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The original performing part for Johann Sebastian Bach's cantata In allen meinen Taten BWV 97 headed "Continuo: pro Bassono e Violoncello" has long been interpreted as intended for two players simultaneously. This has suggested that the continuo complement for this work included both cello and bassoon in addition to organ and violone, and (more broadly) that sometimes a bassoonist participated in cantata performances while sharing a part labeled for another bass instrument. This appears to be a misreading. The appearance of two musical lines in some passages in the first movement does not mean that the part was intended for two instrumentalists. Rather, this unusual notation was the result of a confused copying process that Bach himself corrected in a way that left the part open to modern misinterpretation. have been to prepare a distinct Bach's regular practice appears to bassoon part when he wanted to add that instrument to a work's ensemble, and to all evidence he expected each performing part to be used by one performer, except in a very few special circumstances. The best explanation in In allen meinen Taten is that the "Bassono e Violoncello" part was designed for a musician who played bassoon in the first movement (an ouverture with characteristic wind trio pas- sages) and cello in the rest of the cantata. Two other bassoon/cello parts survive among Bach's original materials; these may well have been used in the same way. It is also possible that several other original cantata parts labeled for bassoon may have been intended for that instrument in the first movement only, and for cello in the remainder. [ABSTRACT FROM AUTHOR]

This article provides a concise overview of the current state of knowledge concerning the little-known cantatas of Johann Ludwig Krebs and an evaluation of these works in comparison with the much more familiar cantatas of his teacher, Johann Sebastian Bach. Although his cantatas are relatively few, Krebs occasionally composed vocal music ofthis type throughout his career, while he was serving as organist in Zwickau (1737-1744), Zeitz (1744-1756), and Altenburg (1756-1780). Beyond the towns where he worked, his cantatas were performed in many places throughout Central and North GelJmany. Performances are documented from 1740 until Krebs's death in 1780, and posthumously during the next several decades, until at least 1810. Krebs was deeply immersed in the Bach cantatas, as a singer and later as prefect, from the time he arrived in Leipzig as a twelve-year-old Guly 1726) until he left for Zwickau nearly eleven years later. Krebs cut his teeth on Bach's music, and his cantatas largely follow patterns familiar from those of his teacher. The cantatas of Bach's favorite student, Krebs, are of obvious historical interest. The music has many lovely features, even ifone has to overlook the sometimes excessive diatonicism. Krebs can be said to have written very competent music in the style prevalent in Central Germany in the generation after his famous teacher. For this reason, even if Krebs is likely to remain permanently in the shadow ofBach, it seems clear that his vocal music is well worth recovering and knowing. [ABSTRACT FROM AUTHOR]

Markus Rathey's book, "Bach in the World: Music, Society, and Representation in Bach's Cantatas," examines the social and political contexts in which Bach composed and performed his cantatas. The book argues that Bach's distinction between "sacred" and "secular" music was artificial, as Christian paradigms governed all aspects of life in the 18th century. The cantatas were embedded in complex rituals that affirmed the existing social order, even when commissioned for town council installations. The book also explores the interplay between religion and politics in Bach's compositions, highlighting the religious themes present in cantatas performed outside of worship services. It discusses the significance of the Te Deum hymn in representing the interrelatedness of religion and political power in the Early Modern period. The book delves into the performance contexts of the Te Deum, which were religious and civic celebrations, and how they influenced Bach's cantatas. It specifically focuses on one cantata written for a political event, which included elaborate decorations and illuminations. The book also examines gender identities in Bach's secular cantatas and analyzes the Coffee Cantata's depiction of gender roles. It concludes by offering suggestions for performing Bach's cantatas in a modern context. Overall, the book provides valuable insights into Bach's music and its cultural significance. [Extracted from the article]

In the article "Bach Against Modernity" by Michael Marissen, the prevailing belief that Johann Sebastian Bach was a modern figure is challenged. Despite the lack of autobiographical accounts, Marissen presents evidence contradicting this image of Bach and discusses the consequences of this unfounded belief. The article explores Bach's theological perspectives through his annotations in the Calov Bible and examines specific musical pieces to shed light on Bach's worldview. Marissen also addresses Bach's views towards Jews and Judaism, particularly in his St. John Passion, arguing that Bach's libretto contains contemptuous depictions of Jews. The author cautions against misinterpreting Bach's work to fit personal ideologies and emphasizes the importance of considering historical evidence. [Extracted from the article]

Understanding religious music is challenging. Indeed, the whole idea can seem perplexing and problematic. In this paper, a number of ways of understanding religious music are sketched. Seven main models are distinguished: the side-effect model, the ringtone model, the honey model, the addition model, the fitting beauty model, the organic unity model, and the similarity model. Some issues concerning Bach's Sacred Cantatas are then considered in order to see how these approaches apply in one particularly controversial and puzzling example. [ABSTRACT FROM AUTHOR]

This article discusses Markus Rathey's book "Bach in the World: Music, Society, and Representation in Bach's Cantatas." Rathey aims to highlight the connection between sacred and secular in Bach's society and reconstruct the social impact of his cantatas. The book consists of six chapters, three of which are previously published articles and three newly written ones. The chapters explore various aspects of Bach's cantatas, including their performance contexts, the use of the Te Deum text, and the depiction of gender and sexuality. Rathey concludes that while Bach's music may not resonate with modern audiences in terms of government and authority, gender stereotypes depicted in the cantatas remain unchanged. [Extracted from the article]

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Franz Liszt created a new tradition by playing transcriptions and paraphrasing the most well-known operas and works of his time on his fabulous concerts. This habit created new genres like Transcriptions (Reminiscences de Norma S. 394, Grandes études de Paganini S. 141) and Paraphrases (The Rigoletto Paraphrase S.434, The Ernani Paraphrase S. 432). The Variations on „Weinen Klagen Sorgen Zagen” fits into both categories: On the one hand Liszt paraphrases J.S.Bach’s Crucifixus and the 12th Cantata. On the other hand, he transcribes with a great craftsmanship his piano work for organ. The historical and private background of this work testifies to an extraordinary faith. [ABSTRACT FROM AUTHOR]

This article discusses six recent recordings of Baroque music that embrace the art of transformation. The recordings include works by Antonio Vivaldi, Jean-Baptiste Lully, Pietro Locatelli, and Johann Sebastian Bach. Each recording offers a unique interpretation of the music, showcasing the musicians' creativity and skill. The article highlights the historical and stylistic research that informs these interpretations and emphasizes the immersive and transformative experience of listening to Baroque music. [Extracted from the article]

For a nearly identical analysis, see Cooper's '"Inner Necessity": Fabulation, Frame, and Musical Memory in Mendelssohn's I Lobgesang i ', in I Rethinking Mendelssohn i , ed. Thus, Cooper used this piano solo version of the Sinfonia as a source for editing the Sinfonia in the piano vocal score for the present edition (p. xi). Unless any landscape-altering new autograph sources for the I Lobgesang i are discovered, Cooper's edition is probably the last we will need until the LMA edition is released. [Extracted from the article]

Copyright of South African Journal of Cultural History is the property of South African Society for Cultural History and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The theoretical writings include the two well-known general bass rules (BWV 1133 and 1134) but also four recently discovered items, Bach's addenda to Zarlino's I Istitutioni harmoniche i (BWV 1130) and Mizler's German edition of Fux's I Gradus ad parnassum i (BWV 1129 and 1131) and his contrapuntal sparring with his oldest son Wilhelm Friedemann Bach (BWV 1132). BWV SP 2a sp , published in 1998, added six small items - BWV 1121-6 - namely five four-part chorales and the Fantasia in C Minor (BWV 1121), handed down in Bach's early tablature autograph in the Andreas Bach Book. As Christoph Wolff lamented in a review of BWV SP 2 sp for I Notes i in 1992: 'The original design of the BWV as an inventory of the BG must be considered an entirely inadequate method for a truly systematic catalogue of Bach's works'. [Extracted from the article]

This article examines the concept of character in 18th-century keyboard music, with a focus on the works of C.P.E. Bach. It discusses the relationship between character and emotions in music, as well as the role of taste and aesthetics in shaping a musician's moral character. The article emphasizes the need for performers to understand and express the character of a piece in order to create meaningful performances. It also explores how composers consider character when creating music and how performers can interpret and express it. The text specifically analyzes Bach's Rondo in C major and Fantasia in F♯ minor, highlighting how these compositions allow performers to explore their own unique perspectives on character. The article concludes by emphasizing the importance of understanding historical aesthetics and expression to bring new interpretations to Bach's music in contemporary performances. [Extracted from the article]

In his composition, 'Hero's Lament to Leander', Nicholas Lanier sought to interweave art forms. Lanier was painter as well as a composer, an art agent for Charles I, and the Master of the King's Music. In 1625 he was sent to Northern Italy and ended up in Mantua where he likely encountered not just Domenico Fetti's and Peter Paul Rubens's paintings of the Death of Leander, but also ekphrastic poems of Giambattista Marino celebrating Rubens's painting as well as a no-longer-extant work by Bernardino Poccetti. Responding to the works of Monteverdi and Sigismondo d'India, both whom Lanier would have been familiar with and may even have met during his time in Italy, Lanier wrote both text and setting for his own recitativo cantata, 'Hero's Lament to Leander'. His composition responded to musical innovations that were happening in Italy: the recitativo form, as outlined by Vincenzo Galilei in his Dialogo della musica antica, et della moderna, favoured 'ancient monodic music to the intricate web of vocal polyphony' found in the prevailing madrigal style. Galilei, Monteverdi, and Lanier himself, sought a return to ancient poetry as verse accompanied by an instrument and perhaps even sung, and thus to the original unity of speech and song itself. Galilei's dialogue preferred the declamatory works of orators and of classical poets, and this is where Lanier drew his inspiration, as the heroic couplets of the written text are placed in syncopation with the melodic lines Hero sings. His composition is full of intertextual allusion, to the Hero and Leander poems of Marlowe and Chapman, as well as classical sources, and the recitativo style allowed him to play with the boundaries between speech and song. [ABSTRACT FROM AUTHOR]

Other concertos on the disc derive from the composer's keyboard concertos - bwv1053, bwv1055 and bwv1056 - or cantatas (bwv1059r drawing on movements from bwv35 and bwv156). Bach's more complex side is to the fore on B Johann Sebastian Bach: Soprano arias & Swedish folk chorales b (Maya, mcd 1901, I issued i 2019), which juxtaposes arias from the composer's cantatas and the Easter Oratorio with folk "chorales" (the term used here - they are performed as unaccompanied melodies) from the Dalarna region of central Sweden. In his influential 1597 treatise I A plaine and easie introduction to practicall musicke i Thomas Morley presents - through the medium of a Platonic dialogue among the characters Polymathes, Philomathes and Master - all the knowledge and skills necessary, in his opinion, to master the art of composition. [Extracted from the article]

Despite extensive musicological writings on J. S. Bach's sacred cantatas, limited space is dedicated to their musical portrayal of the Christian doctrine of parousia (παρουσία)--Christ's return, or second coming. This study considers the parousia concept within the biblical New Testament and its particular significance for eighteenth-century German Lutheranism, contemplating its dichotomous fearful, and hopeful interpretations. It also explores its implications for the doctrinal notions of death, judgement, and salvation, among other correlated themes as they appear in Bach's cantatas BWV 70, 90, and 140. When analyzed in conjunction, these three cantatas collectively reflect Lutheranism's volatile and intricate sentiment toward Christ's second advent, along with its impact on the Christian's individual experience and spiritual life. This paper analyzes various renditions of these themes in the cantatas along with their rhetorical and musical rendering, thus distilling Bach's perspectives of Christ's second coming. The musical and literary emphases found in the combined product of libretto and musical clothing are revealed in situating the parousia in Bach's larger sacred oeuvre. [ABSTRACT FROM AUTHOR]

The purpose of the article is to highlight the specifics of chamber singing as a special expressive technique in canvases, generally designed for presentation on a large scene, which allows, on the one hand, to clarify the idea of K. Orff's stylistics, and on the other hand, to make a contribution to the theory of chamber art in the aspect of modeling its features in the conditions of a large-scale scenic embodiment. The methodological basis of the research is the intonation approach to the nature of music in the traditions of the works of the followers of B. Asaf'ev's concept in Ukraine in the works of O. Markova, O. Muravska, L. Shevchenko with a principle emphasis on stylistic-comparative, hermeneutic, historical-descriptive, and cultural-disciplinary for secretion of epoch stylistic status of works, essential in modernity significance of their expressive aspects, their explanation by the author, historic world-outlook interaction of music expedients with expedients of other types of arts. The scientific novelty of the study is formed by the originality of the vision of the data expressiveness in the title of K. Orff's works, as well as the discovery of the theoretical formulation of such a feature of chamber vocals as «hiding» the dynamic excess of expressing the capabilities of the operatic voice by placing the melody in extreme registers with appropriate textural indicators. Conclusions. Chamber vocal constitutes a typological expressiveness of singing, which is organically adjusted by the conditions of salon or salon-style voicing of works, but also has a symbolic expressive cut, which, as a special method of sound expression, is detected in works designed for dynamic large-scale presentation, but with artistically grounded techniques of chamber singing in zones of so-called "quiet" climaxes and starting points of "crescendoing" dramaturgy, as we find in two famous scenic cantatas and the extremely popular opera by K. Orff. [ABSTRACT FROM AUTHOR]

Johann Sebastian Bach can be considered the greatest pre-classical composer for keyboard instruments, respectively piano, his works being universally present in concert programmes. Also, due to his experience as a teacher, the creation of J. S. Bach also has a great pedagogical importance: among the compositions intended for musical education we mention: Two- and Three-part Inventions (1723). The invention is a small free-form polyphonic composition, written in an imitative style, with a pronounced improvisational character. The two-part inventions that we have focused on (the first six), true jewels in terms of perfection of form, Bach's fundamental works for the piano, do not contain features of outward virtuosity, but music full of content and depth, the various thematic hypostases emphasizing their emotional substance. Another important aspect is the didactic function of this music, Bachian inventions constantly accompanying the training and improvement of pianists, being ideal due to their complexity, for deepening musical thinking. [ABSTRACT FROM AUTHOR]

Love and virtue are present as a message in all varieties of modern musical creation, above all in opera, oratorio and cantata, but also in church and instrumental music from the 16th to the early 19th centuries: individually and as a couple, as alternatives or as opposites, as related feelings or those to be decided between, as good or bad. Building on traditions, the stage became an institution during the Enlightenment, can make visible the feelings, thoughts and problems of society, which is comparable to religion, because the jurisdiction of the stage begins where the influence of worldly courts ends, which is why the stage can and must be educational. This was transferred from the stage to other branches of literary and musical art. That is why the librettist became a moral institution who had to portray feelings in his texts and teach morals. The moral education inherent in the text has to be supported and, above all, conveyed by the music. The exponents of these feelings could be drawn from mythology or religion, in the Enlightenment also come from everyday life. For this reason, love and virtue are also a concern of church music, even of instrumental music in terms of program music, which - although without text - is a special form of dramatic music. During the Enlightenment, the stage was seen as a "moral institution" (Friedrich von Schiller), but it was also before that. The fact that musical stage works - in a broader sense also oratorios and cantatas - form the feelings, teach morality and have to follow an educational task, has the musical creation from the 17th to the early 19th century not disregarded, still less negated. Librettists and composers alike have fulfilled this task to a greater or lesser degree, sometimes demonstratively and sometimes subtly, which is particularly evident in the example of love and virtue. It is interesting to observe that the admonition to virtue and to true, not only sensual, love is often expressed or at least hinted at in the title of these musical stage works, oratorios and cantatas. In any case, they educate, even preach, just like church music with its liturgical, biblical or freely paraphrased texts. Opera, oratorio and cantatas were thus involved in a homiletic communication process up until the 19th century, which defined the character and meaning of love and virtue like other Christian values. Love and virtue are unquestionably prime examples of such musically mediated homiletics. [ABSTRACT FROM AUTHOR]

In 1935, marking the centenary of Vincenzo Bellini’s death, the composer Alfredo Sangiorgi (Catania, 1894 Merano, 1962) paid homage with a concise Canzone and a more expansive Cantata. Two decades later, amidst a dynamically transformed cultural and musical landscape, Sangiorgi revisited Bellini’s legacy, composing three series of variations on themes from Norma and La sonnambula (1957-1959). Despite this, his artistic journey exhibits a fascinating dichotomy, deeply influenced by the avant-garde of the Second Viennese School. In an intriguing twist, he became Arnold Schoenberg’s only Italian pupil, studying under him for a few months in late 1922. This duality in his compositional trajectory oscillated between modernist and classicist phases, with Bellini’s image serving as a purifying force, cleansing him of the lingering influences of the Second Viennese School. The concept of purification draws from Ildebrando Pizzetti’s influential essay La musica di Vincenzo Bellini, resonating significantly in Italy then. Mario Pilati and Francesco Pastura also acted as intermediaries between Sangiorgi and Bellini’s music, encouraging him to cleanse his musical style of any atonal influences. The Canzone and the Cantata navigate between ancient modes and tonality; the three sets of variations showcase the attempt to integrate the technical procedures of the Second Viennese School into a tonal framework, marking the essence of Sangiorgi’s late style. This essay delves into rare printed scores, unpublished correspondence and journalistic sources from the archives of the Catania Conservatory, the Cini Foundation in Venice and the private collection of the composer’s son. By examining the ideological context surrounding Sangiorgi’s compositions and providing analytical insights from the scores, the research aspires to enrich the understanding of Bellini’s compositional reception in the 20th century. [ABSTRACT FROM AUTHOR]

'I only write music and let it speak for itself' – such was Antonín Dvořák's attitude, according to Josef Kovařík, the composer's personal secretary in New York. Indeed, throughout his career, Dvořák seemed reluctant to share his views publicly. He did not contribute articles to Czech periodicals, his acquaintances were well aware of his dread of making public appearances and speeches, and contemporary critics often commented on his humble and unenterprising nature. Yet Dvořák was not as passive as his alleged statement to Kovařík would imply. While visiting England during the 1880s, he became particularly concerned about forging a certain kind of image for himself in the Czech lands. Not only did Dvořák take an interest in English reviews of his music, he also sent several of these critiques to his contacts at home with the request that they be reprinted in Czech translation in the newspapers and journals of Prague. He proved to be equally strategic in some of his other professional choices, including the surprising decision to dedicate his patriotic cantata Hymnus: Heirs of the White Mountain 'to the English people', which can be understood as a clever tactical ploy, meant to signal the composer's international credentials to audiences at home. Drawing upon various letters and the many excerpted English reviews that appeared in the Czech press, this article shows that Dvořák played an active part in determining which aspects of his reception in England would be relayed to the Czech public. More broadly, the article examines Dvořák's role as strategist – an aspect of the composer's career that has remained largely unexplored. Ultimately, Dvořák was mindful of what Michael Beckerman calls 'the public-relations aspect of nationalism', and the suggestion that he was content simply to let the music 'speak for itself' does not tell the whole story. [ABSTRACT FROM AUTHOR]

Motivation Biological processes are complex systems with distinct behaviour. Despite the growing amount of available data, knowledge is sparse and often insufficient to investigate the complex regulatory behaviour of these systems. Moreover, different cellular phenotypes are possible under varying conditions. Mathematical models attempt to unravel these mechanisms by investigating the dynamics of regulatory networks. Therefore, a major challenge is to combine regulations and phenotypical information as well as the underlying mechanisms. To predict regulatory links in these models, we established an approach called CANTATA to support the integration of information into regulatory networks and retrieve potential underlying regulations. This is achieved by optimizing both static and dynamic properties of these networks. Results Initial results show that the algorithm predicts missing interactions by recapitulating the known phenotypes while preserving the original topology and optimizing the robustness of the model. The resulting models allow for hypothesizing about the biological impact of certain regulatory dependencies. Availability and implementation Source code of the application, example files and results are available at https://github.com/sysbio-bioinf/Cantata. Supplementary information Supplementary data are available at Bioinformatics online. [ABSTRACT FROM AUTHOR]

Alongside these works are world premiere recordings of works by Brillon herself. This review covers a sextet of recordings from 2013 to 2021, traversing repertory from the early 16th to the early 19th centuries. Some of the music will be familiar to many but the batch also includes several world premiere recordings. [Extracted from the article]

The academic guild offers numerous avenues to honour accomplished scholars, from the article or book dedication to the endorsement, acknowledgement, and even citation. And in chapter 8, Leaver considers the hymns Olearius discusses in the I Evangelischer Lieder-Schatz i in relation to Bach's planning of the I Orgelbüchlein i (pp. 156-9). [Extracted from the article]

Just before the denouement of the opera Il palazzo incantato , something remarkable happens. For long hours, the enchanted palace of the title—drawn from Ariosto's Orlando furioso —has kept the 20-odd characters vainly searching for one another, with rarely more than two or three converging at a time. In the penultimate scene, however, the librettist, Giulio Rospigliosi, and composer, Luigi Rossi, allow nearly the entire company to assemble. But rather than greet and embrace each other, the long-lost lovers and friends suspend the story they have been enacting, abandon their characters' motivations, and play a round of parlour games. The bizarre events of Act 3, scene 7—heretofore unremarked—illuminate something fundamental about the work as a whole. Indeed, notwithstanding its length and elaborate staging, this opera shows an affinity less with Rospigliosi's earlier theatrical works than with the typical amusements of the aristocratic chamber, and with the cantata specifically: a difference that may stretch our idea of what an opera could be in Barberini Rome. [ABSTRACT FROM AUTHOR]

"Telemann Studies" is a collection of essays that aims to increase interest in the composer Georg Philipp Telemann, who is often overlooked outside of Germany. The book features contributions from scholars around the world, including Germany, the United States, and Japan. The essays cover a range of topics, including Telemann's use of counterpoint in his liturgical music, his connections to various cities and courts, and his late vocal works. The collection also explores Telemann's relationships with the Bach family and his extensive output of church cantatas. While the book does not cover every aspect of Telemann's career, it provides valuable insights and information that will hopefully encourage further research on Telemann outside of Germany. [Extracted from the article]

Only recently have Bach’s use of multiple tonalities, different pitch levels, and unequal temperament been given both serious consideration and practical application in the performance of his sacred vocal works. By investigating the surviving performance material of works from his first year in Leipzig, this article explores the pragmatic decisions in the interconnected nexus of tonality, pitch, and tuning that impact our understanding of Bach’s tonal language. The fact that Bach conceived music for performance in more than one key has implications for both the idiomatic treatment of instruments and the methods by which he aligned affects with specific keys. The continued use of tief-Cammerton (or A2) across Bach’s first cantata cycle of 1723–1724 is considered. Following procedures developed by Bruce Haynes, each case is examined. This results in a revised list of works that we can say conclusively were performed by Bach at this lower pitch. A pivotal work in this regard is the Magnificat in its two versions in E-flat and D major. The article also addresses the problems that Bach encountered when adapting material composed for performance at different pitches from the ones in place in Leipzig. As much as he sought practical solutions, the evidence suggests that in many cases, he was obliged to tolerate reusing music from Weimar and Co¨then in less-than-ideal circumstances where both instrumental and vocal parts were compromised by a change in pitch or tonality. The quest to find a tuning system suited to the demands of this repertoire has led to sixth-comma meantone temperament. The article concludes with a discussion of the application of this tuning orientation to multi-tonal performance and offers some considerations on how the intonation of non-fixed-pitch instruments can be treated in this context. [ABSTRACT FROM AUTHOR]

J. S. Bach’s extant works for viola da gamba (or viol) include the well-known arias in the St. Matthew Passion and the St. John Passion; the three sonatas for viol and harpsichord (BWV 1027–1029); the Brandenburg Concerto No. 6; and obbligato parts in several cantatas. While these works span Bach’s career and offer a range of approaches to the instrument, they share one salient feature: all are accompanied by keyboard. Thus, viol players in Bach’s day would have had to tune their instruments to the keyboard and adopt its temperament. By the 1720s, this would likely have been a well- or quasi-equal temperament, one of the new circulating temperaments developed by German keyboard players that allowed for the use of remote keys while maintaining a distinct sonic character for each key. The recently discovered Instruction oder eine anweisung auff der Violadigamba (ca. 1730), a manuscript viol treatise that probably originated in Saxony, offers enharmonic equivalence and a relatively broad range of usable keys. These features accord with extant works by Bach and Telemann and offer a glimpse of how circulating keyboard temperaments may have been adapted to the viol. Yet, viol players during the first half of the eighteenth century also had their own native approaches to temperament that had developed in tandem with the repertoires and musical cultures associated with the instrument. In particular, the viol was still recognized as having originated in England, and by the early years of Bach’s career generations of viol players, repertoires, and practices had moved freely between England and German-speaking regions. A consideration of tuning and temperament as it relates to the viol in Bach’s music therefore invites a broader interrogation of how eighteenth-century viol players thought about temperament, and how their native approaches to the problem of the syntonic comma differed from those of keyboard players. After all, by the eighteenth century most English viol players were gentleman amateurs who favored diatonic music in a limited number of keys and preferred ease of tuning and pure diatonic intervals over the remote keys offered by circulating temperaments. English temperaments for viol promulgated during the late seventeenth and eighteenth centuries are starkly different from the German temperaments that have been embraced as modern by subsequent generations of musicians and scholars. Yet their proponents presented their viol-specific tuning systems among the emergent milieu of the Royal Society of London and other institutions associated with the new empirical science. Mathematician Thomas Salmon and the inventor of the marine chronometer, John Harrison, both published temperaments they developed using the viol that they claimed represented the vanguard of musical science and that differed significantly from the “gleich rein” temperaments propounded by Carl Philipp Emanuel Bach and other German keyboard players. These divergent approaches reflect differences in both cultural and aesthetic values as well as differences between the communities of practice associated with the viol versus the keyboard. Little-known temperaments by viol virtuoso Carl Friedrich Abel, who worked in both Germany and England, may offer a detente ´ between the temperaments advanced as modern by German keyboard players and those developed by English viol players with competing claims to authority and modernity. [ABSTRACT FROM AUTHOR]