Bach's music has made an indelible mark on all those who compose for the organ, and in the 19th century, Bach's music was revived, revered, and brought to life for a musical public. This study examines how four major composers of the 19th century—Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms—responded to the model of Bach's organ music. Whether for keyboard, voice, orchestra, or chamber ensemble, these composers not only borrowed from Bach's organ works in creating their own masterpieces, but also reacted significantly to the music as performers, editors, theorists, and ... More

Bach's music has made an indelible mark on all those who compose for the organ, and in the 19th century, Bach's music was revived, revered, and brought to life for a musical public. This study examines how four major composers of the 19th century—Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms—responded to the model of Bach's organ music. Whether for keyboard, voice, orchestra, or chamber ensemble, these composers not only borrowed from Bach's organ works in creating their own masterpieces, but also reacted significantly to the music as performers, editors, theorists, and teachers. The book reveals how these four titans influenced one another as “receptors” of this repertory and how their mutual acquaintances—especially Clara Schumann—contributed as well. It also represents a significant contribution to the literature of the so-called Bach revival. The book considers biographical research as well as musical evidence to arrive at new and often startling conclusions about precisely which pieces served as compositional exemplars and which ones were especially valued as study and performance repertoire. Replete with intriguing anecdotes, this study includes detailed observations on how these composers annotated their personal copies of Bach's organ works. The book also features numerous musical examples, facsimile plates, and a comprehensive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572.