur gegen die Liebhaber verteidigt—Theodor W. Adorno und Johann Sebastian Bach. [ce]BachABC (2007), 123-132. [In his 1951 essay Bach gegen seine Liebhaber verteidigt (Bach defended against those who love him), Adorno portrayed the typical German admirer of Bach as the kind of person who longs to submit to authority, who fails to understand how the music can transcend religious and ideological bounds toward universality. Adorno's views are revisited.]
	40.	Reininghaus, Frieder:   Bach-ABC. Sinzig: Studio-Verlag, 2007. 132p. ISBN: 978-3-89564-126-8. [BWV 211, 244, 245, 248, 565, 645, 846, 847, 875, 881, 971, 988, 1006, 1030, 1049, 1050, 1060, 1076, 1079] [contents]