Heller is currently the Vice-President of the Society for Seventeenth-Century Music, and serves on the editorial boards for the Journal of Musicology, Cambridge Opera Journal, Journal of Music Pedagogy, The Operas of Cavalli (Bärenreiter), the Board of the American Handel Society, and is a member of the Venetian Advisory Board for the Gladys Krieble Delmas Foundation."Bach is the father, we are the kids,” said Mozart, maybe.
Heller is currently the Vice-President of the Society for Seventeenth-Century Music, and serves on the editorial boards for the Journal of Musicology, Cambridge Opera Journal, Journal of Music Pedagogy, The Operas of Cavalli (Bärenreiter), the Board of the American Handel Society, and is a member of the Venetian Advisory Board for the Gladys Krieble Delmas Foundation."Bach is the father, we are the kids,” said Mozart, maybe.Tags: Cheapest Essay WritingOf Mice And Men Gcse Coursework EnglishEssay Writing In HistoryEssay On CultismBusiness Plan BlogEssays On Stress AndAmnesty International High School Essay
Wendy Heller, Scheide Professor of Music History, is Chair of the Department of Music at Princeton University and also serves as Director of the Program in Italian Studies.
Recognized as one of the leading scholars in the field of Baroque music, Heller has specialized in the study of 17th- and 18th-century opera from interdisciplinary perspectives, with special emphasis on gender and sexuality, art history, Italian literature, dance history, and the classical tradition.
The quote was reported 40 years after Mozart’s death by someone known to make stuff up and otherwise fall short of NPR sourcing standards. Bach a “tiger parent," CPE seems to have been free of daddy issues. Bach’s death in 1750, CPE shepherded his through a deluxe first publication; and in 1786 he conducted the first performance of the Credo of his father's Mass in B Minor, after working out illegible manuscript passages and filling out the keyboard part.
But even if it’s apocryphal, what makes it interesting is not who said it but which Bach he had in mind: not Johann Sebastian, but his second son, Carl Philipp Emanuel Bach. He can seem a footnote with too many initials, but Oxford Bibliography calls him “arguably the most imaginative German composer of the mid-18th century." It adds that “in the 18th century he was more widely recognized as a composer than was his father.” You get a sense of why in this excerpt from his Magnificat, as performed last month by the Chamber Singers of Iowa City conducted by David Puderbaugh at the University of Iowa's Voxman Music Building: Why, then, did CPE get demoted to footnotes? Nobody worked more tirelessly than CPE to burnish his late father’s biography (beginning with the obituary) and to preserve and circulate his music. CPE could make easy work of such challenges because, when he wanted, he could compose in his father’s style with a fluency that must have made the old man proud. You’d think CPE tossed off Bachian choral masterpieces all the time, but after the Magnificat he didn't write another for years.
2018 also witnessed the release of several high-profile recordings, including (Deutsche Grammophon and Decca), the “largest composer project in recording history,” and Yo-Yo Ma’s third and purportedly last recording of the complete Bach Suites for Unaccompanied Cello (Sony Classical).
Alongside these were dozens of other recordings ranging from John Eliot Gardiner and the Monteverdi Consort’s (New Focus Recordings).
Published in conjunction with an exhibit at the Bodleian Library, the book was the culmination of a multi-year Oxford-Princeton collaborative grant directed by Heller and Burden.
Heller has earned numerous fellowships and prizes from such organizations as the ACLS, the Mellon Foundation, and the Gladys Krieble Delmas Foundation.
Meanwhile, CPE kept an eye out for a less dead-end job.
That may be why he wrote the Magnificat in 1747 and why he conducted it in 1750 in his ailing father’s church in Leipzig.