Archives Scrapbooks

The image is a program for a concert of early music held at the Longy School of Music in Cambridge. The event took place on Tuesday, May 6, 1941, at 8:30 PM in the Renaissance Room of the Germanic Museum. The concert featured "The Art of the Fugue" by Johann Sebastian Bach, performed by the Longy School Chamber Orchestra with a commentary by Erwin Bodky, the conductor.

The program is divided into five groups, each describing different contrapuncti (counterpoints) from Bach's work:

1. First Group: Simple Fugue

   • Contrapunctus I: Simple fugue on the main subject.
   • Contrapunctus II: The main subject in varied form.
   • Contrapunctus III: Inversion of the main subject.
   • Contrapunctus IV: The main subject in inverted and later in varied form.

2. Second Group: The main subject in original form and simultaneous counterpoint in contrary motion.

   • Contrapunctus V: Contrary motion and imitation of stretto.
   • Contrapunctus VI: "In stile francese." Contrary motion, stretto, and diminution.
   • Contrapunctus VII: Contrary motion, stretto, diminution, and augmentation.

3. Third Group: Double and Triple Fugues

   • Contrapunctus VIII: Triple Fugue for three parts.
   • Contrapunctus IX: Double Fugue in varied form of the name "BACH."
   • Contrapunctus X: Double Fugue, subject I being new, subject II, inverted.
   • Contrapunctus XI: Double Fugue, subject I new, but containing elements of subject III in inverted form.
   • Contrapunctus XII: Triple Fugue in three parts.
   • Contrapunctus XIII: Triple Fugue in three parts; for the first time the theme "Bach" appears in normal form.

4. Fourth Group: Mirror Fugues

   • Contrapunctus XIV: Mirror Fugue in three parts.
   • Contrapunctus XV: Mirror Fugue in three parts.
   • Contrapunctus XVI: Mirror Fugue in four parts.
   • Contrapunctus XVII: Mirror Fugue in four parts.

5. Fifth Group: Quadruple Fugue (unfinished)

   • Subjects I and II are new; subject III is the name "Bach"; subject IV is an inversion of the main theme.

The program concludes with a quote from a chorale, "Vor Deinen Thron tret' ich allhier" ("I stand before your throne"), which Bach used as a musical signature and was dictated to his son-in-law on his deathbed. This chorale was published in the first edition of "The Art of the Fugue."

The image shows a program from a concert titled "Concert of Early Music," which took place at the Longy School of Music on Tuesday, May 6, 1941, at 8:15 PM in the Renaissance Room of the Germanic Museum. The concert was performed by the Longy School Chamber Orchestra, with Erwin Bodky as the conductor.

The main piece performed was "The Art of the Fugue" by Johann Sebastian Bach. The program provides a detailed breakdown of the various groups and contrapuncti (fugues) within "The Art of the Fugue":

1. First Group: Simple Fugues

   • Contrapunctus I: The main subject.
   • Contrapunctus II: The main subject in varied form.
   • Contrapunctus III: Inversion of the main subject.
   • Contrapunctus IV: The main subject in inverted and later in varied form.

2. Second Group: The main subject in original form and simultaneously in contrary motion

   • Contrapunctus V: Contrary motion and intensification of stretto.
   • Contrapunctus VI: In silentio (in silence), contrary motion, stretto, and diminution.
   • Contrapunctus VII: Contrary motion, stretto, diminution, and augmentation.

3. Third Group: Double and Triple Fugues

   • Contrapunctus VIII: Triple Fugue for three parts.
     • Subjects I and II are new, II being the inverted form of the name "BACH".
     • Subject III is a varied form of the main theme.
   • Contrapunctus IX: Double Fugue, subject I being new, subject II, the main subject.
   • Contrapunctus X: Double Fugue, subject I new, but containing elements of subject III of the Eighth Fugue.
   • Contrapunctus XI: The three subjects of Fugue VIII in inverted and normal form; for the first time the theme "BACH" appears in normal form.

4. Fourth Group: Mirror Fugues

   • Contrapunctus XII: Mirror Fugue in three parts.
   • Contrapunctus XIII: Mirror Fugue in four parts (rectus).

5. Fifth Group: Quadruple Fugue (unfinished)

   • Subjects I and II are new, subject III is the name "BACH" in inverted form.
   • Subject IV was planned as the main subject.

For the end of the concert, the choral "Vor Deinen Thron tret ich allhier" ("I stand before your throne") was performed. This choral was Bach's last composition, dictated by him shortly before his death and published in the first edition of "The Art of the Fugue."

The image shows a program for a concert titled "Concert of Early Music" held by the Longy School of Music at one Follen Street, Cambridge. The concert took place on Tuesday, May 6, 1941, at 8:15 PM in the Renaissance Room of the Germanic Museum.

The concert featured the Longy School Chamber Orchestra, conducted by Erwin Bodky. The program details the performance of "The Art of the Fugue" by Johann Sebastian Bach.

The program outlines the structure of the fugue in five groups:

1. First Group: Simple Fugue, including Contrapunctus I, II, III, and IV. It describes how each contrapunctus builds on the main subject in various forms.
2. Second Group: Features the main subject in original form and in simultaneous contrary motion, including Contrapunctus V and VI, detailing various techniques such as stretto and diminuendo.
3. Third Group: Includes Double and Triple Fugues with detailed descriptions of subjects and their variations, including Contrapunctus VII and VIII.
4. Fourth Group: Mirror Fugues in three and four parts, specifically Contrapunctus XII and XIII, and mentions rectus and inversus forms.
5. Fifth Group: A Quadruple Fugue (unfinished) with subjects I and II, which are new and subject IV planned as the main subject.

The program notes that the final piece is a Chorale, "Vor Deinen Thron tret ich allhier" ("I stand before your throne"), Bach’s last composition, dictated by the composer to his son, Carl Philipp Emanuel Bach, shortly before his death. This piece was published in the first edition of the "Art of the Fugue."

The image displays a program for a concert held at the Longy School of Music, located at One Follen Street, Cambridge. The concert, titled "Concert of Early Music," took place on Tuesday, May 6, 1941, at 8:15 P.M. in the Germanic Museum's Renaissance Room. The featured performance was by the Longy School Chamber Orchestra, with Erwin Bodky serving as the conductor, who also provided a brief introductory talk on the composition.

The centerpiece of the concert was Johann Sebastian Bach's "The Art of the Fugue." The program details the structure of the piece, dividing it into several groups:

1. First Group: Simple Fugues

   • Contrapunctus I: The main subject.
   • Contrapunctus II: The main subject in varied form.
   • Contrapunctus III: Inversion of the main subject.
   • Contrapunctus IV: The main subject in inverted and varied form.

2. Second Group: The main subject in original form and simultaneously in contrary motion

   • Contrapunctus V: Contrary motion and intensification of stretti.
   • Contrapunctus VI: "In stile francese," contrary motion, stretto, and diminutions.
   • Contrapunctus VII: Contrary motion, stretto, diminutions, and augmentation.

3. Third Group: Double and Triple Fugues

   • Contrapunctus VIII: Triple Fugue for three parts. Subjects I and II are new; subject III is the inverted form of the main theme.
   • Contrapunctus IX: Triple Fugue, subject I being new, subject II, the main theme, subject III, the inverted form of the main theme.
   • Contrapunctus X: Double Fugue, subject I new, but containing elements of subject III of the Eighth Fugue. Subject II, the main theme in original form.

4. Fourth Group: Mirror Fugues

   • Contrapunctus XII: Mirror Fugue in three parts.
     • (a) rectus
     • (b) inversus
   • Contrapunctus XIII: Mirror Fugue in four parts.
     • (a) rectus
     • (b) inversus

5. Fifth Group: Quadruple Fugue (unfinished)

   • Subjects I and II are new; subject III is the name "Bach"; subject IV was planned as the main subject.

The program concludes with a note that the final piece, a Chorale, is "Vor Deinen Thron tret ich allhier" ("I stand before your throne"), which was Bach's last composition. It was dictated by the dying composer to his son-in-law Altnickol, and it was finished and published in the first edition of the "Art of the Fugue."

The image shows a program from a concert of early music held at the Longy School of Music, located at One Follen Street, Cambridge. The concert took place on Tuesday, May 6, 1941, at 8:15 P.M. in the Renaissance Room of the Germanic Museum.

The program features a performance by The Longy School Chamber Orchestra, conducted by Erwin Bodky, who also delivered a brief introductory talk on the composition.

The main work performed was "The Art of the Fugue" by Johann Sebastian Bach. Here is a detailed breakdown of the program:

THE ART OF THE FUGUE
By Johann Sebastian Bach

FIRST GROUP: Simple Fugues

• Contrapunctus I: Simple fugue, main subject.
• Contrapunctus II: The main subject in varied form.
• Contrapunctus III: Inversion of the main subject.
• Contrapunctus IV: The main subject in inverted and later in varied form.

SECOND GROUP: The main subject in original form and simultaneously in contrary motion.

• Contrapunctus V: Contrary motion and intensification of stretto.
• Contrapunctus VI: "In the French style," contrary motion, stretto, and diminution.
• Contrapunctus VII: Contrary motion, stretto, diminution, and augmentation.

THIRD GROUP: Double and Triple Fugues

• Contrapunctus VIII: Triple Fugue for three parts.
  • Subjects I and II are new, III being the inverted form of the name B-A-C-H (B♭-A-C-B♮).
• Contrapunctus IX: Double Fugue, subject I being new, subject II being the main theme.
• Contrapunctus X: Double Fugue, subject I new, but containing elements of subject III of the Eighth Fugue.
  • Subject II: The main theme is inverted.
• Contrapunctus XI: Triple Fugue for four parts.
  • The three subjects of Fugue VIII in inverted and normal form; for the first time the theme "Bach" appears in normal form.

FOURTH GROUP: Mirror Fugues

• Contrapunctus XII: Mirror Fugue in three parts.
  • (a) rectus
  • (b) inversus
• Contrapunctus XIII: Mirror Fugue in four parts.
  • (a) rectus
  • (b) inversus

FIFTH GROUP: Quadruple Fugue (unfinished)

• Subjects I and II are new; subject III is the name "Bach"; subject IV was planned as the main subject.

A note at the end mentions that for the final chorale: "Vor Deinen Thron tret ich allhier" ("Before Thy Throne I Now Appear"), Bach's last composition dictated from his deathbed, should be played.

This program provides a comprehensive guide to the performance of Bach's complex and intricate "The Art of the Fugue."

The image shows a program for a concert titled "Concert of Early Music," held at the Germanic Museum in the Renaissance Room at One Folwell Street, Cambridge, on Tuesday, May 6, 1941, at 8:15 PM. The concert was organized by the Longy School of Music and featured the Longy School Chamber Orchestra.

The concert included a brief introductory talk on the composition by Erwin Bodky, who was the conductor.

The main piece performed was "The Art of the Fugue" by Johann Sebastian Bach. The program provides a detailed outline of the different sections (or "Contrapunctus") of the composition, divided into five groups:

1. First Group: Simple Fugues

   • Contrapunctus I: Fugue on a subject.
   • Contrapunctus II: The main subject in varied form.
   • Contrapunctus III: Inversion of the main subject.
   • Contrapunctus IV: The main subject in inverted and later in varied form.

2. Second Group: The main subject in original form and simultaneously in contrary motion

   • Contrapunctus V: Contrary motion and intensification of stretto.
   • Contrapunctus VI: "In stile francese" - Contrary motion, stretto, and diminution.
   • Contrapunctus VII: Contrary motion, stretto, diminution, and augmentation.

3. Third Group: Double and Triple Fugues

   • Contrapunctus VIII: Triple Fugue for three parts.
   • Subjects I and II are new, II being the inverted form of the name "B-A-C-H".
   • Contrapunctus IX: Double Fugue, subject I being new, subject II, the main theme.
   • Contrapunctus X: Double Fugue, subject I new, but containing elements of subject III of the Eighth Fugue.
   • Subject II, the main theme in inverted form.
   • Contrapunctus XI: Double Fugue, subjects I and II in inverted and normal form; for the first time the theme "B-A-C-H" appears in normal form.

4. Fourth Group: Mirror Fugues

   • Contrapunctus XII: Mirror Fugue in three parts.
     (a) rectus
     (b) inversus
   • Contrapunctus XIII: Mirror Fugue in four parts.
     (a) rectus
     (b) inversus

5. Fifth Group: Quadruple Fugue (unfinished)

   • Subjects I and II are new, subject III is the name "B-A-C-H"; subject IV was planned as the main subject.

The program concludes with a mention of the Chorale "Vor Deinen Thron tret ich hier" ("I stand before your throne"), which was Bach's last composition, dictated to his pupil Johann Friedrich Agricola shortly before his death and published in the first edition of "The Art of the Fugue."

The image shows an old sheet of paper attached to a page, likely from a book or an album. The paper is a program or announcement for a concert titled "Concert of Early Music" organized by the Longy School of Music, located at One Follen Street, Cambridge.

The concert took place on Tuesday, May 6, 1941, at 8:15 PM in the Germanic Museum's Renaissance Room. It features a performance by The Longy School Chamber Orchestra conducted by Erwin Bodky. The main piece being performed is "The Art of the Fugue" by Johann Sebastian Bach.

The program breaks down the composition into five groups:

• First Group: Simple Fugues
• Second Group: The main subject in original form and simultaneously in contrary motion.
• Third Group: Double and Triple Fugues
• Fourth Group: Mirror Fugues
• Fifth Group: Quadruple Fugue (unfinished)

It provides details about the contrapunctors (individual fugue parts) within each group.

At the bottom, there is a note about the choral finale, including a quote attributed to Bach shortly before his death and some historical context regarding the composition's publication. The overall tone is scholarly and aimed at an audience interested in classical music, specifically early music and Bach's works.

This image shows an open page from a program for a concert by the Longy School of Music. The event is titled "Concert of Early Music" and was held on Tuesday, May 6, 1941, at 8:15 PM. It appears to have taken place at the Germanic Museum in the Renaissance Room.

The performance featured the Longy School Chamber Orchestra with Erwin Bodky as the conductor. On the program is "The Art of the Fugue" by Johann Sebastian Bach, and there is a note about a brief introductory talk on the composition by the conductor.

The Art of the Fugue is broken down into several groups displayed in the program:

• First Group: Simple Fugues
• Second Group: The main subject in original form and simultaneous invert.
• Third Group: Double and Triple Fugues
• Fourth Group: Mirror Fugues
• Fifth Group: Quadruple Fugue (unfinished)

Each group further details the contrapunctus or pieces to be performed, with descriptions of their musical structure, such as inversion, augmentation, or whether the theme "BACH" appears in normal form.

The paper shows signs of aging such as discoloration, with vertical streaks of browning indicative of water damage or exposure to elements. The page is attached to a book or program binder on the left-hand side as evident by the fold at the edge.

The image shows a printed program insert for a concert organized by the Longy School of Music. The concert, titled "Concert of Early Music," was held on Tuesday, May 6, 1941, at 8:15 p.m. in the Renaissance Room at the Germanic Museum. The Longy School Chamber Orchestra, conducted by Erwin Bodky, performed, with a brief introductory talk on the composition.

The focus of the concert was "The Art of the Fugue" by Johann Sebastian Bach. The program outlines the structure of the composition, divided into five groups:

1. First Group: Simple Fugues

   • Various contrapunctus pieces focusing on the main subject and its variations.

2. Second Group:

   • Main subject in original and varied forms using contrary motion and other techniques.

3. Third Group: Double and Triple Fugues

   • Containing three and four parts, and introducing new fugue subjects and variations.

4. Fourth Group: Mirror Fugues

   • Fugues in three and four parts, including reversus techniques.

5. Fifth Group: Quadruple Fugue (unfinished)

   • Brief mention of subjects and planned endings.

The program concludes with a mention of Bach's final composition "Vor deinen Thron tret ich allhier" ("I stand before your throne"), dictated to his son-in-law Altnickol before his death and published in the first edition of "The Art of the Fugue."

The insert is mounted on a larger page, with visible marks indicating where it was adhered. The paper shows signs of aging and discoloration around the edges.

The image depicts the interior of a booklet or program for a concert titled "Concert of Early Music", held at the Longy School of Music, located at One Folly Street, Cambridge. The event took place on Tuesday, May 6, 1941, at 8:15 P.M., in the Renaissance Room of the Germanic Museum.

The concert featured The Longy School Chamber Orchestra, with Erwin Bodky as the conductor. The program focused on "The Art of the Fugue" by Johann Sebastian Bach, a renowned Baroque composer.

The booklet outlines the structure of Bach's "The Art of the Fugue", breaking it down into five main groups, each containing various contrapuncti (fugues) that explore different musical techniques and variations of the main theme. The groups are described as follows:

First Group:

• Simple Fugue
• Contrapunctus I: On the main subject.
• Contrapunctus II: The main subject in varied form.
• Contrapunctus III: Inversion of the main subject.
• Contrapunctus IV: The main subject in inverted and later in varied form.

Second Group:

• The main subject in original form and simultaneously in contrary motion.
• Contrapunctus V: Contrary motion and intensification of stretto.
• Contrapunctus VI: In stile francesco, with contrary motion, stretto, and diminution.
• Contrapunctus VII: Contrary motion, stretto, diminution, and augmentation.

Third Group:

• Double and Triple Fugue
• Contrapunctus VIII: Triple Fugue for three parts.
• Subjects I and II are new, II being the inverted form of the name "BACH".
• Contrapunctus IX: Double Fugue, subject I being new, subject II being a varied form of the main theme.
• Contrapunctus X: Double Fugue, subject I new, subject II the main theme.
• Contrapunctus XI: Triple Fugue in four parts.
• Subject II, the main theme in inverted form.
• Contrapunctus XII: Triple Fugue in four parts, for the first time the theme "BACHI" appears in normal form.

Fourth Group:

• Mirror Fugues: In these, the entire fugue may be inverted.
  • Contrapunctus XII: Mirror Fugue in three parts.
    • (a) rectus
    • (b) inversus
  • Contrapunctus XIII: Mirror Fugue in four parts.
    • (a) rectus
    • (b) inversus

Fifth Group:

• Quadruple Fugue (unfinished)
  • Subjects I and II are new, subject III is the name "BACH"; subject IV was planned as the main subject.

For the End:

• Choral: "Vor Deinen Thron tret ich hier allein" ("I stand before your throne alone"). This was Bach's last composition, dictated by him to his son-in-law, Albrechtsberger, a few days before his death and published in the first edition of The Art of the Fugue.

The booklet is neatly formatted, with clear headings and bullet points, providing a detailed overview of the concert's program and the intricate structure of Bach's work. The design is simple and functional, typical of a concert program from the early 20th century. The text is printed in a serif font, and the layout is organized for easy reading. The booklet appears to be part of an archival or historical collection, as suggested by its condition and presentation.