Talk:The Musical Offering

Quotation from D minor Fugue, WTC Bk II

Have any authorities commented that the first section of the MO, The Ricercare a3, quotes almost verbatim the (highly chromatic) subject from the D minor fugue from Book II of the WTC? This seems significant, and I would be interested to find an explanation.

131.111.184.92 (talk) 19:36, 12 June 2011 (UTC)

Confided

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)

It is speculation. Removed. EldKatt (Talk) 19:37, 29 November 2005 (UTC)

Sentence

"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)

Delightful, but almost certainly apocryphal. Prussia was at peace from 1745 to 1756, Frederick having abandoned his French and German allies once he had convinced Maria Theresia to cough up Silesia. He may have gone out on maneuvers, an inspection tour, or some other peacetime military duty, but he couldn't have been campaigning. --KenMacLennan (talk) 18:37, 4 January 2010 (UTC)

Pianoforte

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)

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Schiller Institute

I can't help but notice that one of the links is to a Lyndon LaRouche thinktank. It's undeniable that the LaRouchites are huge classical music buffs, but they're also lunatics. Is it good to be linking to them? 99.184.157.31 (talk) 15:49, 27 May 2010 (UTC)