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Bach Perspectives, Volume 1 2025

Edited by Russel Stinson

Launched in 1995, Bach Perspectives has become the premier English-language serial book series dedicated to cutting-edge Bach scholarship. The University of Illinois Press now offers the first four volumes in open access editions available for free to all interested readers.

In Volume One, Bach scholar Russell Stinson edits essays from Stephen A. Crist, Michael Marissen, David Schulenberg, and other experts. Topics range from issues of composition and improvisation to works like the Orgelbüchlein and the First Brandenburg Concerto.

Contributors: James A. Brokaw II, Eric T. Chafe, Stephen A. Crist, Michael Marissen, David Schulenberg, and Russell Stinson

Bach Perspectives, Volume 10: Bach and the Organ 2016

edited by Matthew Dirst

The official publication of the American Bach Society, Bach Perspectives pioneers new areas of research into the life, times, and music of the master composer. In Volume 10 of the series, Matthew Dirst edits a collection of groundbreaking essays exploring various aspects of Bach's organ-related activities. Lynn Edwards Butler reconsiders Bach's report on Johann Scheibe's organ at St. Paul's Church in Leipzig. Robin Leaver clarifies the likely provenance and purpose of a collection of chorale harmonizations copied in Dresden. George Stauffer investigates the ways various independent trio movements served Bach as an artist and teacher. In separate contributions, Christoph Wolff and Gregory Butler seek the origins of concerted Bach cantata movements spotlighting the organ and propose family trees of both parent works and offspring. Finally, Matthew Cron provides a broad cultural frame for such pieces and notes how their components engage in a larger discourse about the German Baroque organ's intimation of heaven.

Bach Perspectives, Volume 11: J. S. Bach and His Sons 2017

Edited by Mary Oleskiewicz

Among his numerous children, Johann Sebastian Bach sired five musically gifted sons. The eleventh volume of Bach Perspectives presents essays that explore these men’s lives and careers via distinctive and, in several cases, alternative and interdisciplinary methodologies.

Robert L. Marshall traces how each of the sons grappled with—and at times suffocated beneath—their illustrious father’s legacy. Mary Oleskiewicz’s essay investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court, while David Schulenberg looks at Carl Philipp Emanuel Bach’s diverse and innovative keyboard works. Evan Cortens digs into everything from performance materials to pay stubs to offer a detailed view of the business of Carl Philipp Emanuel Bach’s liturgical music. Finally, Christine Blanken discusses how the rediscovery of Bach family musical manuscripts in the Breitkopf archive opens up new perspectives on familiar topics.

A supplemental companion website is now available for Bach Perspectives 11. This resource features additional images, captions, and short descriptions to provide an essential supplement to the printed text.

Bach Perspectives, Volume 12: Bach and the Counterpoint of Religion 2018

Edited by Robin A. Leaver

Johann Sebastian Bach was a Lutheran and much of his music was for Lutheran liturgical worship. As these insightful essays in the twelfth volume of Bach Perspectives demonstrate, he was also influenced by--and in turn influenced--different expressions of religious belief. The vocal music, especially the Christmas Oratorio, owes much to medieval Catholic mysticism, and the evolution of the B minor Mass has strong Catholic connections. In Leipzig, Catholic and Lutheran congregations sang many of the same vernacular hymns. Internal squabbles were rarely missing within Lutheranism, for example Pietists' dislike of concerted church music, especially if it employed specific dance forms. Also investigated here are broader issues such as the close affinity between Bach's cantata libretti and the hymns of Charles Wesley; and Bach's music in the context of the Jewish Enlightenment as shaped by Protestant Rationalism in Berlin. Contributors: Rebecca Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey, Derek Stauff, and Janice B. Stockigt.

Bach Perspectives, Volume 13: Bach Reworked 2020

Edited by Laura Buch

Scholars and performers have long noted J.S. Bach's abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach's music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque.

An insightful look at how composers build on each other's work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance.

Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf

Bach Perspectives, Volume 14: Bach and Mozart: Connections, Patterns, and Pathways 2022

Edited by Paul Corneilson

Today, the names Bach and Mozart are mostly associated with Johann Sebastian Bach and Wolfgang Amadeus Mozart. But this volume of Bach Perspectives offers essays on the lesser-known musical figures who share those illustrious names alongside new research on the legendary composers themselves. Topics include the keyboard transcriptions of J. S. Bach and Johann Gottfried Walther; J. S. Bach and W. A. Mozart's freelance work; the sonatas of C. P. E. Bach and Leopold Mozart; the early musical training given J. C. Bach by his father and half-brother; the surprising musical similarities between J. C. Bach and W. A. Mozart; and the latest documentary research on Mozart’s 1789 visit to the Thomasschule in Leipzig.

An official publication of the American Bach Society, Bach Perspectives, Volume 14 draws on a variety of approaches and a broad range of subject matter in presenting a new wave of innovative classical musical scholarship.

Contributors: Eleanor Selfridge-Field, Yoel Greenberg, Noelle M. Heber, Michael Maul, Stephen Roe, and David Schulenberg

Bach Perspectives, Volume 2: J. S. Bach, the Breitkopfs, and Eighteenth-Century Music Trade 2025

Edited by George B. Stauffer

From 1727 to 1787, the Bach and the Breitkopf families enjoyed close professional ties forged by the growing trade between music composers and music printers. The second volume of Bach Perspectives examines the inventive and far-flung activities of the Breitkopf firm from the vantage point of its commerce with J. S. Bach and his relatives.

Contributors: Gregory G. Butler, Robert M. Cammarota, Peggy Daub, Andreas Glöckner, George R. Hill, Yoshitake Kobayashi, Ortrun Landmann, Ernest May, Hans-Joachim Schulze, George B. Stauffer, and Neal Zaslaw

Bach Perspectives, Volume 3: Creative Responses to Bach, from Mozart to Hindemith 2025

Edited by Michael Marissen.

The third volume of the acclaimed series features a roster of scholars analyzing the crucial influence of J. S. Bach’s music upon compositions by Mozart, Beethoven, Brahms, Hindemith, and others. Throughout, the contributors highlight Bach’s subtle presence in the history of composition and illuminate the intertwined works of Bach and his successors.

Contributors: Thomas Christensen, Ludwig Finscher, Walter Frisch, Stephen Hinton, William Kinderman, and Robert L. Marshall

Bach Perspectives, Volume 4: The Music of J. S. Bach: Analysis and Interpretation 2025

Edited by David Schulenberg

The fourth volume of Bach Perspectives analyzes J. S. Bach’s orchestral works, especially his concertos, and the interpretation and performance of his music in general. The diverse contributors come from the fields of performance, organology, music theory, and music history, and their expertise across multiple areas provides an interdisciplinary perspective to their chapters.

Contributors: Gregory G. Butler, John Butt, John Koster, Alfred Mann, Mary Oleskiewicz, William Renwick, David Schulenberg, Jeanne Swack, and Paul Walker

Bach Perspectives, Volume 5: Bach in America 2002

Edited by Stephen A. Crist

More than a century passed after Johann Sebastian Bach's death in 1750 before his music found an audience in the United States. Volume Five in the Bach Perspectives series tracks the composer's reputation in America from obscure artist to a cultural mainstay whose music has spread to all parts of the country.

Barbara Owen surveys Bach's early reception in America. Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers Bach's early impact in Boston while Mary J. Greer offers a counterpoint in her study of Bach's reception in New York. Hans-Joachim Schulze's essay links the American descendants of August Reinhold Bach to the composer. Christoph Wolff also focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son. Peter Wollny evaluates manuscripts not included in Gerhard Herz's study of Bach Sources in America. The volume concludes with Carol K. Baron's comparison of Bach with Charles Ives while Stephen A. Crist measures Bach's influence on the jazz icon Dave Brubeck.

Bach Perspectives, Volume 6: J. S. Bach's Concerted Ensemble Music, The Ouverture 2005

Edited by Gregory Butler

The sixth volume in the Bach Perspectives series opens with Joshua Rifkin's seminal study of the early source history of the B-minor orchestral suite. Rifkin elaborates on his discovery that the work in its present form for solo flute goes back to an earlier version in A minor, ostensibly for solo violin. He also takes the discovery as the point of departure for a wide-ranging discussion of the origins and extent of Bach's output in the area of concerted ensemble music.

In other essays, Jeanne Swack presents an enlightening comparison of Georg Phillip Telemann's and Bach's approach to the French overture as concerted movements in their church cantatas. Steven Zohn views the B-minor orchestral suite from the standpoint of the "concert en ouverture." In addition, Zohn responds to Rifkin by suggesting Bach may have scored the early version of the B-minor orchestral suite for flute.

Bach Perspectives, Volume 7: J. S. Bach's Concerted Ensemble Music: The Concerto 2007

Edited by Gregory Butler

J. S. Bach's creativity is so overwhelming his compositions in some genres eclipse his work in others. His glorious choral works, profound organ compositions, and exquisite solo compositions for violin and cello attract the most attention. Volume Seven of Bach Perspectives restores Bach's concertos to their rightful place of honor.

Gregory Butler focuses on Bach's Concerto for Harpsichord and Strings in E Major (BWV 1053) as a pastiche created by a process of assemblage of three earlier heterogeneous movements. Pieter Dirksen delves into the source history of the Concerto for Harpsichord and Strings in F Minor (BWV 1056) and concludes it represents a transcription of an earlier violin concerto in G minor. David Schulenberg investigates the generic ambiguity of the concerto in the early eighteenth century and how it diverged from the sonata to become a distinct genre. Completing the volume is Christoph Wolff's examination of the ""Siciliano"" as a slow movement in Bach's concertos and its implications for the source history of his Concerto for Harpsichord and Strings in E Major (BWV 1053).

Bach Perspectives, Volume 8: J.S. Bach and the Oratorio Tradition 2011

Edited by Daniel R. Melamed

As the official publication of the American Bach Society, Bach Perspectives has pioneered new areas of research in the life, times, and music of Bach since its first appearance in 1995. Volume 8 of Bach Perspectives emphasizes the place of Bach's oratorios in their repertorial context. These essays consider Bach's oratorios from a variety of perspectives: in relation to models, antecedents, and contemporary trends; from the point of view of musical and textual types; and from analytical vantage points including links with instrumental music and theology. Christoph Wolff suggests the possibility that Bach's three festive works for Christmas, Easter, and Ascension Day form a coherent group linked by liturgy, chronology, and genre. Daniel R. Melamed considers the many ways in which Bach's passion music was influenced by the famous poetic passion of Barthold Heinrich Brockes. Markus Rathey examines the construction and role of oratorio movements that combine chorales and poetic texts (chorale tropes). Kerala Snyder shows the connections between Bach's Christmas Oratorio and one of its models, Buxtehude's Abendmusiken spread over many evenings. Laurence Dreyfus argues that Bach thought instrumentally in the composition of his passions at the expense of certain aspects of the text. And Eric Chafe demonstrates the contemporary theological background of Bach's Ascension Oratorio and its musical realization

Bach Perspectives, Volume 9: J.S. Bach and His Contemporaries in Germany 2013

Edited by Andrew Talle

This provocative addition to the Bach Perspectives series offers a counternarrative to the isolated genius status that J. S. Bach and his music currently enjoy. Contributors contextualize Bach by examining the output, reputation, and compositional practices of his contemporaries in Germany whose work was widely played and enjoyed in his time, including Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Essays place Bach and his work in relation to his peers, examining avenues of composition they took while he did not and showing how differing treatments of the same subjects or texts resulted in markedly different compositional results and legacies. By looking closely at how Bach's contemporaries addressed the tasks and challenges of their time, this project provides a more nuanced view of the musical world of Bach's time while revealing in more specific terms than ever how and why Bach's own music remains fresh and compelling.

In this volume, Wolfgang Hirschmann proposes an ethnographic approach that contextualizes Bach's works, addressing the aesthetic paths he took as well as those he did not pursue. Steven Zohn's essay considers Telemann's contribution to the orchestral Ouverture genre, observering how Telemann's approach to integrating the national styles of his time was quite different from, but no less rich than, Bach's. Andrew Talle compares settings and strategies of Vergnügte Ruh, beliebte Seelenlust by Bach and Graupner. Alison Dunlop presents valuable primary research on Muffat, the most commonly cited keyboard music composer in Vienna during Bach's lifetime. Finally, Michael Maul sheds new light on the Scheibe-Birnbaum controversy, contextualizing the most famous critique of J. S. Bach's compositional style by discussing the other composers that Scheibe critiqued.