TY  - BOOK
AU  - Yearsley,David Gaynor
TI  - Sex, death & minuets: Anna Magdalena Bach and her musical notebooks 
T2  - New material histories of music
SN  - 9780226617848
AV  - ML410.B1 Y43 2019eb
U1  - 780.92 23
PY  - 2019///
CY  - Chicago, London
PB  - The University of Chicago Press
KW  - Bach, Anna Magdalena,
KW  - Music
KW  - Germany
KW  - 18th century
KW  - History and criticism
KW  - Musique
KW  - Allemagne
KW  - 18e si�ecle
KW  - Histoire et critique
KW  - MUSIC
KW  - History & Criticism
KW  - bisacsh
KW  - fast
KW  - Notebooks
KW  - Notebooks, sketchbooks, etc
KW  - Criticism, interpretation, etc
N1  - Includes bibliographical references and index; Magdalena mania -- Music for weddings and beddings -- Death every day : the 1725 notebook and the art of dying -- Fragment and fantasy : Anna Magdalena Bach at the organ -- Bitter bean and loose liessgen : on coffee, cantatas, and unwed daughters -- A widow's song -- Coda : the minuet sings
N2  - At one time a star in her own right as a singer, Anna Magdalena (1701-60) would go on to become, through her marriage to the older Johann Sebastian Bach, history's most famous musical wife and mother. The two musical notebooks belonging to her continue to live on, beloved by millions of pianists young and old. Yet the pedagogical utility of this music--long associated with the sound of children practicing and mothers listening--has encouraged a rosy and one-sided view of Anna Magdalena as a model of German feminine domesticity. Sex, Death, and Minuets offers the first in-depth study of these notebooks and their owner, reanimating Anna Magdalena as a multifaceted historical subject--at once pious and bawdy, spirited and tragic. In these pages, we follow Magdalena from young and flamboyant performer to bereft and impoverished widow--and visit along the way the coffee house, the raucous wedding feast, and the family home. David Yearsley explores the notebooks' more idiosyncratic entries--like its charming ditties on illicit love and searching ruminations on mortality--against the backdrop of the social practices and concerns that women shared in eighteenth-century Lutheran Germany, from status in marriage and widowhood, to fulfilling professional and domestic roles, money, fashion, intimacy and sex, and the ever-present sickness and death of children and spouses. What emerges is a humane portrait of a musician who embraced the sensuality of song and the uplift of the keyboard, a sometimes ribald wife and oft-bereaved mother who used her cherished musical notebooks for piety and play, humor and devotion--for living and for dying
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ER  -