Thomas Benjamin's book is a great continuation for serious students of counterpoint. Neccessary prerequisites include basic understanding of traditional harmony and a firm understanding of basic species counterpoint. When armed with this background, students will find this book an invaluable guide into the deeper aspects of Bach's musical style. (All serious composition students should go through this series, and yes its a 5 to 50 year project!) Through examples and excercises the student will learn to apply the same considerations to his writting, if not the same sublimity, as one of the greatest musical masters of known history. Progressive excercises show the student how to synthesize harmonic considerations, counterpoint guidelines, and stylistic techninques (rhythmic figures and motiffs and the like) in a way that leads to satisfying musical conclusions. Once smaller scale writting excercises are mastered, no small feat and nothing to be rushed, the student then is ready to tackle larger musical forms. The satisfaction that emerges from such work is immeasurable, and this book is one of the only successfull treatments of the subject. Once again, this book shouldn't be undertaken without at least a year's study in traditional harmony, and a years in species counterpoint. Once this has been acomplished, the study of Bach's counterpoint is the logical continuation. Hats off! to Mr. Benjamin.

This two volume work is based on Montgomery's ThD thesis at the University of Strasbourg. It was first issued in 1973 and is scheduled for reissue by Kluwer Publishers. In a series of interrelated essays Montgomery explores the life, labour and thought of the German Lutheran minister Johann Valentin Andreae. He sets Andreae in the context of the Lutheran influences on the rise of modern science and shows, contrary to popular impressions, that from the outset Lutheranism was friendly to scientific research. Then Montgomery seeks to sketch the life and world-view of Andreae and reappraises the long-repeated claim that he was the founder of Rosicrucianism. Montgomery documents from many unpublished primary source materials how Andreae was an orthodox Lutheran theologian and pastor. He shows the intense labour of Andreae to achieve a fusion of thought between faith, science and scholarship in general. He documents Andreae's relationships with various scholars of his day. He also is at pains to show that via Andreae, Lutheran orthodoxy in the 17th century was not ossified. In Andreae we see a fusion between piety and learning. Montgomery thus uses Andreae as an illustration to expose the specious post-Enlightenment interpretations of Lutheran orthodoxy as dry, dull and dead. Furthermore, Montgomery re-opens the case concerning The Chymical Wedding as a document of Rosicrucianism. From primary sources Montgomery demonstrates that Rosicrucianism predated this book and that Andreae's text was an apologia to woo the Rosicrucians back to Christianity. This is a very learned text that has helped stimulate further research in various directions. Although dated in many respects, especially bibliographically, the book is a scholarly gem. It should be of interest to scholars of 17th century intellectual thought, Lutheran theology, and the hermetic traditions of the occult.

This book is a must for all serious performers of Bach's music. It is the only book that details not only of most of the dances that appear in Bach's works, but provides a fundamental vocabulary for a discussion of rhythm. After that has been provided, dances are discussed with clarity and precision, with a wealth of original sources for the reader. There is nothing on the market like it.

Although this was one of Goethe's earliest works, it is quite possibly his greatest. It allows the reader to experience the ups and downs of the irrational main character as he falls blindly and passionately in love with a married woman. Werther is the most passionate character ever created in literature, becoming possessed by nature, love, and himself. Although he sees his own destruction coming, he can and will do nothing to stop it. The first book is mostly autobiographical, based on Goethe's love for Charlotte Buff. Book two is a mor ebiographical account of one of Goethe's acquaintances. The story is truly captivating and emotionally draining. The language, in the English and even more so in the German, is powerful and fits perfectly to the overall mood of the story. There is beautiful imagery and the role of nature is carefully portrayed. This book should be read by all.

this book was about my pet monkey judd. he liked the book and clapped to gypsy music.although it didnt show his sexual side enough. we both thought it was a hip swingin book. judd says hello

The eleven cantatas printed here are some of the most-recorded of all Bach's vocal works, and this is a wonderful and inexpensive companion volume for the avid listener who likes to follow the score. A listing of the works included would probably be helpful: 4, Christ lag in Todesbanden; 12, Weinen, Klagen, Sorgen, Zagen; 21, Ich hatte viel Bekummerniss; 51, Jauchzet Gott in allen Landen (for soprano solo with trumpet); 56, Ich will den Kreuzstab gerne tragen (bass solo with oboe); 61, Nun komm, der Heiden Heiland; 78, Jesu, der Du meine Seele; 80, Ein' feste Burg ist unser Gott (including the trumpet parts added by a different hand); 82, Ich habe genug (another bass solo with oboe obbligato); 106, Gottes Zeit ist die allerbeste Zeit (a very early and beautiful cantata, with two solo recorders); and 140, Wachet auf, ruft uns die Stimme.

Joshua Rifkin's revolutionary thesis about one voice per part performances of Baroque choral works actually began from his studies of 17th century German music, notably Henrich (sic) Schütz. But it was only when he began to argue that the principle may also apply to the immortal JSB, that he provoked the ire of musicians and musicologists. Essays on the subject by Rifkin and his opponents, including Robert Marshall and Christoph Wolff, have been tossed backwards and forwards in various scholarly journals for over twenty years now. Thus Andrew Parrott does Bach lovers a great service by mustering all the relevant evidence into one handsome and well-written book.

That Bach's normal practice was to employ solo voices in his cantatas, passions and oratorios should now be considered beyond serious scholarly dispute. Of course, it is perfectly legitimate for conductors to say, as does Philippe Herreweghe, that they simply like the sound of a full choir in Bach, without pretending that this conforms to Bach's own practice. What is less attractive is the efforts of others, such as Ton Koopman, to defend what is merely a personal preference by belittling the Rifkin/Parrott discoveries.

Among Bach conductors, Rifkin and Parrott themselves were the first to put the theory into practice in concerts and recordings. Lately they have been joined by Jeffrey Thomas (Koch), Sigiswald Kuijken (DHM), Konrad Junghänel (Harmonia Mundi), Daniel Taylor (Atma) and, most recently, Paul McCreesh, whose single voice recording of the St Matthew Passsion (DGG Archiv) is a revelation. Parrott's book is intellectually convincing; these recordings are aesthetically and emotionally compelling.

Andrew Parrott's wonderful volume is the culmination of many years study and practical application of J. S. Bach performance practice. Many of the conclusions are not new, but follow from the work of Josua Rifkin, made more compelling with easily grasped, definitive scholarship. It is past time for the modern choirmaster and music director to seriously reconsider those grand scale performances, and hear Bach anew, intimate, expressive, and no less powerful.

In this age of all too often non - discerning readership of some volumes labeled as Christian literature that bear essentially an
"in name only" relationship to true Christianity, we have to be thankful for those who devote much time and effort to the translation of works from other languages, and skillfully so.
We must also be thankful for qualified editors and those who commit to publishing, not to mention offering at reasonable prices, works saved for English readership.

This particular work of the noted 17th century Lutheran theologian and professor, Johann Gerhard, is thoughtfully translated from the German by Elmer M. Hohle and edited by David O. Berger, Director of Library Services, Concordia Seminary, St. Louis, MO. The publisher, Repristination Press, Malone, TX, must be credited with selecting this wonderful Gerhard work to publish and provide at inexpensive prices for such valuable content.

The work itself, approximately 330 pages, is select sermons of Gerhard on the Passion of Christ in its stages. To quote the editor, "Johann Gerhard views the Passion of Christ with Old Testament eyes ... The events, people, and prophecies of the Old Testament are seamlessly connected with their culmination in the suffering, death, burial, and resurrection of Christ."

Suffice it to say that one is disappointed only that this work
does end, but you are prompted to want to read other Gerhard translations that are available in English not to mention returning to Scripture. Gerhard was a great exegete for his time and today. Thankfully, the translation is very well done by Hohle so that the English reader may savor what German readers have been able to do until now.

I could not encourage anyone enough to add this volume to their library.

Essays by two leading theologians discuss the subjects that they find challenging for the future of Christianity. For Metz, most of the challenge is in restructuring Christianity from a European-based perspective to a more global inclusion of the needs of the non-European world. Metz looks forward to the revitaliation of Christianity from the common base of dealing with the issue of suffering in the world. Moltmann's topics deal with increasing ecumenical understandings between the various Christian sects and take up a broad range of theological isssues that often divide rather than bring together modern Christians such as Mariology and views on the Trinity. Most interesting is an essay on the concept of the triune God in relation to the Judaic concept of God. This collection of essays is readable by a lay person with a respectable knowledge base of traditional theology.

Faust is an epic poem penned by the incomparable Goethe. He, the German Shakespeare, writes brilliantly of the universal scheme including God, Satan, and all manner of other creatures. At the center, however, is the good Dr. Faust. Faust is the subject of a bet between God and Mephistopheles. The story is thus set and Faust and Mephistopheles take to the world on a journey which leads the doctor into lewd affairs, titanic conflicts, and, eventually, introspection and self-discovery. It is a tale which any can relate to and through Faust's journey the reader discovers much about himself. This is an excellent poem rivalling anything written by Shakespeare or even Dante.