This is the only English translation of this important book by the worlds most distinguished Bach scholar. This work is widely regarded as the most authoritative and comprehensive treatment of the Bach cantatas. It begins with a historical survey of the seventeenth-century background to the cantatas; and performance practice issues. The core of the book is a work-by-work study in which each cantata in turn is represented by its libretto; a synopsis of its movements;and a detailed analytical commentary. This format makes it extremely useful as a reference work for anyone listening to; performing in; or studying any of the Bach cantatas.All the cantata librettos are given in German-English parallel text. For the English edition the text has been carefully revised to bring it up to date; taking account of recent Bach scholarship.
#302644 in eBooks 2008-06-01 2008-06-01File Name: B00OFQ3QOW
Review
3 of 3 people found the following review helpful. Good but not greatBy Karen A. LebensI can recommend this book with reservations. It presents a lot of information about Bill Reid in a well written manner but it does have some serious shortcomings. It reminds me of Perfect Rigor in that way; that its worth having for the information but it can be irritating at the same time. The author is not an artist herself and very obviously has little depth of knowledge of the art she is describing. This is more of a social history but a social history of an important artist cannot avoid the art. She overstates the extent to which Haida art was continued in the interval between the death of Charles Edenshaw and the arrival of Bill Holm and Bill Reid on the scene. It made me wonder if she had actually looked at anything produced in that time period; since the differences are quite clear. She understates and denigrates the contributions of non- native artists ( common reverse racism in Canada) and relies on gossip from just a few sources for her account of some of Reids major works. I have heard gossip from direct sources too; that is not found here; and some of it paints quite a different picture of some sources she accepts uncritically. I disagree totally with her (IMHO academic) position that Reid was accepted as he was because he was non-threatening and acceptable to whites. The art speaks for him and no one else has done monumental pieces with his combination of a complete understanding of traditional forms coupled with a technical facility from the larger culture. Its like saying we appreciate the David because Michelangelo was in tight with the princes in Florence. So take this book for what it is; a lot of information about Bill Reids life and times. Sooner or later someone with a deep understanding of the art will write the real biography. And make no mistake about it; NW Coast art is ART. Like jazz or oil painting or movies it is an art form that can easily transcend its origins; that can be seen and felt anywhere on the planet because of its deep roots in the natural world; and that can be done by anyone who is willing to take the time and effort to learn the rules and techniques necessary. Bill Reid believed that and he was totally right. There is a lot of parochialism on the part of some who would like to reserve this art for themselves (and avoid embarrassing comparisons; which she neglects to mention in her brief mention of Gary Edenshaw; not the best of carvers; leaving when Reid called in a much more accomplished non native carver) . So buy it for the info and get your art from books like MacDonalds Monumental Art. The old stuff will always be of interest because it is so great and some of what is being done now is great too; see for yourself.
