WEBLOG 
I've just returned from a visit to the Leipzig Bachfest (7-17 June). As usual there is lots to hear, to see and changes to note. The city is currently a mish-mash of architectural styles, an uneasy mix of the old, Stalinist and faceless and the very latest in chic and style. In amongst all of this are the sites we associate with Bach's lifetime, tall, solid and dependable - the Nikolaikirche in Nikolaistrasse just off the shopping arcades in the Grimmastrasse and the Thomaskirche in Thomaskirchhof off the Markt Platz and near to the Altes Rathaus (Old Town Hall). There is a profusion of cafés and eating places all around, to such an extent now that some of the famous monuments could go completely unnoticed - Goethe now has to look down upon a column of outdoor cafés for example and unless you know where to look, could be completely missed by the culture-vulture doing the grand tour of the city centre! Stark contrast indeed to the days of the old GDR.
However the city is not so much a building site for the sake of it, but more of one that is saying to the world "we are looking forward, inspired and encouraged by our cultural heritage". How this will all pan out remains to be seen. Only when the generations born after the fall of the GDR in 1989, or with no recollection of what life was like during those years, will the true character of the city emerge.
After 'the change' the citizens of Leipzig were consulted as to how they wanted their city to be repaired, rebuilt and represented. The 'Paulinerverein' was set up to ensure that the city wrote into its plans the restoration of the famous Leipzig University Church that was razed to the ground by the authorities in 1968 to make way for a new science block. After much lobbying and fund-raising to garner support for the idea, eventually the Saxony State Government in Dresden granted the funds to rebuild with the aim of completion by 2009, the 600th anniversary of the University's foundation. Unalloyed joy soon turned to deep despair when descent emerged and the plan was dropped....I believe a church will be built, but not a recreation of the original historic Paulinerkirche, where Bach's Cantata BWV 198 (Trauerode) was first performed in October 1727, and where Schumann, Brahms and Mendelssohn all conducted. Is this an example of any conflict of opinion that exists as to how the future should be shaped, I wonder?
MS
The weblog of the London Bach Society, featuring the latest news and feedback.
Posted: Wednesday, June 06, 2007
For ten days from tomorrow, the city of Leipzig will be buzzing with activity. The cafés will be full, flowers blooming and Festival bunting everywhere. It is the time of the Leipzig Bachfest. From 7-17 June there will be another feast of events this time around the theme 'From Monteverdi to Bach' and I will be attending the Festival from 13-17 June. The series not only includes some mouth-watering concerts and recitals, but brings together a variety of personalities from the Bach world globally. So it is time to re-kindle old friendships and for me, catch up with what's happening so that I can bring some of what I find back to London and to our Bachfest.
LBS first visited Bach's city of Leipzig in 1964, and a far-cry from the bustling, modern cultural centre of the post-communist era. LBS was the first cultural organisation to 'cross the Berlin Wall' and then made a return visit in 1983 for a British Council supported tour as part of the Martin Luther Year celebrations, with a Mass in B minor in Thomaskirche the highlight. Paul conducted our original choir and our existing orchestra, Steinitz Bach Players, in complete awe of the surroundings and greatly moved by the attentive audience, among whom (and unknown to us at the time) was a young music student destined later to become Thomaskantor and one of my kindred musical friends, Prof. Georg Christoph Biller.
In 1994, LBS hosted the first ever visit to the UK by the world-famous Thomanerchor Leipzig, directed by Prof. Biller. Bach held the post of Thomaskantor from 1723-1750 and composed most of his church music for the set of possibly unruly boys he had in his choir. Years later, we in LBS can testify to the professionalism of today's choir of 9-18 year old singers who joined us in London last November for our 60th anniversary celebrations.
All the famous locations associated with Bach are close by and will be the main venues used for the 2007 Leipzig Bachfest. With the festival series moved to the early summer month of June, there is an opportunity to see and enjoy them in warm sunshine - the last time I saw BBC weather for Leipzig the temps were approaching the 90 degree mark! There is a real sens of the Bach presence in the Thomaskirche where his remains are buried in the Chancel.
A few minutes' walk away there is also the historic Nikolaikirche where Bach's Johannes-Passion was first performed in 1724. I immediately recall that years later in 1989, the Nikolaikirche was a sanctuary where modern-day revolutionaries met to plan the eventual downfall of the distasteful communist regime in East Germany (DDR). What has arisen from that era is a city reborn, drawing upon its rich cultural heritage to welcome us.
More blogs to follow....
Margaret Steinitz
LBS first visited Bach's city of Leipzig in 1964, and a far-cry from the bustling, modern cultural centre of the post-communist era. LBS was the first cultural organisation to 'cross the Berlin Wall' and then made a return visit in 1983 for a British Council supported tour as part of the Martin Luther Year celebrations, with a Mass in B minor in Thomaskirche the highlight. Paul conducted our original choir and our existing orchestra, Steinitz Bach Players, in complete awe of the surroundings and greatly moved by the attentive audience, among whom (and unknown to us at the time) was a young music student destined later to become Thomaskantor and one of my kindred musical friends, Prof. Georg Christoph Biller.
In 1994, LBS hosted the first ever visit to the UK by the world-famous Thomanerchor Leipzig, directed by Prof. Biller. Bach held the post of Thomaskantor from 1723-1750 and composed most of his church music for the set of possibly unruly boys he had in his choir. Years later, we in LBS can testify to the professionalism of today's choir of 9-18 year old singers who joined us in London last November for our 60th anniversary celebrations.
All the famous locations associated with Bach are close by and will be the main venues used for the 2007 Leipzig Bachfest. With the festival series moved to the early summer month of June, there is an opportunity to see and enjoy them in warm sunshine - the last time I saw BBC weather for Leipzig the temps were approaching the 90 degree mark! There is a real sens of the Bach presence in the Thomaskirche where his remains are buried in the Chancel.
A few minutes' walk away there is also the historic Nikolaikirche where Bach's Johannes-Passion was first performed in 1724. I immediately recall that years later in 1989, the Nikolaikirche was a sanctuary where modern-day revolutionaries met to plan the eventual downfall of the distasteful communist regime in East Germany (DDR). What has arisen from that era is a city reborn, drawing upon its rich cultural heritage to welcome us.
More blogs to follow....
Margaret Steinitz
Posted: Tuesday, December 12, 2006
PRESS RELEASE
Margaret Steinitz awarded the Order of Merit of the Federal Republic of Germany
On Monday 11 December, Deputy Head of Mission Hans Henning Blomeyer-Bartenstein presented the Cross of the Order of Merit of the Federal Republic of Germany to Margaret Steinitz, the Artistic Director of the London Bach Society (LBS).
Founded in 1946 by Margaret Steinitz's late husband Paul, the LBS has not only introduced Bach's vast corpus of music to several generations of musicians and audiences in the UK, but also changed the approach to performing the works, pioneering the use of period instruments and, since 1950, singing the choral works in their original language.
Under the guidance of Margaret Steinitz, the LBS has continued to entertain, experiment, uplift and inspire all lovers of Bach's music, as well as to build an invaluable database for Bach studies and an imaginative educational programme. In presenting the Order, Mr. Blomeyer-Bartenstein said: "I know that you are just as modest about your own work with the Bach Society as Bach was about his organ playing. But we all know better. We know just how much hard work and tireless endeavour you give to bringing Bach's music closer to people in both our countries."
For further information, please contact the German Embassy Press Department.
ENDS
Margaret Steinitz awarded the Order of Merit of the Federal Republic of Germany
On Monday 11 December, Deputy Head of Mission Hans Henning Blomeyer-Bartenstein presented the Cross of the Order of Merit of the Federal Republic of Germany to Margaret Steinitz, the Artistic Director of the London Bach Society (LBS). Founded in 1946 by Margaret Steinitz's late husband Paul, the LBS has not only introduced Bach's vast corpus of music to several generations of musicians and audiences in the UK, but also changed the approach to performing the works, pioneering the use of period instruments and, since 1950, singing the choral works in their original language.
Under the guidance of Margaret Steinitz, the LBS has continued to entertain, experiment, uplift and inspire all lovers of Bach's music, as well as to build an invaluable database for Bach studies and an imaginative educational programme. In presenting the Order, Mr. Blomeyer-Bartenstein said: "I know that you are just as modest about your own work with the Bach Society as Bach was about his organ playing. But we all know better. We know just how much hard work and tireless endeavour you give to bringing Bach's music closer to people in both our countries."
For further information, please contact the German Embassy Press Department.
ENDS
Posted: Tuesday, August 01, 2006
DETAILS & ENTRY FORM
The Inaugural
PAUL STEINITZ BACHFEST PRIZE
Sponsored by Belmont International Limited
Supported by the D’Oyly Carte Charitable Trust and Private Donors.
This competition is being launched to celebrate the 60th anniversary of the founding of the LONDON BACH SOCIETY on 7 November 1946 and is promoted by the Society.
The Prize will be rotated between Voice, Organ, Instrumental and Keyboard to reflect the musical forces for which Bach composed.
The 2006 inaugural Prize is for SINGERS
The Final will take place on 10th November, the date attributed to the birth of Martin Luther in 1483.
BACH PRIZE COMPETITION, 2006
If you wish to enter this competition, please print a copy of this page for your reference and download a copy of the entry form for your submission:
The inaugural competition is open to both UK resident and non-UK resident entrants. All non-UK resident entrants participate at own expense and should acquire the appropriate visa for entry to the UK if necessary – please check this.
Age Limit for Singers
The age limitations are minimum 21 years old to a maximum 30 years old at Friday 10 November 2006.
The Competition Timetable
Saturday 7 October 2006 - Deadline for Entries to be received (see NB below)
From 9-13 October 2006 - Adjudication of CDs/Dat/Mini Disks
Monday 6 November 2006 - First Round, held at Craxtons Studios, London NW3 from 2.30pm
Wednesday 8 November 2006 - Semi-Final, held at St. Paul’s Church, Knightsbridge from 2.30pm
Friday 10 November 2006 - THE FINAL, held at St. John’s Smith Square, London at 7.00pm
All entrants should be available for all three rounds of the competition. Those accepted into the First Round will be notified during the third week of October. The First Round will be open to LBS Members to attend. The Semi-Final and Final will be open to the general public by ticket.
The Jury
Paul Esswood, Peter Harvey, Ian Partridge CBE, Anthony Robson, Margaret Steinitz (Chairman)
The Prize
The Paul Steinitz Bachfest Prize is £2,000
Bach Prize Administration
Entry Forms and enclosures should be sent by post to:
London Bach Society (Prize), 73 High Street, Old Oxted, Surrey RH8 9LN
N.B. Entry forms sent by fax or e-mail will not be accepted in advance or in arrears. All Entries complete with the required enclosures MUST be submitted by post and received by Sat 7 October.
ENTRY DETAILS
1. Please read through this information carefully, and then complete and return the Entry Form, remembering to enclose the Audition Disk, documents and fee required so that we can process your entry.
2. Entry Forms, complete with enclosures, may be submitted anytime after Tuesday 1 August 2006. No entries will be accepted after the deadline date of Saturday 7 October 2006.
3. At Entry please enclose a CD/Dat/Mini disk (no cassettes) and this should consist of One Recitative and One Aria of your choice by Bach. Please label the disk with your name and a high quality production is required.
4. Please supply a photocopy of your Birth Certificate or any other official document e.g. Passport that confirms the date and place of your birth.
5. Please supply a CurriculumVitae that includes details of your musical and academic education, scholarships, most recent performances and future plans and a concise biography (150 words max).
6. The names of two referees who will support your entry, but who are not members of the Jury, must be submitted whom the London Bach Society reserves the right to consult and request a reference. The referees should be professional musicians of national or international repute.
ENTRY FEE
The Entry fee is £30 (45 Euros), which should accompany the Entry Form. Cheques (payable to London Bach Society) or Credit Cards (Visa/MasterCard/Maestro) are accepted and will be processed for all who are accepted into the First Round. Entry fees become non-refundable on late withdrawals that are not accompanied by a Medical Certificate, or that are made without a minimum of seven days’ notice.
REPERTOIRE
This is to be all-Bach with no repeat repertory at any stage, including the Audition Disk.
Entry:
Please submit a CD/Dat/Mini Disk (no cassettes) of high quality that contains one recitative and one aria of your own choice. On adjudication of these, successful entrants will then proceed to the First Round and be notified during the third week in October.
The First Round – 6 November 2006*:
This will comprise a prescribed recitative and two contrasting Arias of your choice. The prescribed recitative should be prepared from one of the following as appropriate: -
~ Soprano – Cantata BWV 52, No. 2 “Falsche Welt, dir trau’ ich nicht!…”
~ Alto/Counter Tenor – Cantata BWV 35, No 6 “Ach, starker Gott, …”
~ Tenor – Cantata BWV 140, No. 2 “Er kommt, er kommt, der Bräutgam’ kommt!…”
~ Baritone/Bass – Cantata BWV 180, No. 6 “ Herr, laß an mir dein treues Lieben…”
The Semi-Final – 8 November 2006:
A Recitative & Aria from a Bach Passion
The Final – 10 November 2006:
A mixed programme no longer than 20 minutes to include one recitative of substance. (N.B. The orchestral forces for the Final will be drawn from woodwind, strings & basso continuo and small scale, reflecting the fruits of modern Bach scholarship.)
General Note on Repertoire, Language & Editions:
Singers are encouraged to explore Bach’s vocal repertoire in making their choices and credit will be given for imaginative programming. The repertoire should be sung in the original language at every stage i.e. German or Latin, using the most authoritative edition you can find.
ACCOMPANISTS & INSTRUMENTAL ACCOMPANIMENT
Accompanist:
Entrants should provide their own accompanists for the First and Semi-Final Rounds. They should be of a professional standard and conversant with continuo playing technique.
The Entry Disk
Piano or appropriate instrumental accompaniment is acceptable.
First Round (6 Nov* ):
A Harpsichord (A= 415 Hz) will be available.
The Semi-Final (8 Nov):
Semi-finalists will have a Peter Collins Pipe Continuo Organ and a Harpsichord available, pitch A=415Hz. Appropriate instrumental accompaniment in addition to keyboard is welcome at own cost and organisation.
The Final (10 Nov):
The Finalists will be accompanied by Steinitz Bach Players (woodwind, strings & continuo) playing period instruments and directed by Anthony Robson. The pitch will be A=415 Hz. A rehearsal for each Finalist will take place during the afternoon of 10th Nov in St. John’s, Smith Square.
*A substantial entry may also require use of morning on 6th, the 4th and/or 5th Nov (please bear with us).
If you have any queries, please feel free to direct them to us by phone (01883 717372) or email.
The Inaugural
PAUL STEINITZ BACHFEST PRIZE
Sponsored by Belmont International Limited
Supported by the D’Oyly Carte Charitable Trust and Private Donors.
This competition is being launched to celebrate the 60th anniversary of the founding of the LONDON BACH SOCIETY on 7 November 1946 and is promoted by the Society.
The Prize will be rotated between Voice, Organ, Instrumental and Keyboard to reflect the musical forces for which Bach composed.
The 2006 inaugural Prize is for SINGERS
The Final will take place on 10th November, the date attributed to the birth of Martin Luther in 1483.
Mozart’s reaction to Bach’s music:
In this Mozart anniversary year, let’s reflect upon Wolfgang Amadeus’ reaction when hearing the motet ‘Singet dem Herrn’ for the first time during a visit to St. Thomas’ Leipzig in 1789…
When the singing was finished he cried out, full of joy, “Now, there is something one can learn from!”
(Quotation from The New Bach Reader, p.488 ed. David & Mendel, revised & expanded Christoph Wolff - Published by W W Norton & Company, 1998.)
BACH PRIZE COMPETITION, 2006
If you wish to enter this competition, please print a copy of this page for your reference and download a copy of the entry form for your submission:
BACHFEST PRIZE COMPETITION 2006: ENTRY FORM
This is a 326Kb PDF file that will open in a new browser window. Alternatively, you can right-click the file and save it to disk. You will require the free Adobe Reader to view this file. If you have any difficulties, please feel free to contact us.
The inaugural competition is open to both UK resident and non-UK resident entrants. All non-UK resident entrants participate at own expense and should acquire the appropriate visa for entry to the UK if necessary – please check this.
Age Limit for Singers
The age limitations are minimum 21 years old to a maximum 30 years old at Friday 10 November 2006.
The Competition Timetable
Saturday 7 October 2006 - Deadline for Entries to be received (see NB below)
From 9-13 October 2006 - Adjudication of CDs/Dat/Mini Disks
Monday 6 November 2006 - First Round, held at Craxtons Studios, London NW3 from 2.30pm
Wednesday 8 November 2006 - Semi-Final, held at St. Paul’s Church, Knightsbridge from 2.30pm
Friday 10 November 2006 - THE FINAL, held at St. John’s Smith Square, London at 7.00pm
All entrants should be available for all three rounds of the competition. Those accepted into the First Round will be notified during the third week of October. The First Round will be open to LBS Members to attend. The Semi-Final and Final will be open to the general public by ticket.
The Jury
Paul Esswood, Peter Harvey, Ian Partridge CBE, Anthony Robson, Margaret Steinitz (Chairman)
The Prize
The Paul Steinitz Bachfest Prize is £2,000
Bach Prize Administration
Entry Forms and enclosures should be sent by post to:
London Bach Society (Prize), 73 High Street, Old Oxted, Surrey RH8 9LN
N.B. Entry forms sent by fax or e-mail will not be accepted in advance or in arrears. All Entries complete with the required enclosures MUST be submitted by post and received by Sat 7 October.
~ | ~
ENTRY DETAILS
1. Please read through this information carefully, and then complete and return the Entry Form, remembering to enclose the Audition Disk, documents and fee required so that we can process your entry.
2. Entry Forms, complete with enclosures, may be submitted anytime after Tuesday 1 August 2006. No entries will be accepted after the deadline date of Saturday 7 October 2006.
3. At Entry please enclose a CD/Dat/Mini disk (no cassettes) and this should consist of One Recitative and One Aria of your choice by Bach. Please label the disk with your name and a high quality production is required.
4. Please supply a photocopy of your Birth Certificate or any other official document e.g. Passport that confirms the date and place of your birth.
5. Please supply a CurriculumVitae that includes details of your musical and academic education, scholarships, most recent performances and future plans and a concise biography (150 words max).
6. The names of two referees who will support your entry, but who are not members of the Jury, must be submitted whom the London Bach Society reserves the right to consult and request a reference. The referees should be professional musicians of national or international repute.
ENTRY FEE
The Entry fee is £30 (45 Euros), which should accompany the Entry Form. Cheques (payable to London Bach Society) or Credit Cards (Visa/MasterCard/Maestro) are accepted and will be processed for all who are accepted into the First Round. Entry fees become non-refundable on late withdrawals that are not accompanied by a Medical Certificate, or that are made without a minimum of seven days’ notice.
REPERTOIRE
This is to be all-Bach with no repeat repertory at any stage, including the Audition Disk.
Entry:
Please submit a CD/Dat/Mini Disk (no cassettes) of high quality that contains one recitative and one aria of your own choice. On adjudication of these, successful entrants will then proceed to the First Round and be notified during the third week in October.
The First Round – 6 November 2006*:
This will comprise a prescribed recitative and two contrasting Arias of your choice. The prescribed recitative should be prepared from one of the following as appropriate: -
~ Soprano – Cantata BWV 52, No. 2 “Falsche Welt, dir trau’ ich nicht!…”
~ Alto/Counter Tenor – Cantata BWV 35, No 6 “Ach, starker Gott, …”
~ Tenor – Cantata BWV 140, No. 2 “Er kommt, er kommt, der Bräutgam’ kommt!…”
~ Baritone/Bass – Cantata BWV 180, No. 6 “ Herr, laß an mir dein treues Lieben…”
The Semi-Final – 8 November 2006:
A Recitative & Aria from a Bach Passion
The Final – 10 November 2006:
A mixed programme no longer than 20 minutes to include one recitative of substance. (N.B. The orchestral forces for the Final will be drawn from woodwind, strings & basso continuo and small scale, reflecting the fruits of modern Bach scholarship.)
General Note on Repertoire, Language & Editions:
Singers are encouraged to explore Bach’s vocal repertoire in making their choices and credit will be given for imaginative programming. The repertoire should be sung in the original language at every stage i.e. German or Latin, using the most authoritative edition you can find.
ACCOMPANISTS & INSTRUMENTAL ACCOMPANIMENT
Accompanist:
Entrants should provide their own accompanists for the First and Semi-Final Rounds. They should be of a professional standard and conversant with continuo playing technique.
The Entry Disk
Piano or appropriate instrumental accompaniment is acceptable.
First Round (6 Nov* ):
A Harpsichord (A= 415 Hz) will be available.
The Semi-Final (8 Nov):
Semi-finalists will have a Peter Collins Pipe Continuo Organ and a Harpsichord available, pitch A=415Hz. Appropriate instrumental accompaniment in addition to keyboard is welcome at own cost and organisation.
The Final (10 Nov):
The Finalists will be accompanied by Steinitz Bach Players (woodwind, strings & continuo) playing period instruments and directed by Anthony Robson. The pitch will be A=415 Hz. A rehearsal for each Finalist will take place during the afternoon of 10th Nov in St. John’s, Smith Square.
*A substantial entry may also require use of morning on 6th, the 4th and/or 5th Nov (please bear with us).
If you have any queries, please feel free to direct them to us by phone (01883 717372) or email.
Posted: Thursday, March 23, 2006
To add to the Church Cantatas, Secular Cantatas, Passions & Oratorios, Latin Church Music and Motets, we now have the Bach Organ Works on our unique Bach Music Database.
We are indebted to Richard and Michael Smith who have carried out the technical work specially for us that adds all 231 pieces to the site, and we hope that the existence of this facility will provide quick and easy reference for the browser.
There are also some Introductory Notes and Notes on the various Fields. We are aiming to add all the extant works to the site eventually, and we are now over half way through. The next collection added will be the Bach instrumental works.
We are indebted to Richard and Michael Smith who have carried out the technical work specially for us that adds all 231 pieces to the site, and we hope that the existence of this facility will provide quick and easy reference for the browser.
There are also some Introductory Notes and Notes on the various Fields. We are aiming to add all the extant works to the site eventually, and we are now over half way through. The next collection added will be the Bach instrumental works.
Posted: Wednesday, March 01, 2006
BBC - Juilliard given rare manuscripts: Original manuscripts by Bach, Mozart and Brahms form part of a 139-item collection of sheet music donated to the Juilliard School in New York. The artefacts - donated by collector Bruce Kovner, chairman of the music acedemy's board - will be housed in a reading room from September 2009.
The Times - Tycoon orchestrates huge musical gift: A collector who has spent the past decade anonymously acquiring some of the world’s most revered musical manuscripts stepped out of the shadows yesterday to make an astonishing gift to the Juilliard School in New York, the leading US conservatoire. Bruce Kovner, one of the world’s highest-earning investment managers, gave more than 140 manuscripts - together worth tens of millions of pounds - to the school.
The New York Times has more information, plus a multimedia presentation with details about an autograph manuscript of Ludwig van Beethoven's "Grosse Fuge."
Alex Ross, music critic of The New Yorker, presents some images and a list of highlights from the collection, which includes:
Alex's post also includes a PDF of the complete listing of items.
The Times - Tycoon orchestrates huge musical gift: A collector who has spent the past decade anonymously acquiring some of the world’s most revered musical manuscripts stepped out of the shadows yesterday to make an astonishing gift to the Juilliard School in New York, the leading US conservatoire. Bruce Kovner, one of the world’s highest-earning investment managers, gave more than 140 manuscripts - together worth tens of millions of pounds - to the school.
The New York Times has more information, plus a multimedia presentation with details about an autograph manuscript of Ludwig van Beethoven's "Grosse Fuge."
Alex Ross, music critic of The New Yorker, presents some images and a list of highlights from the collection, which includes:
The long-lost transposed continuo part of Bach's Cantata BWV 176, with markings by the composer.
Alex's post also includes a PDF of the complete listing of items.