Talk:The Musical Offering
From Wikipedia, the free encyclopedia
 |
The Musical Offering is within the scope of WikiProject Classical music, which aims to improve, expand, cleanup, and maintain all articles related to classical music, that aren't covered by other classical music related projects. Please read the guidelines for writing and maintaining articles. To participate, you can edit this article or visit the project page for more details. |
 |
This article is supported by the Compositions task force. |
According to the press of the day, Bach succeeded pretty well in producing an instant fugue, allthough he must have confided afterwards he felt not very much at ease playing the new type of instrument.
- Did he or didn't he confide it? This reads like speculation. 82.92.119.11 11:01, 26 Jun 2005 (UTC)
"Frederick was reputedly not fond of complicated music, and soon after Bach's visit he was on his next war campaign, so it is possible it was not well received."
- I find this sentence delightful. Kudos to whoever wrote it. Adso de Fimnu 18:20, 3 June 2006 (UTC)
- Hilarious. :) —Viriditas | Talk 11:57, 23 September 2007 (UTC)
- Yes, I would most like to buy a drink for whoever wrote that. The WP needs more bits like that. 66.157.150.78 (talk) 23:57, 29 January 2008 (UTC)
- Hilarious. :) —Viriditas | Talk 11:57, 23 September 2007 (UTC)
The article says:
Frederick wanted to show the elder Bach a novelty: the pianoforte had been invented some years earlier, and the king now owned several of the experimental instruments.
It sounds as though this is the first time Bach heard the pianoforte. This is very untrue. Here's part of the Grove's biography of Bach which is definitely rellevant here: "He had also taken a critical interest in the pianos that Gottfried Silbermann was building during the 1730s, proposing alterations in the mechanism which Silbermann evidently adopted. At all events, Bach praised Silbermann’s later pianos and promoted their sale (a receipt for one sold to Poland, dated 6 May 1749, survives). On his visit to Potsdam in 1747 he played on a range of Silbermann pianos of the newer type which had been purchased by the Prussian court."
CHRISTOPH WOLFF (I–II; III, 1–6, 7 (§7–21), 13, work-list, bibliography), WALTER EMERY/CHRISTOPH WOLFF (III, 7 (§1–6)), PETER WOLLNY (III, 8, 10), ULRICH LEISINGER (III, 9, 11, 14), STEPHEN ROE (III, 12): 'Bach: III (7)', Grove Music Online ed. L. Macy (Accessed 10 October 2007), <http://www.grovemusic.com>
By the way, I have a dynamic IP, so please reply to this message on this page. Thank you!
89.139.57.132 21:54, 10 October 2007 (UTC)
