LANGLOZ MANUSCRIPT EMS C
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What sorts of processes were going through the mind of J.S. Bach as he improvised a fugue in three, four, or even six parts? And what sort of training equipped an organist of the early eighteenth century to practise the art of accompaniment and improvisation successfully? The practical method which linked keyboard technique, improvisation, performance, and composition in a continuum was the thoroughbass, the centre of the Baroque musicians art. The Langloz Manuscript, originating in the era and proximity of Bach's region of activity, and containing the largest extant collection of figured bass...
What sorts of processes were going through the mind of J.S. Bach as he improvised a fugue in three, four, or even six parts? And what sort of training equipped an organist of the early eighteenth century to practise the art of accompaniment and improvisation successfully? The practical method which linked keyboard technique, improvisation, performance, and composition in a continuum was the thoroughbass, the centre of the Baroque musicians art. The Langloz Manuscript, originating in the era and proximity of Bach's region of activity, and containing the largest extant collection of figured bass fugues, provides a window into this very process, and demonstrates more clearly than any words can the method by which the art of thoroughbass provided a foundation for extemporised fugue. The present edition is the first publication of this manuscript.
Review quote:
William Renwick has edited these pieces as scrupulously as one could wish, and supplied them with a very sensible commentary (Music and Letters)
Renwick accompanies a clear, well-laid out edition with a scholarly introductory essay (Early Music Today)
Four excellent introductory chapters ... The book is a valuable scholarly document, but it also has its use in the practical teaching of baroque keyboard playing (Early Music Review)
The ability to improvise a fugue is considered by many to be the summit of practical musicianship. Such skill, combining harmony, counterpoint, form, and style simultaneously, is best learned through the study of figured-bass fugue. The Langloz Manuscript, originating in the era of J.S. Bach, is the largest extant collection of figured-bass fugues. Published here for the first time, this edition of the manuscript includes detailed explanatory notes and illustrates how the art of extemporised fugue was developed in the eighteenth century.
Review quote:
William Renwick has edited these pieces as scrupulously as one could wish, and supplied them with a very sensible commentary (Music and Letters)
Renwick accompanies a clear, well-laid out edition with a scholarly introductory essay (Early Music Today)
Four excellent introductory chapters ... The book is a valuable scholarly document, but it also has its use in the practical teaching of baroque keyboard playing (Early Music Review)
The ability to improvise a fugue is considered by many to be the summit of practical musicianship. Such skill, combining harmony, counterpoint, form, and style simultaneously, is best learned through the study of figured-bass fugue. The Langloz Manuscript, originating in the era of J.S. Bach, is the largest extant collection of figured-bass fugues. Published here for the first time, this edition of the manuscript includes detailed explanatory notes and illustrates how the art of extemporised fugue was developed in the eighteenth century.
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