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diff --git a/35041.txt b/35041.txt new file mode 100644 index 0000000..e0b70d6 --- /dev/null +++ b/35041.txt @@ -0,0 +1,9806 @@ +The Project Gutenberg EBook of Johann Sebastian Bach by Johann Nikolaus +Forkel and Charles Sanford Terry + + + +This eBook is for the use of anyone anywhere at no cost and with almost no +restrictions whatsoever. You may copy it, give it away or re-use it under +the terms of the Project Gutenberg License included with this eBook or +online at http://www.gutenberg.org/license + + + +Title: Johann Sebastian Bach + + +Author: Johann Nikolaus Forkel and Charles Sanford Terry + +Release Date: January 24, 2011 [Ebook #35041] + +Language: English + +Character set encoding: US-ASCII + + +***START OF THE PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH +*** + + + + + + [Johann Sebastian Bach] + + _Johann Sebastian Bach. About 1720. (From the picture by Johann Jakob + Ihle, in the Bach Museum, Eisenach)._ + + + + + +Johann Sebastian Bach + +His Life, Art and Work. Translated from the German of Johann Nikolaus +Forkel. With notes and appendices by Charles Sanford Terry, Litt.D. +Cantab. + + +Johann Nikolaus Forkel and Charles Sanford Terry + + + +Harcourt, Brace and Howe, New York +1920 + + + + + +CONTENTS + + +Introduction +FORKEL'S PREFACE +CHAPTER I. THE FAMILY OF BACH +Chapter II. THE CAREER OF BACH +CHAPTER IIA. BACH AT LEIPZIG, 1723-1750 +CHAPTER III. BACH AS A CLAVIER PLAYER +CHAPTER IV. BACH THE ORGANIST +CHAPTER V. BACH THE COMPOSER +CHAPTER VI. BACH THE COMPOSER (continued) +CHAPTER VII. BACH AS A TEACHER +CHAPTER VIII. PERSONAL CHARACTERISTICS +CHAPTER IX. BACH'S COMPOSITIONS +CHAPTER X. BACH'S MANUSCRIPTS +CHAPTER XI. THE GENIUS OF BACH +APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS +APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY +APPENDIX III. THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS +APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE +APPENDIX V. A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN +WORKS +APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH +Footnotes + + + + + +ILLUSTRATIONS + + +_Johann Sebastian Bach. About 1720. (From the picture by Johann Jakob +Ihle, in the Bach Museum, Eisenach)._ +Bach's Home at Eisenach +The Church and School of St. Thomas, Leipzig, in 1723. +Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._ +Divided Harmony, Bach treatment +Divided Harmony, conventional treatment +The Bach Statue at Eisenach +Johann Sebastian Bach. _From the picture discovered by Professor Fritz +Volbach_ +The Bach Statue at Leipzig +Genealogy Table, p. 303 +Genealogy Table, p. 304 +Genealogy Table, p. 305 +Genealogy Table, p. 306 +Genealogy Table, p. 307 +Genealogy Table, p. 308 +Genealogy Table, p. 309 +Genealogy Table, p. 310 + + + + + +INTRODUCTION + + +Johann Nikolaus Forkel, author of the monograph of which the following +pages afford a translation, was born at Meeder, a small village in +Saxe-Coburg, on February 22, 1749, seventeen months before the death of +Johann Sebastian Bach, whose first biographer he became. Presumably he +would have followed the craft of his father, the village shoemaker, had +not an insatiable love of music seized him in early years. He obtained +books, and studied them with the village schoolmaster. In particular he +profited by the "Vollkommener Kapellmeister" of Johann Mattheson, of +Hamburg, the sometime friend of Handel. Like Handel, he found a derelict +Clavier in the attic of his home and acquired proficiency upon it. +Forkel's professional career, like Bach's half a century earlier, began at +Lueneburg, where, at the age of thirteen (1762), he was admitted to the +choir of the parish church. Thence, at the age of seventeen (1766), he +proceeded to Schwerin as "Chorpraefect," and enjoyed the favour of the +Grand Duke. Three years later he betook himself (1769), at the age of +twenty, to the University of Goettingen, which he entered as a law student, +though a slender purse compelled him to give music lessons for a +livelihood. He used his opportunity to acquire a knowledge of modern +languages, which stood him in good stead later, when his researches +required him to explore foreign literatures. Concurrently he pursued his +musical activities, and in 1774 published at Goettingen his first work, +_Ueber die Theorie der Musik,_ advocating the foundation of a music +lectureship in the University. Four years later (1778) he was appointed +its Director of Music, and from 1779 to 1815 conducted the weekly concerts +of the Sing-Akademie. In 1780 he received from the University the +doctorate of philosophy. The rest of his life was spent at Goettingen, +where he died on March 17, 1818, having just completed his sixty-ninth +year. + +That Forkel is remembered at all is due solely to his monograph on Bach. +Written at a time when Bach's greatness was realised in hardly any +quarter, the book claimed for him pre-eminence which a tardily enlightened +world since has conceded him. By his generation Forkel was esteemed +chiefly for his literary activity, critical ability, and merit as a +composer. His principal work, _Allgemeine Geschichte der Musik,_ was +published in two volumes at Leipzig in 1788 and 1801. Carl Friedrich +Zelter, Goethe's friend and correspondent, dismissed the book +contemptuously as that of an author who had "set out to write a history of +music, but came to an end just where the history of music begins." +Forkel's work, in fact, breaks off at the sixteenth century. But the +curtailed _ History_ cleared the way for the monograph on Bach, a more +valuable contribution to the literature of music. Forkel already had +published, in three volumes, at Gotha in 1778, his _Musikalisch-kritische +Bibliothek,_ and in 1792 completed his critical studies by publishing at +Leipzig his _Allgemeine Literatur der Musik._ + +Forkel was also a student of the music of the polyphonic school. He +prepared for the press the scores of a number of sixteenth century Masses, +Motets, etc., and fortunately received proofs of them from the engraver. +For, in 1806, after the Battle of Jena, the French impounded the plates +and melted them down. Forkel's proofs are still preserved in the Berlin +Royal Library. He was diligent in quest of Bach's scattered MSS., and his +friendship with Bach's elder sons, Carl Philipp Emmanuel and Wilhelm +Friedemann, enabled him to secure precious relics which otherwise might +have shared the fate of too many of Bach's manuscripts. He took an active +interest in the proposal of Messrs. Hoffmeister and Kuehnel, predecessors +of C. F. Peters at Leipzig, to print a "kritisch-korrecte" edition of +Bach's Organ and Clavier works. Through his friend, Johann Gottfried +Schicht, afterwards Cantor at St. Thomas's, Leipzig, he was also +associated with Breitkopf and Haertel's publication of five of Bach's six +extant Motets in 1802-3. + +As a composer Forkel has long ceased to be remembered. His works include +two Oratorios, _ Hiskias_ (1789) and _Die Hirten bey der Krippe_; four +Cantatas for chorus and orchestra; Clavier Concertos, and many Sonatas and +Variations for the Harpsichord. + +In 1802, for reasons which he explains in his Preface, Forkel published +from Hoffmeister and Kuehnel's "Bureau de Musique" his _Ueber Johann +Sebastian Bachs Leben, Kunst und Kunstwerke. Fuer patriotische Verehrer +echter musikalischer Kunst,_ of which a new edition was issued by Peters +in 1856. The original edition bears a dedication to Gottfried Baron van +Swieten(1) (1734-1803), Prefect of the Royal Library, Vienna, and sometime +Austrian Ambassador in Berlin, a friend of Haydn and Mozart, patron of +Beethoven, a man whose age allowed him to have seen Bach, and whose career +makes the association with Bach that Forkel's dedication gives him not +undeserved. It was he, an ardent Bach enthusiast, who introduced the +youthful Mozart to the music of the Leipzig Cantor. "I go every Sunday at +twelve o'clock to the Baron van Swieten," Mozart writes in 1782, "where +nothing is played but Handel and Bach, and I am now making a collection of +the Fugues of Bach." The merit and limitations of Forkel's book will be +considered later. For the moment the fact deserves emphasis that, +inadequate as it is, it presented a fuller picture of Bach than so far had +been drawn, and was the first to render the homage due to his genius. + +In an illuminating chapter (xii.), _Death and Resurrection_, Schweitzer +has told the story of the neglect that obscured Bach's memory after his +death in 1750. Isolated voices, raised here and there, acclaimed his +genius. With Bach's treatise on _The Art of Fugue_ before him, Johann +Mattheson (1681-1664), the foremost critic of the day, claimed that +Germany was "the true home of Organ music and Fugue." Friedrich Wilhelm +Marpurg (1718-95), the famous Berlin theorist, expressed the same opinion +in his preface to the edition of that work published shortly after Bach's +death. But such appreciations were rare. Little of Bach's music was in +print and available for performance or critical judgment. Even at St. +Thomas's, Leipzig, it suffered almost complete neglect until a generation +after Forkel's death. The bulk of Bach's MSS. was divided among his +family, and Forkel himself, with unrivalled opportunity to acquaint +himself with the dimensions of Bach's industry, knew little of his music +except the Organ and Clavier compositions. + +In these circumstances it is not strange that Bach's memory waited for +more than half a century for a biographer. Forkel, however, was not the +first to assemble the known facts of Bach's career or to assert his place +in the music of Germany. + +Putting aside Johann Gottfried Walther's brief epitome in his _Lexikon_ +(1732), the first and most important of the early notices of Bach was the +obituary article, or "Nekrolog," contributed by his son, Carl Philipp +Emmanuel, and Johann Friedrich Agricola, one of Bach's most distinguished +pupils, to the fourth volume of Mizler's _Musikalische Bibliothek,_ +published at Leipzig in 1754. The authors of this appreciation give it an +intimacy which renders it precious. But Mizler's periodical was the organ +of a small Society, of which Bach had been a member, and outside its +associates can have done little to extend a knowledge of the subject of +the memoir. + +Johann Friedrich Agricola contributed notes on Bach to Jakob Adlung's +_Musica mechanica Organoedi,_ published in two volumes at Berlin in 1768. +The article is valuable chiefly for Agricola's exposition of Bach's +opinions upon Organ and Clavier building. + +With the intention to represent him as "the coryphaeus of all organists," +Johann Adam Hiller, who a few years later became Cantor at St. Thomas's, +Leipzig, published there in 1784 a brief account of Bach in his +_Lebensbeschreibungen beruehmter Musikgelehrten und Tonkuenstler neuerer +Zeit._ + +Four years after Hiller's notice, Ernst Ludwig Gerber published at +Leipzig, in two volumes, 1790-92, his _Historisch-biographische Lexikon +der Tonkuenstler._ As in Hiller's case, Gerber, whose father had been +Bach's pupil, was chiefly interested in Bach as an organist. + +Coincidently with Gerber, another of Bach's pupils, Johann Martin +Schubart, who succeeded him at Weimar in 1717, sketched his +characteristics as a performer in the _Aesthetik der Tonkunst_, published +at Berlin by his son in the _Deutschen Monatsschrift_ in 1793. + +In 1794 appeared at Leipzig the first volume of a work which Spitta +characterises as fantastic and unreliable, so far as it deals with Bach, +Friedrich Carl Gottlieb Hirsching's _Historisch-literarisches Handbuch_ of +notable persons deceased in the eighteenth century. + +Last of Forkel's forerunners, A. E. L. Siebigke published at Breslau in +1801 his _Museum deutscher Tonkuenstler,_ a work which adds nothing to our +knowledge of Bach's life, but offers some remarks on his style. + +Little, if any, information of value, therefore, had been added to the +_Nekrolog_ of 1754 when Forkel, in 1802, produced his monograph on Bach +and his music. Nor, viewed as a biography, does Forkel much enlarge our +knowledge of the conditions of Bach's life. He had the advantage of +knowing Bach's elder sons, but appears to have lacked curiosity regarding +the circumstances of Bach's career, and to have made no endeavour to add +to his imperfect information, even regarding his hero's life at Leipzig, +upon which it should have been easy for him to obtain details of utmost +interest. His monograph, in fact, is not a "Life" in the biographic +sense, but a critical appreciation of Bach as player, teacher, and +composer, based upon the Organ and Clavier works, with which alone Forkel +was familiar. + +It would be little profitable to weigh the value of Forkel's criticism. +We are tempted to the conclusion that Bach appealed to him chiefly as a +supreme master of technique, and our hearts would open to him more widely +did not his appreciation of Bach march with a narrow depreciation of +Haydn, Mozart, and Beethoven, the last of whom, he declared ex cathedra, +had not produced "a single work which can be called a masterpiece." Gluck +he frankly detested. + +But Forkel's monograph is notable on other grounds. It was the first to +claim for Bach a place among the divinities. It used him to stimulate a +national sense in his own people. Bach's is the first great voice from out +of Germany since Luther. Of Germany's own Kisorgimento, patently +initiated by Goethe a generation after Johann Sebastian's death, Bach +himself is the harbinger. In his assertion of a distinctive German +musical art he set an example followed in turn by Mozart, Weber, and +Wagner. "With Bach," wrote Wagner, "the German Spirit was born anew." It +is Forkel's perpetual distinction that he grasped a fact hidden from +almost all but himself. In his Preface, and more emphatically in the +closing paragraph of his last Chapter, he presents Bach as the herald of a +German nation yet unformed. + +It is a farther distinction of Forkel's monograph that it made converts. +With its publication the clouds of neglect that too long had obscured +Bach's grandeur began to melt away, until the dizzy altitude of his genius +stood revealed. The publication of the five Motets (1803) was followed by +that of the Magnificat in 1811, and of the Mass in A in 1818. A beginning +was made with the Cantatas in 1821, when Breitkopf and Haertel published +"Ein' feste Burg" (No. 80), commended in an article written (1822) by +Johann Friedrich Rochlitz (1769-1842), the champion of Beethoven, as now +of Bach. Another enthusiastic pioneer was Carl Friedrich Zelter +(1758-1832), conductor of the Berlin Sing-Akademie, who called Bach "a +sign of God, clear, yet inexplicable." To him in large measure was due the +memorable revival of the _St. Matthew Passion_ at Berlin, which the +youthful Mendelssohn, Zelter's pupil, conducted in March 1829, exactly one +hundred years after the first production of the mighty work at Leipzig. +In the following years it was given at Dresden and many other German +towns. Leipzig heard it again after a barren interval in 1841, and did +tardy homage to its incomparable composer by erecting (1843) the statue +that stands in the shadow of St. Thomas's Church, hard by the Cantor's +home for a quarter of a century. + +Meanwhile, in 1830 and 1831 the _St. Matthew Passion_ and _St. John +Passion_ had been engraved, and by 1845 the B minor Mass was in print. +The credit of having revived it belongs to Johann Nepomuk Schelble +(1789-1837), conductor of the Frankfort Caecilienverein, though the Berlin +Sing-Akademie was the first to give a performance, considerably curtailed, +of the whole work in 1835. A little later, in the middle of the forties, +Peters began to issue his "kritisch-korrecte" edition of the Organ works, +which at length made Bach widely known among organists. But the +publication of the Cantatas proceeded slowly. Only fourteen of them were +in print in 1850, when the foundation of the Bachgesellschaft, on the +centenary of Bach's death, focused a world-wide homage. When it dissolved +in 1900 its mission was accomplished, the entire works(2) of Bach were +published, and the vast range of his genius was patent to the world. + +It remains to discuss the first English version of Forkel's monograph, +published in 1820, with the following title-page: + + + LIFE OF JOHN SEBASTIAN BACH; with a Critical View of his + Compositions. By J. N. Forkel, Author of The Complete History of + Music, etc., etc. Translated from the German. London: Printed for + T. Boosey and Co., Holles-Street, Cavendish-Square. 1820. + + +The book was published in February 1820; it was announced, with a slightly +differently worded title-page, in the _New Monthly Magazine and Universal +Register_ for March 1820 (p. 341), and the _Scots Magazine_ for the same +month ( vol. lxxxv. p. 263). The _New Monthly_ states the price as 5s., +the _Quarterly Review_ (vol. xxiii. p. 281) as 6s. The book contains +xi+116+3 pages of Music Figures, crown octavo, bound in dark unlettered +cloth. It has neither Introduction, notes (other than Forkel's), nor +indication of the translator's identity. Much of the translation is so +bad as to suggest grave doubts of the translator's comprehension of the +German original; while his rendering of Forkel's critical chapters rouses +a strong suspicion that he also lacked technical equipment adequate to his +task. It is, in fact, difficult to understand how such an unsatisfactory +piece of work found its way into print. + +The character of the 1820 translation has a close bearing upon its +authorship. In the article on Bach in the new _Grove_ it is attributed to +Samuel Wesley (1766-1837), an attractive suggestion, since Wesley was as +enthusiastic a Bach pioneer in this country as Forkel himself was in +Germany. But the statement is not correct. In Samuel Wesley's _Letters to +Mr. Jacobs relating to the Introduction into this Country of the Works of +J. S. Bach_ (London, 1875) we find the clue. On October 17, 1808, Wesley +writes: "We are (in the first place) preparing for the Press an authentic +and accurate Life of Sebastian, which Mr. Stephenson the Banker (a most +zealous and scientific member of our Fraternity) has translated into +English from the German of Forkel." + +Unfortunately, it is impossible to identify Stephenson precisely, or to +detect his activities in the musical circle in which Wesley includes him. +In 1820 there was in Lombard Street a firm of bankers under the style of +"Remington, Stephenson, Remington, and Toulmin," the active partner being +Mr. Rowland Stephenson, a man of about forty in that year. The firm was +wound up in bankruptcy in 1829, Stephenson having absconded to America the +previous year. He appears to have been the only banker of that name +holding such a recognised position as Wesley attributes to him, though it +remains no more than a conjecture that he was the author of the +translation issued in 1820.(3) But whoever "Stephenson the Banker" may +have been, the poverty of his work fails to support Wesley's commendation +of his "scientific" equipment, and suggests that his purse rather than his +talents were serviceable to Wesley's missionary campaign. + +For the facts of Bach's life, and as a record of his artistic activities, +Forkel admittedly is inadequate and often misleading. Stephenson +necessarily was without information to enable him to correct or supplement +his author. Recent research, and particularly the classic volumes of +Spitta and Schweitzer, have placed the present generation in a more +instructed and therefore responsible position. The following pages, +accordingly, have been annotated copiously in order to bring Forkel into +line with modern scholarship. His own infrequent notes are invariably +indicated by a prefixed asterisk. It has been thought advisable to write +an addendum to Chapter II. in order to supplement Forkel at the weakest +point of his narrative. + +Readers of Spitta's first volume probably will remember the effort to +follow the ramifications of the Bach pedigree unaided by a genealogical +Table. It is unfortunate that Spitta did not set out in that form the +wealth of biographical material his pages contain. To supply the +deficiency, and to illustrate Forkel's first Chapter, a complete +Genealogical Table is provided in Appendix VI., based mainly upon the +biographical details scattered over Spitta's pages. + +In Chapter IX. Forkel gives a list of Bach's compositions known to him. +It is, necessarily, incomplete. For that reason Appendices I. and II. +provide a full catalogue of Bach's works arranged under the periods of his +career. In the case of the Oratorios, Cantatas, Motets, and "Passions," +it is not difficult to distribute them upon a chronological basis. The +Clavier works also can be dated with some approximation to closeness. The +effort is more speculative in the case of the Organ music. + +In his Preface Forkel suggests the institution of a Society for the +publication and study of Bach's works. The proposal was adopted after +half a century's interval, and in Appendix III. will be found a complete +and detailed catalogue of the publications of the Old and New +Bachgesellschaft from 1850 to 1918 inclusive. The Society's issues for +1915-18 have not yet reached this country. The present writer had an +opportunity to examine them in the Library of the Cologne Conservatorium +of Music in the spring of this year. + +In this Introduction will be found a list of works bearing on Bach, which +preceded Forkel's monograph. Appendix IV. provides a bibliography of Bach +literature published subsequently to it. + +Grateful acknowledgment is made to Mr. Ivor Atkins, of Worcester +Cathedral, and to Mr. W. G. Whittaker, of Newcastle-upon-Tyne, who have +read these pages in proof, and improved them by their criticism. + + C. S. T. +October 1, 1919. + + + + + +FORKEL'S PREFACE + + +Many years ago I determined to give the public an account of the life of +Johann Sebastian Bach, with some reflections upon his genius and his +works. The brief article by Carl Philipp Emmanuel Bach(4) and Herr +Agricola,(5) formerly composer to the Court of Prussia, contributed to the +fourth volume of Mizler's _Musical Library,_(6) can hardly be deemed +adequate by Bach's admirers and, but for the desire to complete my +_General History of Music,_(7) I should have fulfilled my purpose long +ago. As Bach, more than any other artist, represents an era in the +history of music, it was my intention to devote to the concluding volume +of that work the materials I had collected for a history of his career. +But the announcement that Messrs. Hoffmeister and Kuehnel, the Leipzig +music-sellers and publishers, propose to issue a complete and critical +edition of Bach's works has induced me to change my original plan.(8) + +Messrs. Hoffmeister and Kuenel's project promises at once to advance the +art of music and enhance the honour of the German name. For Bach's works +are a priceless national patrimony; no other nation possesses a treasure +comparable to it. Their publication in an authoritative text will be a +national service and raise an imperishable monument to the composer +himself. All who hold Germany dear are bound in honour to promote the +undertaking to the utmost of their power. I deem it a duty to remind the +public of this obligation and to kindle interest in it in every true +German heart. To that end these pages appear earlier than my original +plan proposed; for they will enable me to reach a larger number of my +fellow countrymen. The section on Bach in my _History of Music_ probably +would have been read by a handful of experts or musical artists. Here I +hope to speak to a larger audience. For, let me repeat, not merely the +interests of music but our national honour are concerned to rescue from +oblivion the memory of one of Germany's greatest sons. + +One of the best and most effective means of popularising musical +masterpieces is to perform them in public. In that way works of merit +secure a widening audience. People listen to them with pleasure in the +concert room, church, or theatre, remember the agreeable impression they +created, and purchase them when published, even though they cannot always +play them. But Bach's works unfortunately are rarely heard nowadays; for +the number of persons capable of playing them adequately is at best +inconsiderable. It would have been otherwise had Bach given touring +performances of his music,(9) a labour for which he had neither time nor +liking. Many of his pupils did so, and though their skill was inferior to +their master's, the admiration and astonishment they excited revealed the +grandeur of his compositions. Here and there, too, were found persons who +desired to hear on their own instrument pieces which the performer had +played best or gave them most pleasure. They could do so more easily for +having heard how the piece ought to sound. + +But, to awaken a wide appreciation of musical masterpieces depends upon +the existence of good teachers. The want of them is our chief difficulty. +In order to safeguard their credit, the ignorant and incompetent of their +number are disposed to decry good music, lest they should be asked to play +it. Consequently, their pupils, condemned to spend time, labour, and +money on second-rate material, will not after half a dozen years, perhaps, +show themselves farther advanced in sound musical appreciation than they +were at the outset. Whereas, under a good teacher, half the time, labour, +and money produces progressive improvement. Time will show whether this +obstacle can be surmounted by making Bach's works accessible in the music +shops and by forming a Society among the admirers of his genius to make +them known and promote their study.(10) + +At any rate, if music is really an art, and not a mere pastime, its +masterpieces must be more widely known and performed than in fact they +are. And here Bach, prince of classic composers, can render yeoman +service.(11) For his music is so well calculated to educate the student to +distinguish what is trivial from what is good, and to comport himself as +an artist in whatever branch of the art he makes his own. Moreover, Bach, +whose influence pervades every musical form, can be relied on more than +any other composer to correct the superficiality which is the bane of +modern taste. Neglect of the classics is as prejudicial to the art of +music as it would be fatal to the interests of general culture to banish +Greek and Latin writers from our schools. Modern taste exhibits no shame +in its preference for agreeable trifles, in its neglect of everything that +makes a demand, however slight, upon its attention. To-day we are menaced +by a proposal to banish the classics from our schoolrooms. Equally +short-sighted vision threatens to extinguish our musical classics as well. +And is it surprising? Modern art displays such poverty and frivolity that +it well may shrink from putting itself in context with great literature, +particularly with Bach's mighty and creative genius, and seek rather to +proscribe it. + +I fain would do justice to the sublime genius of this prince of musicians, +German and foreign! Short of being such a man as he was, dwarfing all +other musicians from the height of his superiority, I can conceive no +greater distinction than the power to comprehend and interpret him to +others.(12) The ability to do so must at least connote a temperament not +wholly alien from his own. It may even hint the flattering prospect that, +if circumstances had opened up the same career, similar results might have +been forthcoming. I am not presumptuous to suggest such a result in my +own case. On the contrary I am convinced that there are no words adequate +to express the thoughts Bach's transcendent genius stirs one to utter. +The more intimately we are acquainted with it the greater must be our +admiration. Our utmost eulogy, our deepest expressions of homage, must +seem little more than well-meant prattle. No one who is familiar with the +work of other centuries will contradict or hold my statement exaggerated, +that Bach cannot be named except in tones of rapture, and even of devout +awe, by those who have learnt to know him. We may discover and lay bare +the secrets of his technique. But his power to inspire into it the breath +of genius, the perfection of life and charm that moves us so powerfully, +even in his slightest works, must always remain extraordinary and +insoluble. + +I do not choose to compare Bach with other artists. Whoever is interested +to measure him with Handel will find a just and balanced estimate of their +relative merits, written by one fully informed for the task, in the first +number of the eighty-first volume of the _Universal German Library,_ pages +295-303.(13) + +So far as it is not derived from the short article in Mizler's _Library_ +already mentioned,(14) I am indebted for my information to the two eldest +sons of Bach himself.(15) Not only was I personally acquainted with them, +but I corresponded regularly for many years with both,(16) particularly +Carl Philipp Emmanuel. The world knows them as great artists. But +probably it is not aware that to the last moment of their lives they spoke +of their father's genius with enthusiastic admiration.(17) From my early +youth I have been inspired by an appreciation no less deep than theirs. It +was a frequent theme of conversation and correspondence between us. + +Thus, having been in a position to inform myself on all matters relating +to Bach's life, genius, and work, I may fairly hold myself competent to +communicate to the public what I have learnt and to offer useful +reflections upon it. I take advantage of my opportunity the more readily +because it permits me to draw attention to an enterprise(18) that promises +to provide a worthy monument to German art, a gallery of most instructive +models to the sincere artist, and to afford music lovers an inexhaustible +source of sublimest pleasure. + + + + + + +CHAPTER I. THE FAMILY OF BACH + + +If there is such a thing as inherited aptitude for art it certainly showed +itself in the family of Bach. For six successive generations scarcely two +or three of its members are found whom nature had not endowed with +remarkable musical talent, and who did not make music their +profession.(19) + +Veit Bach,(20) ancestor of this famous family, gained a livelihood as a +baker at Pressburg in Hungary. When the religious troubles of the +sixteenth century broke out he was driven to seek another place of abode, +and having got together as much of his small property as he could, retired +with it to Thuringia, hoping to find peace and security there. He settled +at Wechmar, a village near Gotha,(21) where he continued to ply his trade +as a baker and miller.(22) In his leisure hours he was wont to amuse +himself with the lute,(23) playing it amid the noise and clatter of the +mill. His taste for music descended to his two sons(24) and their +children, and in time the Bachs grew to be a very numerous family of +professional musicians, Cantors, Organists, and Town Musicians,(25) +throughout Thuringia. + +Not all the Bachs, however, were great musicians. But every generation +boasted some of them who were more than usually distinguished. In the +first quarter of the seventeenth century three of Veit Bach's +grandchildren showed such exceptional talent that the Count of +Schwarzburg-Arnstadt thought it worth while to send them at his expense to +Italy, then the chief school of music, to perfect themselves in the +art.(26) + +We do not know whether they rewarded the expectations of their patron, for +none of their works has survived. The fourth generation(27) of the family +produced musicians of exceptional distinction, and several of their +compositions, thanks to Johann Sebastian Bach's regard for them, have come +down to us. The most notable of these Bachs are: + + 1. Johann Christoph Bach, Court and Town Organist at Eisenach.(28) He + was particularly happy in his beautiful melodies and in setting + words to music. In the _Archives of the Bachs,_(29) which was in + Carl Philipp Emmanuel's possession at Hamburg, there is a Motet by + Johann Christoph in which he boldly uses the augmented sixth, a + proceeding considered extremely daring in his day.(30) He was also + an uncommon master of harmony, as may be inferred from a Cantata + composed by him for Michaelmas, to the words "Es erhub sich ein + Streit," etc., which has twenty-two obbligato parts in correct + harmony.(31) Yet another proof of his rare skill is in the alleged + fact that he never played the Organ or Clavier in less than five + parts.(32) Carl Philipp Emmanuel had a particularly warm regard for + him.(33) I remember the old man playing some of his compositions to + me on the Clavier at Hamburg, and how quizzically he looked at me + when one of these daring passages occurred.(34) + 2. Johann Michael Bach, Organist and Town Clerk at Gehren.(35) He was + the younger brother of Johann Christoph, and like him, a + particularly good composer. The Archives already mentioned(36) + contain several of his Motets, including one for eight voices in + double chorus,(37) and many compositions for Church use. + 3. Johann Bernhard Bach, Musician in the Prince's Kapelle and Organist + at Eisenach.(38)He is said to have composed remarkably fine Suites, + or Overtures, in the French style.(39) + +Besides these three men, the Bachs boasted several able composers in the +generations preceding Johann Sebastian,(40) men who undoubtedly would have +obtained higher positions, wider reputation, and more brilliant fortune if +they could have torn themselves from their native Thuringia to display +their gifts elsewhere in Germany or abroad. But none of the Bachs seems to +have felt an inclination to migrate. Modest in their needs, frugal by +nature and training, they were content with little, engrossed in and +satisfied by their art, and wholly indifferent to the decorations which +great men of that time were wont to bestow on artists as special marks of +honour. The fact that others who appreciated them were thus distinguished +did not rouse the slightest envy in the Bachs. + +The Bachs not only displayed a happy contentedness, indispensable for the +cheery enjoyment of life, but exhibited a clannish attachment to each +other. They could not all live in the same locality. But it was their +habit to meet once a year at a time and place arranged beforehand. These +gatherings generally took place at Erfurt, Eisenach, and sometimes at +Arnstadt. Even after the family had grown very large, and many of its +members had left Thuringia to settle in Upper and Lower Saxony and +Franconia, the Bachs continued their annual meetings. On these occasions +music was their sole recreation. As those present were either Cantors, +Organists, or Town Musicians, employed in the service of the Church and +accustomed to preface the day's work with prayer, their first act was to +sing a Hymn. Having fulfilled their religious duty, they spent the rest +of the time in frivolous recreations. Best of all they liked to +extemporise a chorus out of popular songs, comic or jocular, weaving them +into a harmonious whole while declaiming the words of each. They called +this hotch-potch a "Quodlibet," laughed uproariously at it, and roused +equally hearty and irrepressible laughter in their audience.(41) It is +suggested that German Comic Opera has its origin in these trifles. But +the "Quodlibet" was a familiar institution in Germany at a much earlier +period. I possess a collection of them printed and published at Vienna in +1542.(42) + +But these light-hearted Thuringians, and even those of their family who +treated their art more seriously and worthily, would not have escaped +oblivion had there not emerged in the fulness of time one whose genius and +renown reflected their splendour and brilliancy on his forbears. This +man, the glory of his family, pride of his countrymen, most gifted +favourite of the Muse of Music, was Johann Sebastian Bach. + + [Bach's Home at Eisenach] + + Bach's Home at Eisenach + + + + + +CHAPTER II. THE CAREER OF BACH + + +Johann Sebastian Bach was born on March 21, 1685,(43) at Eisenach, where +his father, Johann Ambrosius Bach, was Court and Town Musician.(44) Johann +Ambrosius had a twin brother, Johann Christoph, Musician to the Court and +Town of Arnstadt,(45) who so exactly resembled him that even their wives +could distinguish them only by their dress. The twins appear to have been +quite remarkable. They were deeply attached, alike in disposition, in +voice, and in the style of their music. If one was ill, so was the other. +They died within a short time of each other, and were objects of wondering +interest to all who knew them.(46) + +In 1695, when Johann Sebastian was not quite ten years old, his father +died. He lost his mother at an earlier period.(47) So, being left an +orphan, he became dependent on his eldest brother, Johann Christoph, +Organist at Ohrdruf,(48) from whom he received his earliest lessons on the +Clavier.(49) His inclination and talent for music must already have been +pronounced. For his brother no sooner had given him one piece to learn +than the boy was demanding another more difficult. The most renowned +Clavier composers of that day were Froberger,(50) Fischer,(51) Johann +Caspar Kerl,(52) Pachelbel,(53) Buxtehude,(54) Bruhns,(55) and Boehm.(56) +Johann Christoph possessed a book containing several pieces by these +masters, and Bach begged earnestly for it, but without effect. Refusal +increasing his determination, he laid his plans to get the book without +his brother's knowledge. It was kept on a book-shelf which had a latticed +front. Bach's hands were small. Inserting them, he got hold of the book, +rolled it up, and drew it out. As he was not allowed a candle, he could +only copy it on moonlight nights, and it was six months before he finished +his heavy task. As soon as it was completed he looked forward to using in +secret a treasure won by so much labour. But his brother found the copy +and took it from him without pity, nor did Bach recover it until his +brother's death soon after.(57) + +Being once more left destitute,(58) Johann Sebastian set out for Lueneburg +with one of his Ohrdruf schoolfellows, named Erdmann(59) (afterwards +Russian Resident at Danzig), and entered the choir of St. Michael's +Convent. His fine treble voice procured him a fair livelihood. But +unfortunately he soon lost it and did not at once develop another. (60) + +Meanwhile his ambition to play the Organ and Clavier remained as keen as +ever, and impelled him to hear and practise everything that promised him +improvement. For that purpose, while he was at Lueeburg, he several times +travelled to Hamburg to hear the famous organist,(61) Johann Adam +Reinken.(62) Often, too, he walked to Celle to hear the Duke's French band +play French music, which was a novelty in those parts.(63) + +The date and circumstances of his removal from Lueneburg to Weimar are not +precisely known.(64) He certainly became Court Musician there in 1703, +when he was just over eighteen years of age.(65) But in the following year +he gave up the post on his appointment as Organist to the new Church at +Arnstadt, probably desiring to develop his taste for the Organ and +realising that he would have better opportunities to do so at Arnstadt +than at Weimar, where he was engaged simply to play the Violin.(66) At +Arnstadt he set himself assiduously to study the works of the celebrated +organists of the period, so far as his modest means permitted him, and in +order to improve himself in composition(67) and Organ playing,(68) walked +the whole way to Luebeck to hear Dietrich Buxtehude, Organist of St. Mary's +Church in that city, with whose compositions he was acquainted already. He +remained there about three months,(69) listening to the celebrated +Organist, but without making himself known to him, and returned to +Arnstadt with his experience much increased. + +Bach's zeal and persevering diligence had already drawn attention to him, +as is evident from the fact that he received in succession several offers +of vacant organistships, one of which, at the Church of St. Blasius, +Muehlhausen, he accepted in 1707.(70) Barely a year after he entered upon +his duties there(71) he again visited Weimar and played to the Duke, who +was so pleased with his performance that he offered him the post of Court +Organist, which he accepted.(72) Weimar promised him a particularly +agreeable atmosphere in which to cultivate his genius.(73) He applied +himself closely to his work, and probably at this period achieved the +mastery of the Organ that he ever afterwards possessed. At Weimar also he +wrote his great compositions for that instrument.(74) In 1717(75) the Duke +appointed him Concertmeister, a post which gave him further opportunity to +develop his art, since it required him to compose and direct Church music. + +It was about this time that Zachau, Handel's master, died at Halle, where +he was Organist.(76) Bach, who by now had acquired a great reputation, was +invited to succeed him.(77) He visited Halle and composed a work as a +specimen of his skill But for some reason unknown he did not obtain the +post. It was given to a clever pupil of Zachau, named Kirchhoff.(78) + +Johann Sebastian was now thirty-two years old. He had made good use of his +opportunities, had studied hard as a player and composer, and by tireless +enthusiasm had so completely mastered every branch of his art, that he +towered like a giant above his contemporaries. Both amateurs and +professional musicians already regarded him with admiration when, in 1717, +Marchand, the French virtuoso, a celebrated Clavier and Organ player, +visited Dresden. He played before the King-Elector(79) and won such +approbation that he was offered a large salary to enter His Majesty's +service.(80) Marchand's chief merit was his finished technique. Like +Couperin,(81) his musical ideas were weak to the point of banality, as we +may judge from his compositions.(82) Bach was an equally finished player, +and so rich in ideas that Marchand's head would have swollen had he been +equally gifted. Volumier, Concertmeister at Dresden,(83) was aware of +these circumstances, and knowing that the young German had his instrument +and his imagination under the fullest control, determined to arrange a +contest between the two men in order to give his sovereign the +satisfaction of judging their merits. With the King's approbation, a +message was dispatched to Bach at Weimar(84) inviting him to a contest +with Marchand. Bach accepted the invitation and set out at once on his +journey. Upon his arrival at Dresden Volumier procured him an opportunity +to hear Marchand secretly. Far from being discouraged by what he heard, +Bach wrote a polite note to the French artist challenging him to a trial +of skill, and offering to play at sight anything Marchand put before him, +provided the Frenchman submitted himself to a similar test. Marchand +accepted the challenge, a time and place for the contest were fixed, and +the King gave his approval. At the appointed hour a large and +distinguished company assembled in the house of Marshal Count +Flemming.(85) Bach arrived punctually; Marchand did not appear. After +considerable delay he was sought at his lodging, when it was discovered, +to the astonishment of all, that he had left Dresden that morning without +taking leave of anybody. Bach therefore performed alone, and excited the +admiration of all who heard him, though Volumier was cheated of his +intention to exhibit the inferiority of French to German art. Bach was +overwhelmed with congratulations; but the dishonesty of a Court official +is said to have intercepted a present of one hundred louis d'or sent to +him by the King.(86) + +Bach had not long returned to Weimar when Prince Leopold of Anhalt-Coethen, +a good judge of music and a first-rate amateur,(87) offered him the post +of Kapellmeister. He entered at once upon his new office(88) and held it +for about six years.(89) At this period, about 1722,(90) he visited +Hamburg, played the Organ there, and excited general admiration. The +veteran Reinken--he was nearly one hundred years old--was particularly +impressed by Bach's performance. After he had treated the Choral _An +Wasserfluessen Babylon_ for half an hour in variation after variation in +the true Organ style,(91) Reinken paid him the compliment of saying, "I +thought this art was dead, but I see that it survives in you." Reinken +had treated the same Choral in a similar manner some years before and had +had his work engraved, showing that he thought highly of it. His praise +therefore was particularly flattering to Bach.(92) + +On the death of Kuhnau in 1723(93) Bach was appointed Director of Music +and Cantor to St. Thomas' School, Leipzig,(94) a position which he +occupied until his death. Prince Leopold of Anhalt-Coethen had great +regard for him and Bach left his service with regret.(95) But he saw the +finger of Providence in the event; for the Prince died shortly +afterwards.(96) The loss of his patron affected him deeply, and moved him +to compose a funeral Cantata containing remarkably fine double choruses +which he himself conducted at Coethen.(97) While he was at St. Thomas' he +was appointed honorary Kapellmeister to the Duke of Weissenfels(98) and, +in the following year (1736), received the title of Court Composer to the +King-Elector of Poland-Saxony.(99) The two compliments are not of great +consequence, and the second was to some degree corollary to Bach's +position as Cantor of St. Thomas' School.(100) + +Carl Philipp Emmanuel, Bach's second son, entered the service of Frederick +the Great of Prussia in 1740. So widely was Bach's skill recognised by +this time that the King, who often heard him praised, was curious to meet +so great an artist. More than once he hinted to Carl Philipp Emmanuel +that it would be agreeable to welcome his father to Potsdam, and as Bach +did not appear, desired to know the reason. Carl Philipp did not fail to +acquaint his father with the King's interest. But for some time Bach was +too occupied with his duties to accede to the invitation. However, as +Carl Philipp continued to urge him, he set out for Potsdam towards the end +of 1747, in company with his eldest son, Wilhelm Friedemann.(101) It was +the King's custom to hold a private concert every evening, and to take +part on the flute in a Concerto or two. One evening,(102) when he had got +out his flute and the musicians were at their desks, an official brought +him a list of the strangers newly arrived at Potsdam. Flute in hand the +King ran through the names, and suddenly turning to the waiting musicians, +said with considerable excitement, "Gentlemen, Old Bach has arrived." The +flute was put away for the evening, and Bach, who had alighted at his +son's lodging, was summoned immediately to the Palace. Wilhelm +Friedemann, who accompanied his father, often told me the story. Nor am I +likely to forget the racy manner in which he related it. The courtesy of +those days demanded rather prolix compliments, and the first introduction +of Bach to so illustrious a monarch, into whose presence he had hurried +without being allowed time to change his travelling dress for a Cantor's +black gown, obviously invited ceremonial speeches on both sides. I will +not dwell on them; Wilhelm Friedemann related a lengthy and formal +conversation between the King and the Cantor.(103) + +More worthy of record is the fact that the King gave up his concert for +that evening and invited Bach, already known as "Old Bach," to try the +Silbermann pianofortes(104) which stood in various parts of the +Palace.(105) Accompanied from room to room by the King and the musicians, +Bach tried the instruments and improvised upon them before his illustrious +companion. After some time he asked the King to give him a subject for a +Fugue, that he might treat it extempore. The King did so, and expressed +his astonishment at Bach's profound skill in developing it. Anxious to +see to what lengths the art could be carried, the King desired Bach to +improvise a six-part Fugue. But as every subject is not suitable for +polyphonic treatment, Bach himself chose a theme and, to the astonishment +of all who were present, developed it with the skill and distinction he +had shown in treating the King's subject. His Majesty expressed a wish to +hear him on the Organ also. Accordingly, next day, Bach inspected all the +Organs in Potsdam,(106) as the evening before he had tried the Silbermann +pianofortes. On his return to Leipzig he developed the King's theme in +three and six parts, added Canones diversi upon it, engraved the whole +under the title _Musikalisches Opfer_ and dedicated it to the royal author +of the theme.(107) + +His visit to Potsdam was Bach's last journey. The indefatigable diligence +he had shown all his life, and particularly in his younger years, when +successive days and nights were given to study, seriously affected his +eye-sight. The weakness grew with age and became very distressing in +character. On the advice of friends who placed great confidence in the +skill of a London oculist lately come to Leipzig,(108) Bach submitted to +an operation, which twice failed. He lost his sight completely in +consequence, and his hitherto vigorous constitution was undermined by the +drugs administered to him. He sank gradually for full half a year, and +expired on the evening of July 30, 1760, in the sixty-sixth year of his +age.(109) Ten days before his death(110) he was suddenly able to see again +and to bear the light. A few hours later he was seized by an apoplexy and +inflammatory fever, and notwithstanding all possible medical aid, his +weakened frame succumbed to the attack. + +Such was the career of this remarkable man. I will only add that he was +twice married, and that he had by his first wife seven, and by his second +wife thirteen children; in all, eleven sons and nine daughters.(111) All +of his sons had an admirable talent for music, but only the elder ones +fully developed it.(112) + + [The Church and School of St. Thomas, Leipzig, in 1723.] + + The Church and School of St. Thomas, Leipzig, in 1723. + + + + + +CHAPTER IIA.(113) BACH AT LEIPZIG, 1723-1750 + + +Bach was inducted into his office as Cantor of St. Thomas' School at nine +o'clock on the morning of Monday, May 31, 1723. He died in his official +residence there at a quarter to nine on the evening of Tuesday, July 28, +1750. He was buried early on the morning of Friday, July 31, in the +churchyard of St. John's, Leipzig. + +The announcement of his death, made from the pulpit of St. Thomas' on the +day of his funeral, described him as "Court Composer to His Majesty the +King of Poland and Electoral and Serene Highness of Saxony, Kapellmeister +to His Highness the Prince of Anhalt-Cothen, and Cantor to St. Thomas' +School of this town." Bach usually designated himself "Director Chori +Musici Lipsiensis," or shortly, "Director Musices." Circumstances led him +to emphasise a title which asserted a musical prerogative not confined to +the School and the churches it served. + +The Cantor of St. Thomas' was charged formerly with the musical direction +of four Leipzig churches: St. Thomas', St. Nicolas', St. Peter's, and the +New Church. He was also responsible for the music in the University +Church of St. Paul, the so-called "old service," held originally on the +Festivals of Easter, Whit, Christmas, and the Reformation, and once during +each University quarter. On high days music also had to be provided at St. +John's Church. + +Bach, as Cantor, succeeded to a more restricted responsibility, which +dated from the early years of the eighteenth century. The New Church, +originally the Church of the Franciscans, had been restored to use in +1699. In 1704 Georg Philipp Telemann, who came to Leipzig as a law +student three years before, was appointed Organist there. He also founded +the Collegium Musicum, or University Musical Society, a farther slight +upon the Cantor's position. Not until 1729 did the Society pass under +Bach's direction and its members become available as auxiliaries in the +church choirs under his charge. Notwithstanding that Bach's predecessor +Kuhnau had protested against Telemann's independence, the direction of the +New Church's music passed out of the Cantor's control, though the School +continued to provide the choristers. Six years later the University +Church of St. Paul also began an independent course. In 1710 the +authorities resolved to hold a University service in the church every +Sunday. Kuhnau asserted his prerogative as Cantor. But he was only able to +maintain it by offering to provide the music for the "new service" as well +as for the "old service" at the fee of twelve thalers which the University +so far had paid for the latter. After his death the University appointed +(April 3, 1723) Johann Gottlieb Goerner, already Organist of St. Nicolas' +since 1721, to control the music both of the "old" and "new" services, for +which the University provided the choir. Not until after a direct appeal +to the King did Bach succeed, in 1726, in compelling the University to +restore to the Cantor his emoluments in regard to the "old service," the +conduct of which had been restored to him on his appointment as Cantor. +The "new service" remained under Goerner's direction. As to St. Peter's, +its services, which had entirely ceased, were revived in 1711. The music, +however, was simple, and consisted only of hymns. + +Thus Bach, as Cantor, was responsible for the music in the two principal +churches, St. Thomas' and St. Nicolas'. The School also provided the +choir for St. Peter's and the New Church. The junior and least competent +singers sang at St. Peter's. The rest were pretty equally distributed +between the other three churches. At the New Church the music was +performed under the direction of a Chorpraefect. At St. Thomas' and St. +Nicolas' Bach personally directed the concerted music. On ordinary +Sundays a Cantata or Motet was performed in each church alternately. At +the great Festivals, New Year, Epiphany, Ascension Day, Trinity Sunday, +and the Annunciation, Cantatas were sung at both churches, the two choirs +singing at Vespers in the second church the Cantata performed by them in +the morning at the other church. On these occasions the second choir was +conducted by a Chorpraefect. The principal Sunday service in both churches +began at seven in the morning, ended at eleven, and observed the following +order: + + 1. Organ Prelude. + 2. Motet, related to the Gospel for the Day; (omitted in Lent and + replaced by the Benedictus). + 3. Introit. + 4. Kyrie, sung alternately, in German and Latin. + 5. The Lord's Prayer, intoned at the altar. + 6. Gloria, intoned at the altar and answered either by the Choir's + Et in terra pax hominibus, or by the congregation with the Hymn, + Allein Gott in der Hoeh' sei Ehr, the German version of the Gloria. + 7. Collect, intoned in Latin; preceded by the preces Dominus + vobiscum and Et cum spiritu tuo. + 8. Epistle. + 9. Litany, in Advent and Lent only; intoned by four boys, the Choir + responding. + 10. Hymn, appropriate to the Gospel. + 11. Gospel. + 12. Credo, intoned; (in Lent, last three Sundays of Advent, and + Festivals of Apostles, the Nicene Creed, sung in Latin). + 13. Prelude, followed by a Cantata, lasting about twenty minutes; on + alternate Sundays in each church. + 14. The Creed in German, Wir glauben all' an einen Gott, sung by the + congregation. + 15. Sermon, lasting one hour (8-9 A.M.). + 16. Hymn, Herr Jesu Christ, dich zu uns wend, followed by the + reading of the Gospel, on which the Sermon had been based. + 17. General Confession, prayers, and Lord's Prayer. + 18. Blessing. + 19. Hymn. + 20. Communion Service; Hymns and Organ extemporisation. + 21. Benediction. + +Vespers began at a quarter past one and was a comparatively simple +service; the music consisted of Hymns, a Motet, and the Magnificat. On the +last three Sundays in Advent and throughout Lent neither Cantatas nor +Motets were sung. The Organ was silent. On the three great Festivals the +appointed Hymn for the season was sung at the beginning of the principal +service, before the Organ Prelude: at Christmas, Puer natus in Bethlehem; +at Easter, Heut' triumphiret Gottes Sohn; at Whitsuntide, Spiritus Sancti +gratia. During the Communion service the Sanctus and concerted music were +sung. A festal hymn followed the Benediction. The three great Festivals +were each observed for three consecutive days, on the first and second of +which Cantatas were sung at both churches. On the third day concerted +music was sung at only one of the two churches. + +The other week-day Festivals for which Cantatas were provided were the +Feast of the Circumcision (New Year's Day), Epiphany, Ascension Day, +Purification of the B.V.M., Annunciation of the B.V.M., Visitation of the +B.V.M., Feast of St. John Baptist (Midsummer Day), Feast of St. Michael +the Archangel. The Reformation Festival was kept on October 31, or if that +date was a Saturday or Monday, on the previous or following Sunday. + +On Good Friday the Passion was performed in the two principal churches +alternately. Leipzig adopted no official Hymn-book. The compilation from +which the Hymns were chosen by Bach was the eight-volumed Gesangbuch of +Paul Wagner, published at Leipzig for Dresden use in 1697. It contained +over five thousand Hymns but no music, merely the name of the tune being +stated above the Hymn. For the most part the Hymns for special, and even +for ordinary, occasions were prescribed by custom. Otherwise the power of +selection was in the hands of the Cantor, and Bach's exercise of it caused +some friction with the clergy in 1728. + +The provision and direction of the music at weddings and funerals was in +the Cantor's hands. He arranged the choirs and the music sung at the +scholars' annual processions and perambulations of the town, which took +place at Michaelmas, New Year, and on St. Martin's and St. Gregory's Days. + +Augmenting the School's choristers, the Town Musicians took part in the +Church services and were under the Cantor's direction. Their numbers and +efficiency were inadequate. + +Upon the staff of the School the Cantor ranked third after the Rector and +Sub-Rector, and took a share in the general instruction of the scholars. +Class III. went to Bach for Latin lessons, a duty which the Council +eventually permitted him to fulfil by deputy. Singing classes were held +by the Cantor on three days of the week, Mondays, Tuesdays, and +Wednesdays, at nine and noon, and on Fridays at noon. His instruction in +singing was given to the four upper classes only. On Saturday afternoons +the Cantata was rehearsed. Once in four weeks the Cantor took his turn to +inspect the scholars. Like the other masters, he was required to conform +to the regulations of the School House, in which he lived. He rose at +five in summer, at six in winter, dined at ten and supped at five in the +afternoon. + +Holidays were numerous. A week's vacation was given at the Easter, +Michaelmas, and New Year Fairs. At Midsummer the School had a month of +half-holidays. Whole holidays were given on the birthdays of the four +upper masters. There were no morning lessons on Saints' Days, on the +occasion of funeral orations in the University Church, and on the +quarterly Speech Days. Hence, though Bach's office carried large +responsibility, it left him considerable leisure for composition. + +As Cantor Bach had an official residence in the left wing of the School +House. In 1723, the Cantor's wing was of two storeys only, dwarfed by the +greater elevation of the main edifice and under the shadow of the church. +Bach brought to Leipzig four children of his first marriage, and his +second wife, Anna Magdalena, presented him with a son or daughter annually +from 1723 to 1729. The accommodation of the Cantor's lodging therefore +rapidly became inadequate. In the spring of 1731 Bach found a house +elsewhere while an additional storey was added to it, which provided a new +music-room, a good-sized apartment whence a passage led to the big +schoolroom in the main building. The new wing was formally opened and +dedicated on June 5, 1732, when Bach's secular Cantata Froher Tag, +verlangte Stunden was performed; the libretto being by his colleague +Winkler. From thenceforward till his death eighteen years later Bach's +occupancy was not disturbed. The wing continued to be the official +residence of the Cantor until the School moved to the suburbs of the city +in 1877. + +In addition to his residence, which he occupied rent free, the Cantor +enjoyed a revenue from various and fluctuating sources, amounting in gross +to 700 thalers (=L106 per annum). His fixed stipend was only 100 thalers +(=L15). About 12 thalers came to him from endowments. In kind he was +entitled to 16 bushels of corn and 2 cords of firelogs, together with 2 +measures of wine at each of the three great Festivals. From the +University, after his successful protest, he received 12 thalers for +directing the "old service." By far the larger part of Bach's income was +derived from fluctuating sources. They were of three kinds: (1) School +monies, (2) funeral fees, (3) wedding fees. The School monies represented +perquisites derived from funds obtained by the scholars, partly by their +weekly collections from the public, partly from the four annual +processions or perambulations of the city. From the weekly collections a +sum of six pfennigs multiplied by the number of the scholars was put aside +for the four upper masters, among whom the Cantor ranked third. From the +money collected at the New Year, Michaelmas, and St. Martin's Day +processions the Rector took a thaler, the Cantor and the Sub-Rector each +took one-eleventh of the balance, sixteen thirty-thirds went to the +singers, and one-quarter of what remained fell to the Cantor. Out of the +money collected on St. Gregory's Day (March 12) the Rector took one-tenth +for the entertainment of the four upper masters, and the Cantor took +one-third of the residue. For funerals one thaler 15 groschen was paid +when the whole school accompanied the procession and a Motet was sung at +the house of the deceased. When no Motet was sung the Cantor's fee was 15 +groschen. For weddings he received two thalers. + +Reckoned in modern currency, and judged by the standard of the period, the +Cantor's income was not inadequate and served to maintain Bach's large +family in comfort. When he died in 1750, in addition to a mining share +valued at 60 thalers, he possessed in cash or bonds about 360 thalers, +silver plate valued at 251 thalers, instruments valued at 371 thalers, +house furniture valued at 29 thalers, and books valued at 38 thalers. His +whole estate was declared at 1158 thalers, or somewhat less than the +savings of two years' income. But for the inequitable distribution of his +property, owing to his intestacy, which left Anna Magdalena only about 400 +thalers and the mining share, Bach's widow and unmarried daughters ought +not to have been afflicted with excessive poverty, as in fact they were. + +At the beginning of his Cantorate Bach worked amid discouraging and +unsatisfactory conditions. The Rector, Johann Heinrich Ernesti, was over +seventy years of age in 1723. The School was badly managed, its +discipline was relaxed, the better-to-do citizens withheld their sons from +it, and its numbers were seriously diminished. In 1717 the junior classes +contained only 53 as against 120 in Ernesti's earlier years. The +proximity and operatic traditions of Dresden and Weissenfels also had a +bad effect; the St. Thomas' boys, after attaining musical proficiency, +were apt to become restless, demanding release from their indentures, and +even running away to more attractive and lucrative occupations. Moreover, +the governors of the School were the Town Council, a body which had little +sympathy with or appreciation of Bach's artistic aims and temperament. To +these difficulties must be added another. The Town Musicians, on whom +Bach relied for the nucleus of his orchestra, were few in number and +inefficient. + +So long as Ernesti lived, there was little prospect of reform. But, after +his death, in October 1729, Bach made vigorous representations to the Town +Council. Already he had remonstrated with the Council for presenting to +foundation scholarships boys who lacked musical aptitude. The Council +retaliated by accusing Bach of neglecting his singing classes, absenting +himself without leave, and of other irregularities. He was declared to be +"incorrigible" and it was resolved (August 2, 1730) to sequestrate the +Cantor's income, in other words, to withhold from him the perquisites to +which he was entitled for the conduct of the Church services.(114) + +Bach was not deterred from offering, three weeks later (August 23, 1730), +a "sketch of what constitutes well-appointed Church music, with a few +impartial reflections on its present state of decay" in Leipzig. The +document reveals the conditions amid which Bach worked. Its +representations may be summarised: + +The foundation scholars of St. Thomas' are of four classes: Trebles, +Altos, Tenors, Basses. + +A choir needs from four to eight "concertists" ( solo singers) and at +least two "ripienists" to each chorus part, i.e. a minimum of twelve +voices. + +The foundation scholars number fifty-five, by whom the choirs of the four +Churches, St. Thomas', St. Nicolas', St. Peter's, and the New Church are +provided. For the instrumental accompaniments at least twenty players are +required: viz., 2 or 3 first Violins, 2 or 3 second Violins, 4 Violas, 2 +Violoncelli, 1 Contrabasso, 2 or more Flutes, 2 or 3 Oboi, 1 or 2 Fagotti, +3 Trombe, 1 Timpani. To fill these places there are eight Town Musicians, +and at the moment there are no players available for third Tromba, +Timpani, Viola, Violoncello, Contrabasso, third Oboe (or Taille). + +To augment the Town Musicians the Cantor has been wont in the past to +employ University students and instrumental players in the School. Upon +the former "at all times" he relies for Viola, Violoncello, and +Contrabasso, and "generally" for the second Violins. But the Council, by +its recent resolution, no longer affords the Cantor the means to employ +them. To place the scholars in the orchestra weakens the choir, to which +they naturally belong. + +By presenting to foundation scholarships boys unskilled and ignorant of +music, the resources at the Cantor's disposal are still farther lessened. + +Hence, Bach concludes, "in ceasing to receive my perquisites I am deprived +of the power of putting the music into a better condition." + +No answer was made to Bach's memorial, and he contemplated resigning his +position. But with the advent of Johann Matthias Gesner as Rector in +September 1730 a happier period dawned upon the "incorrigible" Cantor. In +1732 Gesner procured the withdrawal of the Council's ban on Bach's +perquisites. The fallen fortunes of the School revived, and Bach did not +again make an effort to leave Leipzig. In 1736 the grant of the post of +Hof-Componist to the Saxon Court gave him at length a title which +compelled the deference of his civic masters. + +Bach's early misunderstanding with the University cut him off from +association with the most dignified, if not the most important, +institution in Leipzig, and deprived him of opportunity to display his +genius beyond the radius of his Church duties. The situation changed in +1729, when he became director of the University Society, and he held the +post for about ten years. The Society gave weekly concerts on Fridays, +from 8 to 10, and an extra concert, during the Fair season, on Thursdays +at the same hour. It performed vocal and instrumental music and was the +medium through which Bach presented his secular Cantatas, Clavier and +Violin Concertos, and Orchestral Suites to the public. The proficiency of +his elder sons and pupils, and his wife's talent as a singer, were a +farther source of strength to the Society, whose direction undoubtedly +made these years the happiest in Bach's life. He took his rightful place +in the musical life of the city, and relegated to a position of +inferiority the smaller fry, such as Goerner, who had presumed on Bach's +aloofness from the University and Municipality to insinuate themselves. +His increasing reputation as an organist, gained in his annual autumn +tours, also enlightened his fellow-townsmen regarding the superlative +worth of one whom at the outset they were disposed to treat as a +subordinate official. + +The Leipzig of Bach's day offered various opportunities for musical +celebration; official events in the University, "gratulations" or +"ovations" of favourite professors by their students, as well as patriotic +occasions in which town and gown participated. The recognised fee for +pieces d'occasion of a public character was fifty thalers. Bach's +conductorship of the University Society enabled him to perform festival +works with the resources they required, and to augment the band and chorus +needed for their adequate performance. + +Even before he undertook the direction of the University Society, Bach +more than once provided the music for University celebrations. On August +3, 1725, his secular Cantata, _Der zufried-engestellte Aeolus,_ was +performed at the students' celebration of Doctor August Friedrich Mueller's +name-day. In 1726 he revived an old Cantata(115) to celebrate the +birthday of another of the Leipzig teachers. In the same year the +appointment of Dr. Gottlieb Kortte as Professor of Roman Law was +celebrated by Bach's Cantata _Vereinigte Zwietracht der wechselnden +Saiten._ In 1733 the birthday of another Professor was marked by the +performance of the Coethen Cantata to yet another text (_Die Freude reget +sich_). On November 21, 1734, the lost Cantata _Thomana sass annoch +betruebt_ was sung at the induction of Gesner's successor, Johann August +Ernesti, as Rector of St. Thomas' School. + +But Bach's activity as a secular composer at Leipzig was chiefly expended +on patriotic celebrations. His compositions of this character are +particularly numerous during the years 1733-36, while he was seeking from +the Dresden Court the post of Hof-Componist. The first of these +celebrations took place on May 12, 1727, the birthday of Augustus II. of +Poland-Saxony, when Bach's Cantata, _Entfernet euch, ihr heitern Sterne,_ +was performed in the Market Place by the University Society. The King was +present and listened to the performance from a convenient window. The +music is lost. Six years elapsed before Bach was invited to collaborate +in another celebration of the royal House. On September 5, 1733, less +than two months after his application for the post of Hof-Componist, the +University Society celebrated the eleventh birthday of the Electoral +Prince by performing Bach's dramma per musica, _Die Wahl des Herkules,_ or +_Herkules auf dem Scheidewege._ Barely three months later, on December 8, +1733, Bach produced another Cantata in honour of the royal family, _Toenet, +ihr Pauken, erschallet Trompeten,_ of which he was both author and +composer. On no less than three occasions in 1734 Bach did homage to his +unheeding sovereign. In January the University Society, under Bach's +direction, performed his Cantata _Blast Larmen, ihr Feinde_ to celebrate +the coronation of Augustus III. The music had already done duty in Dr. +Mueller's honour in 1725. On the following October 5, 1734, when the King +visited Leipzig, Bach's hurriedly written Cantata, _Preise dein Gluecke, +gesegnetes Sachsen,_ whose first chorus became the Osanna of the B minor +Mass, was performed in the Market Place. Two days later, on October 7, +1734, the King's birthday was celebrated by another Bach Cantata, +_Schleicht spielende Wellen,_ performed by the Collegium Musicum. In 1738, +having received the coveted title of Hof-Componist in the interval (1736), +Bach performed a work--_Willkommen, ihr herrschenden Goetter der Erden_--now +lost, in honour of the marriage of the Princess Maria Amalia of Saxony to +Charles of Sicily, afterwards Charles III. of Spain. + +Apart from his musical activities and the house in which he lived there is +little that permits us to picture Bach's life at Leipzig. Association +with his friends Johann Christian Hoffmann, Musical Instrument Maker to +the Court, Marianne von Ziegler, J. C. Gottsched and his musical wife, +Johann Abraham Birnbaum, among the Professoriate, Picander and Christian +Weiss, Bach's regular librettists, suggests the amenities of an academic +and literary circle. But the claims of his art and the care of his large +family had the first call upon Bach's interest. And few men had a happier +home life. While his elder sons were at home the family concerts were +among his most agreeable experiences. As his fame increased, his house +became the resort of many seeking to know and hear the famous organist. +Late in the thirties he resigned his directorship of the University +Society. His sons were already off his hands and out of his house, and he +turned again to the Organ works of his Weimar period. Their revision +occupied the last decade of his life, and the hitherto constant flow of +Church Cantatas ceased. Pupils resorted to him and filled his empty house, +to one of whom, Altnikol, he gave a daughter in marriage. + +A man of rigid uprightness, sincerely religious; steeped in his art, +earnest and grave, yet not lacking naive humour; ever hospitable and +generous, and yet shrewd and cautious; pugnacious when his art was +slighted or his rights were infringed; generous in the extreme to his wife +and children, and eager to give the latter advantages which he had never +known himself; a lover of sound theology, and of a piety as deep as it was +unpretentious--such were the qualities of one who towers above all other +masters of music in moral grandeur. + +Four, perhaps only three, contemporary portraits of Bach are known. One +is in the possession of the firm of Peters at Leipzig and once belonged to +Carl Philipp Emmanuel's daughter, who with inherited impiety sold it to a +Leipzig flute player. The second hung in St. Thomas' School and is +reproduced at p. 48 of this volume. It was painted in 1746 and restored +in 1913. Both portraits are by Elias Gottlieb Haussmann, Court Painter at +Dresden. The third portrait belonged to Bach's last pupil, Kittel, and +used to hang on the Organ at Erfurt, whence it disappeared after 1809, +during the Napoleonic wars. Recently Professor Fritz Volbach of Mainz has +discovered a fourth portrait, which is printed at p. 92 of the present +volume. He supposes it to be none other than the Erfurt portrait, as +indeed it well may be, since it represents a man of some sixty years, +austere in countenance, but of a dignity that is not so apparent in +Haussmann's portraiture.(116) + +Bach left no will. In consequence his widow, Anna Magdalena, burdened +with the charge of a step-daughter and two daughters, was entitled to only +one-third of her husband's estate. Neither Carl Philipp Emmanuel nor +Wilhelm Friedemann was her own child. But the fact cannot excuse gross +neglect of their father's widow. Her own sons were in a position to make +such a contribution to her income as would at least have kept want from +her door. In fact she was permitted to become dependent on public +charity, and died, an alms-woman, on February 27, 1760, nearly ten years +after her great husband. The three daughters survived her. One died in +1774, the second in 1781. The third, Regine Susanna, survived them, her +want relieved by gifts from a public that at last was awakening to the +grandeur of her father. Beethoven contributed generously. Regine Susanna +died in December 1809, the last of Bach's children. In 1845 her nephew, +Johann Christoph Friedrich's son, also died. With him the line of Johann +Sebastian Bach expired. + + [Johann Sebastian Bach, circa 1746. From the picture by Haussmann.] + + Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._ + + + + + +CHAPTER III. BACH AS A CLAVIER PLAYER + + +As a Clavier player Bach was admired by all who had the good fortune to +hear him and was the envy of the virtuosi of his day. His method greatly +differed from that of his contemporaries and predecessors, but so far no +one has attempted to explain in what the difference consisted. The same +piece of music played by ten different performers equally intelligent and +competent will produce a different effect in each case. Each player will +emphasise this or that detail. This or that note will stand out with +differing emphasis, and the general effect will vary consequently. And +yet, if all the players are equally competent, ought not their +performances to be uniform? The fact that they are not so is due to +difference of touch, a quality which to the Clavier stands as enunciation +to human speech. Distinctness is essential for the enunciation of vowels +and consonants, and not less so for the articulation of a musical phrase. +But there are gradations of distinctness. If a sound is emitted +indistinctly it is comprehensible only with effort, which occasions us to +lose much of the pleasure we should otherwise experience. On the other +hand, over-emphasis of words or notes is to be avoided. Otherwise the +hearer's attention will be diverted from the tout ensemble. To permit the +general effect to be appreciated every note and every vowel must be +sounded with balanced distinctness. + +I have often wondered why Carl Philipp Emmanuel Bach's _Essay on the Right +Manner of playing the Clavier_(117) does not elucidate the qualities that +constitute a good touch. For he possessed in high degree the technique +that made his father pre-eminent as a player. True, in his chapter on +"Style in Performance," he writes, "Some persons play as if their fingers +were glued together; their touch is so deliberate, and they keep the keys +down too long; while others, attempting to avoid this defect, play too +crisply, as if the keys burnt their fingers. The right method lies +between the two extremes." But it would have been more useful had he told +us how to reach this middle path. As he has not done so, I must try to +make the matter as clear as is possible in words. + +Bach placed his hand on the finger-board so that his fingers were bent and +their extremities poised perpendicularly over the keys in a plane parallel +to them.(118) Consequently none of his fingers was remote from the note it +was intended to strike, and was ready instantly to execute every command. +Observe the consequences of this position. First of all, the fingers +cannot _fall_ or (as so often happens) be _thrown_ upon the notes, but are +_placed_ upon them in full control of the force they may be called on to +exert. In the second place, since the force communicated to the note +needs to be maintained with uniform pressure, the finger should not be +released perpendicularly from the key, but can be withdrawn gently and +gradually towards the palm of the hand. In the third place, when passing +from one note to another, a sliding action instinctively instructs the +next finger regarding the amount of force exerted by its predecessor, so +that the tone is equally regulated and the notes are equally distinct. In +other words, the touch is neither too long nor too short, as Carl Philipp +Emmanuel complains, but is just what it ought to be.(119) Many advantages +arise from holding the hand in Bach's position and from adopting his +touch, on the Clavichord and Harpsichord,(120) and on the Organ as well. +I point out merely the most important of them. To begin with, if the +fingers are bent, their movements are free. The notes are struck without +effort and with less risk of missing or hitting too hard, a frequent fault +with people who play with their fingers elongated or insufficiently bent. +In the second place, the sliding finger-tip, and the consequently rapid +transmission of regulated force from one finger to another, tend to bring +out each note clearly and to make every passage sound uniformly brilliant +and distinct to the hearer without exertion. In the third place, stroking +the note with uniform pressure permits the string to vibrate freely, +improves and prolongs the tone, and though the Clavichord is poor in +quality, allows the player to sustain long notes upon it. And the method +has this advantage: it prevents over-expenditure of strength and excessive +movement of the hand. We gather that the action of Bach's fingers was so +slight as to be barely perceptible. Only the top joint seemed to move. +His hand preserved its rounded shape even in the most intricate passages. +His fingers rested closely upon the keys, very much in the position +required for a "shake." An unemployed finger remained in a position of +repose. It is hardly necessary to say that that other limbs of his body +took no part in his performance, as is the case with many whose hands lack +the requisite agility.(121) + +A man may possess all these qualities, however, and remain an indifferent +performer on the Clavier, just as clear and agreeable enunciation does not +necessarily make a good speaker. To be a first-rate performer many other +qualities are needed, and Bach possessed them all in a notable degree. + +Some fingers are longer and stronger than others. Hence players are +frequently seduced to use the stronger whenever they can readily do so. +Consequently successive notes become unequal in tone, and passages which +leave no choice as to the finger to be used may become impossible to play. +Bach recognised this fact very early in his career. To get over the +difficulty he invented exercises for his own use in which the fingers of +both hands were made to practise passages in every conceivable position. +By this means every finger on both hands equally became strong and +serviceable, so that he could play a rapid succession of chords, single +and double "shakes," and running passages with the utmost finish and +delicacy, and was equally fluent in passages where some fingers play a +"shake" while the others on the same hand continue the melody. + +Besides these improvements, Bach invented a new system of fingering.(122) +Before his time, and even in his early years, it was usual for the player +to pay attention to harmony rather than counterpoint. Even so it was not +customary to use every one of the twenty-four major and minor keys. The +Clavichord was still what we term "gebunden"; that is, several keys struck +the same string, which, therefore, could not be accurately tuned.(123) +Consequently it was usual to employ only those keys whose notes were tuned +with some approximation to accuracy. Again, good players in those days +hardly ever used the thumb, except when a large interval had to be +stretched. But when Bach began to melodise harmony so that his middle +parts not merely filled in but had a tune of their own, when, too, he +began to deviate from the Church modes then in general vogue in secular +music, using the diatonic and chromatic scales indifferently, and tuning +the Clavier in all the twenty-four keys, he found himself compelled to +introduce a system of fingering better adapted to his innovations than +that in use, and in particular, to challenge the convention which +condemned the thumb to inactivity. It is held by some writers that +Couperin forestalled Bach's method of fingering, in his _L'Art de toucher +le Clavecin,_ published in 1716. But that is not the case. In the first +place, Bach was above thirty years old in 1716, and had already developed +a distinctive method of his own. And in the second place, Couperin's +system differs materially from Bach's, though both made more frequent use +of the thumb than was so far customary. When I say "more frequent use" I +do so advisedly; for whereas in Bach's system the thumb is the principal +finger--for the difficult keys, as they are called, are unplayable without +it--it is not equally indispensable with Couperin, whose thematic material +was not so intricate as Bach's, nor did he compose or play in such +difficult keys. Consequently Couperin had not an equally urgent need to +use the thumb. We need only compare Couperin's with Bach's system of +fingering, as Carl Philipp Emmanuel explains it,(124) to discover that +Bach's permits every passage, however intricate and polyphonic, to be +played with ease, whereas Couperin's is hardly effective even for his own +compositions. Bach was acquainted with Couperin's works and highly +esteemed them,(125) as he did those of other French Clavier composers, for +their finish and brilliance. But he considered them affected in their +excessive use of ornaments, scarcely a single note being free from them. +He held them, also, superficial in matter. + +Bach's easy, unconstrained use of the fingers, his musical touch, the +clearness and precision of every note he struck, the resourcefulness of +his fingering, his thorough training of every finger of both hands, the +luxuriance of his thematic material and his original method of stating it, +all contributed to give him almost unlimited power over his instrument, so +easily did he surmount the difficulties of its keyboard. Whether he +improvised or played his compositions from notes, he systematically +employed every finger of each hand, and his fingering was as uncommon as +the compositions themselves, yet so accurate that he never missed a note. +Moreover, he read at sight other people's compositions (which, to be sure, +were much easier than his own) with the utmost facility. Indeed, he once +boasted to a friend at Weimar that he could play at sight and without a +mistake anything put before him. But he was mistaken, as his friend +convinced him before the week was out. Having invited Bach to breakfast +one morning, he placed on the Clavier, among other music, a piece which, +at a first glance, seemed perfectly easy. On his arrival, Bach, as was +his custom, sat down at the Clavier to play or look through the music. +Meanwhile his friend was in the next room preparing breakfast. In a short +time Bach took up the piece of music destined to change his opinion and +began to play it. He had not proceeded far before he came to a passage at +which he stopped. After a look at it he began again, only to stop at the +same place. "No," he called out to his friend, who was laughing heartily +in the next room, "the man does not exist who can play everything at +sight. It can't be done." With that he got up from the Clavier in some +annoyance.(126) + +Bach also could read scores with remarkable facility and play them on the +Clavier. He found no more difficulty in piecing together the separate +parts when laid side by side before him.(127) He often did so when a +friend brought him a new Trio or Quartet for Strings and wished to hear +how it sounded. If a Continuo part, however badly figured, was put before +him he could improvise a Trio or Quartet upon it. Nay, when he was in the +mood and at the height of his powers, he would convert a Trio into a +Quartet by extemporising a fourth part. On such occasions he used a +Harpsichord with two manuals and pedal attachment. + +Bach preferred the Clavichord to the Harpsichord, which, though +susceptible of great variety of tone, seemed to him lacking in soul. The +Pianoforte was still in its infancy and too coarse.(128) Both for practice +and intimate use he regarded the Clavichord as the best instrument and +preferred to express on it his finest thoughts. He held the Harpsichord, +or Clavicembalo, incapable of the gradations of tone obtainable on the +Clavichord, an instrument which, though feeble in quality, is extremely +flexible. + +No one could adjust the quill plectrums of his Harpsichord to Bach's +satisfaction; he always did it himself. He tuned his Harpsichord and +Clavichord, and was so skilful in the operation that it never took him +more than a quarter of an hour. It enabled him to play in any key he +preferred, and placed the whole twenty-four of them at his disposal, so +that he could modulate into the remoter as easily and naturally as into +the more nearly related keys. Those who heard him frequently could hardly +detect the fact that he had modulated into a distant key, so smooth were +his transitions. In chromatic movements his modulation was as easy and +sequent as in diatonic. His _Chromatic Fantasia,_ which is now +published,(129) bears out my statement. In his extemporisation he was +even freer, more brilliant and expressive. + +When he played his own music Bach usually adopted a brisk pace. He +contrived to introduce so much variety that every piece became a sort of +conversation between its parts. If he wished to express deep emotion he +did not strike the notes with great force, as many do, but expressed his +feeling in simple melodic and harmonic figures,(130) relying rather on the +internal resources of his art than external dynamics. Therein he was +right. True emotion is not suggested by hammering the Clavier. All that +results is that the notes cannot be heard distinctly, much less be +connected coherently. + + + + + +CHAPTER IV. BACH THE ORGANIST + + +What has been said regarding Bach's admirable Clavier playing applies +generally to his skill as an organist. The Clavier and Organ have points +in common, but in style and touch are as different as their respective +uses. What sounds well on the Clavier is ineffective on the Organ, and +vice versa. The most accomplished Clavier player may be, and usually is, +a bad organist unless he realises the differing natures of the two +instruments and the uses they serve. I have come across only two men who +can be regarded as exceptions to this general rule--Bach and his eldest +son, Wilhelm Friedemann. Both were finished Clavier performers, but no +trace of the Clavier style was apparent when they played the Organ. +Melody, harmony, and pace were carefully selected with due regard to the +nature and distinctive use of each instrument. When Wilhelm Friedemann +played the Clavier his touch was elegant, delicate, agreeable. When he +played the Organ he inspired a feeling of reverent awe. On the one he was +charming. On the other he was solemn, impressive. So also was his father, +and to an even greater degree. Wilhelm Friedemann was a mere child to him +as an organist, and frankly admitted the fact.(131) The music that +extraordinary man wrote for the Organ is full of dignity, awe-inspiring, +saturated with the atmosphere of devotion. His improvisation was even +more inspired, dignified, and impressive: for then his imagination was +untrammelled by the irksomeness of expressing himself on paper. What is +the essence of this art? Let me, though imperfectly, attempt an answer. + +When we compare Bach's Clavier compositions with those written for the +Organ it is at once apparent that they differ essentially in melodic and +harmonic structure. Hence we conclude that a good organist must select +fitting themes for his instrument, and let himself be guided by its +character and that of the place in which it stands and by the objects of +its use. Its great body of tone renders the Organ ill-adapted to light +and jaunty music. Its echoes must have liberty to rise and fall in the +dim spaces of the church, otherwise the sound becomes confused, blurred, +and unintelligible. What is played upon it must be suited to the place +and the instrument, in other words, must be congruous to a solemn and +majestic fabric. Occasionally and exceptionally a solo stop may be used +in a Trio, etc. But the proper function of the Organ is to support church +singing and to stimulate devotional feeling. The composer therefore must +not write music for it which is congruous to secular surroundings. What +is commonplace and trite can neither impress the hearer nor excite +devotional feeling. It must therefore be banished from the Organ-loft. +How clearly Bach grasped that fact! Even his secular music disdained +trivialities. Much more so his Organ music, in which he seems to soar as +a spirit above this mortal planet. + +Of the means by which Bach attained to such an altitude as a composer for +the Organ we may notice his harmonic treatment of the old Church modes, +his use of the obbligato pedal, and his original registration. The +remoteness of the ecclesiastical modes from our twenty-four major and +minor keys renders them particularly appropriate to the service of +religion. Any one who looks at Bach's simple four-part Hymn tunes +(Choralgesaenge) will at once convince himself of the fact. But no one can +realise how the Organ sounds under a similar system of harmonic treatment +unless he has heard it. It becomes a choir of four or five parts, each in +its natural compass. Compare the following chords in divided harmony: + + [Divided Harmony, Bach treatment] + +with these: + + [Divided Harmony, conventional treatment] + +which is the more usual form organists employ. We realise instantly the +effect when music in four or more parts is played in the same manner. Bach +always played the Organ so, adding the obbligato pedal, which few +organists know how to use properly. He employed it not only to sound the +low notes which organists usually play with the left hand, but he gave it +a regular part of its own, often so complicated that many organists would +find it difficult to play with their five fingers. + +To these qualities must be added the exquisite art Bach displayed in +combining the stops of the Organ. His registration frequently astonished +organists and Organ builders, who ridiculed it at first, but were obliged +in the end to admit its admirable results and to confess that the Organ +gained in richness and sonority.(132) + +Bach's peculiar registration was based on his intimate knowledge of Organ +building and of the properties of each individual stop. Very early in his +career he made a point of giving to each part of the Organ the utterance +best suited to its qualities, and this led him to seek unusual +combinations of stops which otherwise would not have occurred to him. +Nothing escaped his notice which had the slightest bearing on his art or +promised to advance it. For instance, he made a point of observing the +effect of large musical compositions in different surroundings. The +practised ear, which enabled him to detect the slightest error in music +even of the fullest and richest texture, and the art and rapidity with +which he tuned his instrument, alike attest his intuitive skill and +many-sidedness. When he was at Berlin in 1747 he was shown the new Opera +House. He took in its good and bad qualities at a glance, whereas others +had done so only after experience. He was shown the large adjoining Saloon +and went up into the gallery that runs round it. Merely glancing at the +roof he remarked, "The architect has secured a novel effect which, +probably, neither himself nor any one else suspected." The Saloon, in +fact, is a parallelogram. If a person puts his face to the wall in one +corner of it and whispers a few words, another person at the corner +diagonally opposite can hear them distinctly, though to others between +them the words are inaudible. The effect arises from the span of the +arches in the roof, as Bach saw at a glance. These and similar +observations suggested to him striking and unusual combinations of Organ +stops. + +Bach brought the methods I have indicated to bear upon Church music, and +they help to explain his extraordinarily dignified and inspired playing, +which was at once so appropriate and filled the listener with deep awe and +admiration. His profound knowledge of harmony, unfailing originality, +freedom from a secular style, his complete command of the instrument, both +manuals and pedals, whence flowed a generous stream of the richest and +most abundant fancy, the infallible and swift judgment which allowed him +always to select from the treasury of his mind precisely the musical ideas +best suited to the occasion immediately before him, his intuitive grasp of +every detail, and his power to make it serve his artistic ends--in a word, +his transcendent genius brought the art of Organ playing to a degree of +perfection which, till then, it had never attained and hardly will attain +again. Quantz(133) has expressed the same opinion. "The admirable Johann +Sebastian Bach," he writes, "brought the art of Organ playing to its +highest perfection. It is to be hoped that when he dies it will not be +suffered to decline or be lost, as is to be feared from the small number +of people who nowadays bestow pains upon it."(134) + +Strangers often asked Bach to play to them between the hours of divine +service. On those occasions he was wont to select and treat a theme in +various ways, making it the subject of each extemporisation even if he +continued playing for two hours. As a beginning he played a Prelude and +Fugue on the Great Organ. Then he developed it with solo stops in a Trio +or Quartet. A Hymn-tune followed, whose melody he interrupted in the +subtlest fashion with fragments of the theme in three or four parts. Last +came a Fugue, with full Organ, in which he treated the subject alone or in +association with one or more accessory themes. Here we have the art which +old Reinken of Hamburg considered to be lost, but which, as he afterwards +found, not only survived but attained its greatest perfection in Bach. + +Bach's pre-eminent position and his high reputation often caused him to be +invited to examine candidates for vacant organistships, and to report on +new Organs. In both cases he acted so conscientiously and impartially +that he generally made enemies. Scheibe, late Director of Music at the +Danish Court, who as a young man was examined by Bach on such an occasion, +was so incensed by Bach's unfavourable verdict that he afterwards avenged +himself in his "Critical Musician" by violently attacking his +examiner.(135) In his examination of Organs Bach equally exposed himself +to trouble. He could as little prevail on himself to praise a bad +instrument as to recommend a bad organist. He was, therefore, severe, +though always fair, in the tests he applied, and as he was thoroughly +acquainted with the construction of the instrument it was hopeless to +attempt to deceive him. First of all he drew out all the stops, to hear +the Full Organ. He used to say jokingly, that he wanted to find out +whether the instrument had good lungs! Then he gave every part of it a +most searching test. But his sense of fairness was so strong that, if he +found the work really well done, and the builder's remuneration too small, +so that he was likely to be a loser, Bach endeavoured, and often +successfully, to procure for him an adequate addition to the purchase +price. + +When the examination was over, especially if the instrument pleased him, +Bach liked to exhibit his splendid talent, both for his own pleasure and +the gratification of those who were present. Such demonstrations of his +powers invariably invited the verdict, that he was conclusively "the +prince of Clavier and Organ players," a title which Sorge, the late +highly-esteemed organist at Lobenstein,(136) once gave him in a dedicatory +Preface. + + + + + +CHAPTER V. BACH THE COMPOSER + + +Bach's first attempts at composition, like all early efforts, were +unsatisfactory. Lacking special instruction to direct him towards his +goal, he was compelled to do what he could in his own way, like others who +have set out upon a career without a guide. Most youthful composers let +their fingers run riot up and down the keyboard, snatching handfuls of +notes, assaulting the instrument in wild frenzy, in hope that something +may result from it. Such people are merely Finger Composers--in his riper +years Bach used to call them Harpsichord Knights--that is to say, their +fingers tell them what to write instead of being instructed by the brain +what to play.(137) Bach abandoned that method of composition when he +observed that brilliant flourishes lead nowhere. He realised that musical +ideas need to be subordinated to a plan and that the young composer's +first need is a model to instruct his efforts. Opportunely Vivaldi's +Concertos for the Violin,(138) then recently published, gave him the +guidance he needed. He had often heard them praised as admirable works of +art, and conceived the happy idea of arranging them for the Clavier.(139) +Hence he was led to study their structure, the musical ideas on which they +are built, the variety of their modulations, and other characteristics. +Moreover, in adapting to the Clavier ideas and phrases originally written +for the Violin Bach was compelled to put his brain to work, and so freed +his inspiration from dependence on his fingers. Henceforth he was able to +draw ideas out of his own storehouse, and having placed himself on the +right road, needed only perseverance and hard work to succeed. And how +persevering he was! He even robbed himself of sleep to practise in the +night what he had written during the day! But the diligence he bestowed +upon his own compositions did not hinder him from studying the works of +Frescobaldi,(140) Froberger, Kerl, Pachelbel, Fischer, Strungk,(141) +Buxtehude, Reinken, Bruhns, Boehm, and certain French organists who were +famed in those days as masters of harmony and fugue.(142) + +The models he selected--Church musicians for the most part--and his own +disposition inclined him to serious and exalted subjects. But in that +kind of music little can be accomplished with inadequate technique. +Bach's first object, therefore, was to develop his power of expressing +himself before he attempted to realise the ideal that beckoned him. Music +to him was a language, and the composer a poet who, whatever the idiom he +affects, must first of all have at his disposal the means of making +himself intelligible to others. But the technique of his period Bach found +limited in variety and insufficiently pliable. Therefore he set himself +at the outset to refashion the accepted harmonic system. He did so in a +manner characteristically individual and bearing the impress of his +personality. + +If the language of music is merely the utterance of a melodic line, a +simple sequence of musical notes, it can justly be accused of poverty. +The addition of a Bass puts it upon a harmonic foundation and clarifies +it, but defines rather than gives it added richness. A melody so +accompanied--even though all the notes are not those of the true Bass--or +treated with simple embellishments in the upper parts, or with simple +chords, used to be called "homophony." But it is a very different thing +when two melodies are so interwoven that they converse together like two +persons upon a footing of pleasant equality. In the first case the +accompaniment is subordinate, and serves merely to support the first or +principal part. In the second case the two parts are not similarly +related. New melodic combinations spring from their interweaving, out of +which new forms of musical expression emerge. If more parts are +interwoven in the same free and independent manner, the apparatus of +language is correspondingly enlarged, and becomes practically +inexhaustible if, in addition, varieties of form and rhythm are +introduced. Hence harmony becomes no longer a mere accompaniment of +melody, but rather a potent agency for augmenting the richness and +expressiveness of musical conversation. To serve that end a simple +accompaniment will not suffice. True harmony is the interweaving of +several melodies, which emerge now in the upper, now in the middle, and +now in the lower parts. + +From about the year 1720, when he was thirty-five, until his death in +1750, Bach's harmony consists in this melodic interweaving of independent +melodies, so perfect in their union that each part seems to constitute the +true melody. Herein Bach excels all the composers in the world.(143) At +least, I have found no one to equal him in music known to me. Even in his +four-part writing we can, not infrequently, leave out the upper and lower +parts and still find the middle parts melodious and agreeable. + +But in harmony of this kind each part must be highly plastic; otherwise it +cannot play its role as an actual melody and at the same time combine with +the other parts. To produce it Bach followed a course of his own, upon +which the textbooks of his day were silent, but which his genius suggested +to him. Its originality consists in the freedom of his part writing, in +which he transgresses, seemingly, at any rate, rules long established and +to his contemporaries almost sacred. Bach, however, realised their object, +which was simply to facilitate the flow of pure melody on a sound harmonic +basis, in other words, successive and coexistent euphony, and he succeeded +with singular success though by unfamiliar means. Let me explain my +meaning more closely. + +Between simple intervals there is little difficulty in deciding whether +the second note must rise or fall. And in regard to phrases, or sections +of a phrase, if we analyse their structure and follow out their harmonic +tendency, their resolution is equally clear. But this sense of +destination may be provoked in each part by different intervals. As we +have observed already, every one of the four parts must flow melodically +and freely. But to secure that result it will be necessary to introduce +between the notes which begin a phrase and establish its general +atmosphere other notes which often are not consonant with those employed +in the other parts and whose incidence is governed by the accent. This is +what we call a transitus regularis et irregularis.(144) Each part starts +from a fixed point, and returns to it, but travels freely between them. +No one has made more use of such progressions than Bach in order to colour +his parts and give them a characteristic melodic line. Hence, unless his +music is played with perfect fluency, occasional passages will sound +harshly and we may be tempted to accuse him of exaggeration. But the +charge is ill founded. Once we play them as Bach intended them, such +passages reveal their full beauty and their attractive though bizarre +dissonance opens up new vistas in the realm of sound. + +But, to speak in detail of Bach's transgression of recognised rules. To +begin with, he admitted octaves and fifths provided they sounded well; +that is, when the cause of their being forbidden did not arise.(145) +Everybody knows that there are positions in which they sound well, and +others when they should be avoided, owing to the harsh effect or thin +harmony they produce. Bach's octaves and fifths never produce bad or thin +harmony, and he was very definite as to when they could and could not be +used. In certain circumstances he would not permit hidden fifths and +octaves even between the middle parts, though we exclude them only between +the outer parts. Yet, on occasion he used them in such a barefaced manner +as to puzzle the beginner in composition. But their use very soon +commends itself. Even in the last revision of his early compositions we +find him altering passages, which at first sight appear impeccable, with +the object of enriching their harmony and without scrupling to use hidden +octaves. A remarkable instance occurs in the first part of the +_Well-tempered Clavier,_ in the E major Fugue, between the fifth and +fourth bars from the end.(146) I regret to this hour that, on looking over +the later text, from which Hoffmeister and Kuehnel's edition of that work +is printed,(147) I was so foolish as to reject Bach's amended reading +there, merely because the harmony is unorthodox though more pleasing. I +stupidly preferred the older, more correct, and harsher reading, though in +the later text the three parts run easily and smoothly. And what more can +one demand? + +Again, there is a rule that every note raised by an accidental cannot be +doubled in the chord, because the raised note must, from its nature, +resolve on the note above. If it is doubled, it must rise doubled in both +parts and, consequently, form consecutive octaves. Such is the rule. But +Bach frequently doubles not only notes accidentally raised elsewhere in +the scale but actually the semitonium modi or leading-note itself. Yet he +avoids consecutive octaves. His finest works yield examples of this. + +Again, Bach's statement that "over a pedal point all intervals are +permissible that occur in the three scales"(148) should be regarded rather +an expansion than a violation of the recognised rule. In general what is +called an Organ point is merely a retarded close. Bach, however, did not +hesitate to employ it in the middle of a piece; a striking example occurs +in the last Gigue of the _English Suites._(149) On a first hearing this +Gigue, imperfectly rendered, may not sound well. But it grows more +beautiful as it becomes more familiar, and what seemed harsh is found to +be smooth and agreeable, until one never tires of playing and hearing it. + +Bach's modulation was as original and characteristic as his harmony, and +as closely related to it. But the two things, though closely associated, +are not the same. By harmony we mean the concordance of several parts; by +modulation, their progression through keys. Modulation can take place in +a single part. Harmony requires more than one. I will endeavour to make +my meaning clearer. + +Most composers stick closely to their tonic key and modulate out of it +with deliberation. In music that requires a large number of performers, +and in a building, for instance a church, where the large volume of sound +dies away slowly, such a habit shows good sense in the composer who wishes +his work to produce the best possible effect. But in chamber or +instrumental music it is not always a proof of wisdom, but rather of +mental poverty. Bach saw clearly that the two styles demand different +treatment. In his large choral compositions he bridles his exuberant +fancy. In his instrumental works he lets himself go. As he never courted +popularity, but always pursued his ideal, Bach had no reason to suppress +the nobility of his inspirations, or to lower their standard for public +consumption. Nor did he ever do so. Therefore every modulation in his +instrumental work is a new thought, a constantly progressive creation in +the plane of the chosen keys and those related to them. He holds fast to +the essentials of harmony, but with every modulation introduces a new +suggestion and glides so smoothly to the end of a piece that no creaking +of machinery is perceptible; yet no single bar--I might almost say no part +of a bar--is like another. Every modulation bears a strict relationship to +the key from which it proceeds, and springs naturally from it. Bach +ignored, or rather despised, the sudden sallies by which many composers +seek to surprise their hearers. Even in his chromatic passages his +progressions are so smooth and easy that we are hardly conscious of them, +however extreme they may be. He makes us feel that he has not stepped +outside the diatonic scale, so quick is he to seize upon the consonances +common to dissonant systems and combine them to his sure purpose. + + [The Bach Statue at Eisenach] + + The Bach Statue at Eisenach + + + + + +CHAPTER VI. BACH THE COMPOSER (CONTINUED) + + +Bach's treatment of harmony and modulation powerfully influenced his +melody. The strands of his harmony are really concurrent melodies. They +flow easily and expressively, never engross the hearer's attention, but +divide his interest, as now one now the other becomes prominent. Even when +they are noticeable they seem obscured by the melodic parts that accompany +them--I say "seem obscured," for if the hearer is sufficiently instructed +to distinguish the several melodies in the ensemble he will discover them +to be more clearly defined by their accompaniment. + +The combination of several melodic lines obliges the composer to use +devices which are unnecessary in homophonic music. A single melody can +develop as it pleases. But when two or more are combined each must be so +delicately and cleverly fashioned that it can be interwoven with the +others in this direction and in that. And here we detect one at least of +the reasons why Bach's melodies are so strangely original, and his tunes +so clearly distinguishable from those of other composers. Provided that +novelty does not degenerate into eccentricity or extravagance, and that +clearness and facility of expression march with agreeableness, a +composer's meritoriousness is proclaimed in his originality.(150) The one +drawback is that the ordinary hearer cannot appreciate melodic beauties +which are patent only to the expert. + +But Bach's melodies are not invariably so handicapped. They are always +original, it is true. But in his free compositions the melodies are so +natural and spontaneous that, while they sound differently from those of +other composers, their naturalness, and the sincerity of feeling that +inspires them, make them intelligible to every listener. Most of the +Preludes in the _Well-tempered Clavier_ as well as a number of movements +in the Suites are of this character. + +Bach's melody, then, bears the unmistakable stamp of originality. And so +does his passage work, as it is called. Such novelty, originality, and +brilliancy are not found in any other composer. Examples are to be found +in all Bach's Clavier works. But the most striking and original are in the +_Great Variations,_(151) in the first Part of the _Clavieruebung,_(152) in +the _English Suites,_(153) and the _Chromatic Fantasia._(154) In the last +particularly Bach's fertility impresses us. The greater part of its +passage work is in the form of harmonic arpeggios whose richness and +originality match the chords they represent. + +In order to realise the care and skill Bach expended on his melody and +harmony, and how he put the very best of his genius into his work, I need +only instance his efforts to construct a composition incapable of being +harmonised with another melodic part. In his day it was regarded as +imperative to perfect the harmonic structure of part-writing. +Consequently the composer was careful to complete his chords and leave no +door open for another part. So far the rule had been followed more or +less closely in music for two, three, and four parts, and Bach observed it +in such cases. But he applied it also to compositions consisting of a +single part, and to a deliberate experiment in this form we owe the six +Violin and the six Violoncello Solo Suites,(155) which have no +accompaniment and do not require one. So remarkable is Bach's skill that +the solo instrument actually produces all the notes required for complete +harmony, rendering a second part unnecessary and even impossible. + +Bach's melody never palls on us, because of the presence in it of those +qualities to which I have referred. It remains "ever fair and young," +like Nature herself. In his earlier works, in which we find him still in +bondage to the prevailing mode, there is a good deal that to-day seems +antiquated. But when, as in his later works, he draws his melody from the +living wells of inspiration and cuts himself adrift from convention, all +is as fresh and new as if it had been written yesterday. Of how many +compositions of that period can the same be said? Even the works of +ingenious composers like Reinhard Keiser(156) and Handel have become +old-fashioned sooner than we or their composers might have supposed. Like +other caterers for the public, they were obliged to pander to its taste, +and such music endures no longer than the standard which produced it. +Nothing is more inconstant and fickle than popular caprice and, in +general, what is called fashion. It must be admitted, however, that +Handel's Fugues are not yet out of date, though there are probably few of +his Arias that we now find agreeable.(157) + +Bach's melody and harmony are rendered still more distinctive by their +inexhaustible rhythmic variety. Hitherto we have discussed his music +merely subjectively as harmony and melody. But to display vivacity and +variety music needs to be uttered with rhythmic point and vigour. More +than those of any other period composers of Bach's time found no +difficulty in this, for they acquired facility in the management of rhythm +in the "Suite," which held the place of our "Sonata." Between the initial +Prelude and closing Gigue the Suite includes a number of characteristic +French dance measures, whose rhythm is their distinguishing +characteristic. Composers of Bach's day, therefore, were familiar with +measures and rhythms which are now obsolete. Moreover skilful treatment +was necessary in order that each dance might exhibit its own distinctive +character and swing. Herein Bach exceeded his predecessors and +contemporaries. He experimented with every kind of key and rhythm in +order to give variety and colour to each movement. Out of his experience +he acquired such facility that, even in Fugue, with its complex +interweaving of several parts, he was able to employ a rhythm as easy as +it was striking, as characteristic as it was sustained from beginning to +end, as natural as a simple Minuet. + +The source of Bach's astonishing pre-eminence is to be sought in his +facile and constant application of the methods we have discussed. In +whatever form he chose to express himself, easy or difficult, he was +successful and seemingly effortless.(158) There is not a note in his music +that does not suggest consummate ease of workmanship. What he sets out to +do he concludes triumphantly. The result is complete and perfect; no one +could wish for a single note to be other than it is. Some illustrations +will make my point clearer. + +Carl Philipp Emmanuel, in the preface to his father's _Vierstimmige +Choralgesaenge_ ("Four-part Hymn-tunes"), which he edited,(159) says that +the world was accustomed to look for nothing but masterpieces from Bach. +Some reviewers thought this praise exaggerated. But if the term +"masterpiece" is restricted to works written during the years of Bach's +maturity(160) it is nothing less than the truth. Others have produced +masterpieces in various forms which may be placed honourably by the side +of his. For instance, certain Allemandes, Courantes, etc., by Handel and +others are not less beautiful, though less richly wrought, than Bach's. +But in Fugue, Counterpoint, and Canon he stands alone, in a grandeur so +isolated that all around him seems desert and void. No one ever wrote +Fugues to compare with his; indeed, persons unacquainted with them cannot +imagine what a Fugue is and ought to be. The ordinary Fugue follows a +rule of thumb development. It takes a theme, puts another beside it, +passes them into related keys, and writes other parts round them over a +Continuo. Certainly this is Fugue: but of what merit? Persons who know +no other not unnaturally hold the whole species in little esteem, and the +player who hopes to make such commonplace material convincing will need +all his skill and imagination. + +Bach's Fugue is of quite another kind. It presents all the +characteristics we are accustomed to in freer musical forms: a flowing and +distinctive melody, ease, clarity, and facility in the progression of the +parts, inexhaustible variety of modulation, purest harmony, the exclusion +of every jarring or unnecessary note, unity of form and variety of style, +rhythm, and measure, and such superabundant animation that the hearer may +well ask himself whether every note is not actually alive. Such are the +properties of Bach's Fugues, properties which excite the admiration and +astonishment of all who can appreciate the intellectual calibre their +composition demands. How great a tribute of homage is due to work of this +kind, which exhibits all the qualities which lend distinction to +compositions in other musical forms! Moreover, while all Bach's Fugues of +his mature period have the foregoing properties in common, each is endowed +with peculiar excellencies of its own, has its own distinctive +individuality, and displays a melodic and harmonic scheme in keeping with +it. The man who can play one of Bach's Fugues is familiar with, and can +play, one only; whereas knowing one, we can perform portfolios of Fugues +by other performers of Bach's period. + +To what a height was the art of Counterpoint carried by Bach's genius! It +enabled him to develop out of a given subject a whole family of related +and contrasted themes, of every form and design. It taught him to develop +an idea logically from the beginning to the end. It gave him such a +command of harmony and its infinite combinations that he could invert +whole themes, note by note, in every part, without impairing in the least +the flow of melody or purity of his harmony. It taught him to write in +canon at all intervals and in movements of all kinds so easily and +naturally that the workmanship is not perceptible and the composition +sounds as smoothly as though it were in the free style. Lastly, it has +given to posterity a legacy of works immensely various, which are, and +will remain, models of contrapuntal form as long as music endures.(161) + +I have written exclusively so far of Bach's Clavier and Organ work. But +in its expression music has two branches, instrumental and vocal, and as +Bach excels in both of them, the reader will desire to hear somewhat +respecting his vocal writings. + +It was at Weimar that Bach first had occasion to write for the voice,(162) +upon his appointment to the Kapelle, which imposed on him the provision of +music for the ducal chapel. His church music, like his Organ works, is +devout and serious, and in every respect what church music ought to be. He +makes a point also of not elaborating individual words, which leads to +mere trifling, but interprets the text as a whole.(163) His choruses +invariably are magnificent and impressive, and he frequently introduces +Chorals into them,(164) making the other parts accompany their Cantus +fugally, as was the practice in a Motet. As elsewhere in his works, the +harmonic structure of his voice parts and instrumental accompaniment is +rich. The declamation of the recitatives is expressive, and the latter +have fine Continuo parts.(165) In his Arias, hardly one of which is not +beautiful and expressive, Bach seems to have been handicapped by the +inefficiency of his singers and instrumentalists, who constantly +complained of the difficulty of his music. If he had been fortunate +enough to have capable performers the merits of his church music would +have been established and, like his other works, they would still be sung +and admired; for they contain treasures which deserve immortality.(166) + +Among the works composed at Leipzig I single out two Cantatas, one of +which was performed at Coethen at the funeral of Bach's beloved Prince +Leopold, and the other in St. Paul's Church, Leipzig, on the occasion of +the funeral sermon in honour of Christiana Eberhardine, Queen of Poland +and Electress of Saxony.(167) The first contains double choruses of +uncommon magnificence and most affecting sentiment.(168) The second has +only four-part choruses, but they are so delightful and fresh that he who +begins the work will not pause till he has reached the end of it. It was +written in October 1727. + +Bach also composed a great number of Cantatas, chiefly for the choir of +St. Thomas' School, Leipzig.(169) The choir ordinarily numbered fifty +singers, and sometimes more, over whose musical training Bach presided +like a father. He practised them so hard in Cantatas for single and +double chorus that they became excellent singers. Among these works are +some which, in profundity of conception, magnificence, richness of harmony +and melody, and animation, surpass everything of their kind. But, like all +Bach's works, and in common with other masterpieces, they are difficult to +perform and need a numerous orchestra to produce their full effect. + +Such are Bach's most important vocal compositions. (170) In minor forms of +the art, morceaux for social entertainments and the like, he wrote +little,(171) though he was of a most sociable disposition. For instance, +he is said never to have composed a song.(172) And why should he? They +produce themselves so spontaneously that there is little call for genius +to aid their gestation. + + [Johann Sebastian Bach. From the picture discovered by Professor Fritz + Volbach] + + Johann Sebastian Bach. _From the picture discovered by Professor Fritz + Volbach_ + + + + + +CHAPTER VII. BACH AS A TEACHER + + +It not infrequently happens that talented composers and players are +incapable of imparting their skill to others. Either they have never +troubled to probe the mechanism of their own facility, or, through the +excellence of their instructors, have taken the short cut to proficiency +and allowed their teacher and not their own judgment to decide how a thing +should be done. Such people are useless to instruct beginners. True, +they may succeed in teaching the rudiments of technique, assuming that +they have been properly taught themselves. But they are certainly +unqualified to teach in the full sense of the word. There is, in fact, +only one way to become a good teacher, and that is to have gone through +the discipline of self-instruction, a path along which the beginner may go +astray a thousand times before attaining to perfection. For it is just +this stumbling effort that reveals the dimensions of the art. The man who +has adventured it learns the obstacles that obstruct his path, and how to +surmount them. To be sure, it is a lengthy method. But if a man has +patience to persevere he will reap a sure reward after an alluring +pilgrimage. No musician ever founded a school of his own who has not +followed such a course, and to his experience his teaching has owed its +distinctive character. + +This is so with Bach, who, only gradually discovering his full stature, +was thirty years old before unremitting application raised him above the +difficulties of his art. But he reaped his reward. Self-discipline set +him on the fairest and most alluring path that it has ever been given to a +musician to tread. + +To teach well a man needs to have a full mind. He must have discovered how +to meet and have overcome the obstacles in his own path before he can be +successful in teaching others how to avoid them. Bach united both +qualities. Hence, as a teacher he was the most instructive, clear, and +definite that has ever been. In every branch of his art he produced a +band of pupils who followed in his footsteps, without, however, equalling +his achievement. + +First of all let me show how he taught the Clavier.(173) To begin with, +his pupils were made to acquire the special touch of which I have already +spoken.(174) To that end for months together he made them practise nothing +but simple exercises for the fingers of both hands, at the same time +emphasising the need for clearness and distinctness. He kept them at these +exercises for from six to twelve months, unless he found his pupils losing +heart, in which case he so far met them as to write short studies which +incorporated a particular exercise. Of this kind are the _Six Little +Preludes for Beginners,_(175) and the _Fifteen Two-part Inventions,_(176) +both of which Bach wrote during the lesson for a particular pupil and +afterwards improved into beautiful and expressive compositions. Besides +this finger practice, either in regular exercises or in pieces composed +for the purpose, Bach introduced his pupils to the use of the various +ornaments in both hands. + +Not until this stage was reached did Bach allow his pupils to practise his +own larger works, so admirably calculated, as he knew, to develop their +powers. In order to lessen their difficulty, it was his excellent habit +to play over to them the pieces they were to study, with the remark, +"That's how it ought to sound."(177) It would be difficult to exaggerate +the helpfulness of this method. The pupil's interest was roused by hearing +the piece properly played. But that was not the sole result. Without the +help thus given the pupil could only hope to overcome the difficulties of +the piece after considerable effort, and would find it much less easy to +realise a proper rendering of it. As it was, he received at once an ideal +to aim at and was taught how to surmount the difficulties the piece +presented. Many a young performer, still imperfect after a year's +practice, probably would master his music in a month if he once had it +played over to him. + +Bach's method of teaching composition was equally sure and effective.(178) +He did not begin with the dry details of counterpoint, as was the custom +of other teachers in his day. Still less did he burden his pupils with +the physical properties of sound, which he held to be matter for the +theorist and instrument-maker rather than the composer. He started them +off at once on four-part harmony over a figured Bass, making his pupils +write each part on a separate stave in order to impress on them the need +for accurate harmonic progression. Then he passed to Hymn tunes, setting +the Bass himself and making his pupils write the Tenor and Alto parts. In +time he let them write the Bass also. He insisted on correct harmony and +on each part having a real melodic line. Every musician knows what models +Bach has left us in this form. The inner parts of his four-part +Hymn-tunes are so smooth and melodious that often they might be taken for +the melody. He made his pupils aim at similar tunefulness, and until they +showed a high standard of merit did not permit them to write compositions +of their own. Meanwhile he aimed at cultivating their feeling for pure +harmony and for the order and connection of ideas and parts by +familiarising them with the compositions of others. Until they had +acquired facility in those qualities he neither permitted them nor held +them competent to put pen to paper. + +Bach required his pupils in composition to work out their musical ideas +mentally. If any of them lacked this faculty he admonished him not to +compose and discountenanced even his sons from attempting to write until +they had first given evidence of genuine musical gifts. Having completed +their elementary study of harmony, Bach took his pupils on to the theory +of Fugue, beginning with two-part writing. In these and other exercises +he insisted on the pupil composing away from the Clavier.(179) Those who +did otherwise he ridiculed as "Harpsichord Knights." In the second place +he required rigorous attention to each part and its relation to the +concurrent parts, permitting none, not even an inner one, to break off +before it had finished what it had to say. He insisted upon a correct +relation between each note and its predecessor. If he came upon one whose +derivation or destination was not perfectly clear he struck it out as +faulty. It is, indeed, a meticulous exactitude in each individual part +that makes Bach's harmony really multiple melody. Confused part-writing, +where a note that belongs to the Tenor is given to the Alto, or vice +versa, or the haphazard addition of extraneous parts to a chord which +suddenly shows an increase of notes as if fallen from the sky, to vanish +as suddenly as they came, are faults found neither in his own nor his +pupils' writing. He regarded his musical parts as so many persons engaged +in conversation. If there are three, each of them on occasion may be +silent and listen to the others until it finds something relevant to say +itself. But if, at an interesting point of the conversation, an +interloping voice intervened, Bach regarded it as an intruder and let his +pupils understand that it could not be admitted. + +Notwithstanding his strictness on this point, Bach allowed his pupils +considerable licence in other respects. In their use of certain +intervals, as in their treatment of harmony and melody, he let them +experiment within the limits of their ability, taking care to +discountenance ugliness and to insist on their giving appropriate +expression to the character of the composition. Beauty of expression, he +postulated, was only attainable on a foundation of pure and accurate +harmony. Having experimented in every form himself, he liked to see his +pupils equally adventurous. Earlier teachers of composition, for instance, +Berardi,(180) Buononcini,(181) and Fux,(182) did not allow such liberty. +They were afraid to trust their pupils to encounter difficulties, and +short-sightedly prevented them from learning how to overcome them. Bach's +system was wiser, for it took his pupils farther, since he did not limit +their attention, as his predecessors did, to the harmonic structure, but +extended it to the qualities that constitute good writing, namely, +consistency of expression, variety of style, rhythm, and melody. Those +who would acquaint themselves with Bach's method of teaching composition +will find it fully set forth in Kirnberger's _Correct Art of +Composition._(183) + +As long as his pupils were under his instruction Bach did not allow them +to study any but his own works and the classics. The critical sense, +which permits a man to distinguish good from bad, develops later than the +aesthetic faculty and may be blunted and even destroyed by frequent +contact with bad music. The best way to instruct youth is to accustom it +early to consort with the best models. Time brings experience and an +instructed judgment to confirm the pupil's early attraction to works of +true art. + +Under this admirable method of teaching all Bach's pupils became +distinguished musicians, some more so than others, according as they came +early or late under his influence, and had opportunity and encouragement +to perfect and apply the instruction they received from him. His two +eldest sons, Wilhelm Friedemann and Carl Philipp Emmanuel, were his most +distinguished pupils, not because he gave them better instruction than the +rest, but because from their earliest youth they were brought up amid good +music at home. Even before they began their lessons they knew what was +good. On the other hand, others, before they became Bach's pupils, either +had heard no good music or their taste had been already vitiated by +contact with bad. It at least attests the excellence of Bach's method +that even his pupils thus handicapped took high rank in their profession +and distinguished themselves in one or other of its branches.(184) + +Bach's first pupil was JOHANN CASPAR VOGLER, who received instruction from +him in his early days at Amstadt and Weimar and, on Bach's testimony, was +an exceedingly able player. He became organist, and later burgomaster, at +Weimar, retaining his professional position. Some Choral Preludes by him +for a two-manualed Organ with pedals were engraved about 1737.(185) + +Other pupils of Bach who became famous were: + + 1. HOMILIUS, of Dresden. He was not only an excellent organist but + a distinguished composer of church music as well.(186) + 2. TRANSCHEL, of Dresden. He was a fine musician and performer on + the Clavier. There exist in MS. six Polonaises by him which perhaps + are superior to those of any composer but Wilhelm Friedemann + Bach.(187) + 3. GOLDBERG, of Koenigsberg. He was a very finished player on the + Clavier, but without any marked talent for composition.(188) + 4. KREBS, Organist at Altenburg. He was not only a player of the + first rank, but also a prolific composer for the Organ, Clavier, and + of church music. He was fortunate in having Bach's instruction for + nine years.(189) + 5. ALTNIKOL, Organist at Naumburg. He was Bach's son-in-law and is + said to have been a very competent player and composer.(190) + 6. AGRICOLA, Court Composer at Berlin.(191) He is less known as a + composer than as a theorist. He translated Tosi's(192) _II canto + figurato_ from Italian into German and provided the work with an + instructive commentary. + 7. MUeTHEL, of Riga. He was a good Clavier player and wrote for that + instrument. His Sonatas and a Duet for two Claviers attest his + ability as a composer.(193) + 8. KIRNBERGER,(194) Court Musician at Berlin to the Princess Amalia + of Prussia.(195) He was one of the most distinguished of Bach's + pupils, full of genuine enthusiasm for his art and eager to assure + its interests. Besides his exposition of Bach's system of teaching + composition, we are indebted to him for the first logical treatise + on harmony, in which he sets forth his master's teaching and + practice. The first work is entitled _Kunst des reinen Satzes,_ and + the second, _Wahre Grundsaetze zum Gebrauch der Harmonie._(196) He + served the interests of his art also by other writings and + compositions, and was an excellent teacher. The Princess Amalia was + his pupil. + 9. KITTEL, Organist at Erfurt. He is a sound, though not a + finished, player, and is distinguished as a composer by several + Organ Trios, so excellent that Bach himself might have written them. + He is the sole survivor (1802) of Bach's pupils.(197) + 10. VOIGT, of Anspach,(198) and an organist named SCHUBART(199) were + mentioned to me by Carl Philipp Emmanuel as having been Bach's + pupils. He knew nothing about them except that they entered his + father's house after he left it.(200) + +I have said already that Bach's sons were his most distinguished pupils. +The eldest, WILHELM FRIEDEMANN BACH, came nearest to his father in the +originality of his genius. His melodies have quite a different character +from those of other composers. They are exceedingly clever, elegant, and +spontaneous. When performed with delicacy, as he played them, they cannot +fail to charm every hearer. It is greatly to be regretted that he +preferred to follow his fancy in extemporisation and to expend his genius +on fugitive thoughts rather than to work them out on paper. The number of +his compositions therefore is small, but all are beautiful. + +CARL PHILIPP EMMANUEL BACH, who comes next, went out into the world +sufficiently early to discover that it is a good thing for a composer to +have a large public behind him. Hence, in the clearness and easy +intelligibility of his compositions, he approaches the popular style, +though he scrupulously avoids the commonplace.(201) Both he and his elder +brother admitted that they were driven to adopt a style of their own by +the wish to avoid comparison with their incomparable father. + +JOHANN CHRISTOPH FRIEDRICH BACH, Concertmeister at the Court of Bueckeburg, +imitated Carl Philipp's style, but was not his equal. According to Wilhelm +Friedemann, he was the best player among the brothers, and the most +effective performer of their father's Clavier compositions. + +JOHANN CHRISTIAN BACH, called "Bach of Milan," and afterwards "Bach of +London," was the youngest son of Bach's second marriage and of too tender +an age when his father died ever to have had lessons from him. Hence, +perhaps, the absence of Bach's style in his music. He was, in fact, a +popular composer universally admired in his day.(202) + + + + + +CHAPTER VIII. PERSONAL CHARACTERISTICS + + +Distinguished as a player, composer, and teacher, Bach was also an +indulgent father, a good friend, and a loyal citizen. His paternal +devotion is shown by his care for his children's education, and he was +equally assiduous in the performance of his civil and social duties. His +acquaintance was agreeable to everybody. Every lover of music, whatever +his nationality, was sure of a friendly reception at his house, and his +sociability and reputation caused him to be seldom without visitors. + +As an artist Bach was exceptionally modest. Notwithstanding his +pre-eminence in his profession, a superiority of which he could not but be +conscious, and in spite of the admiration and respect daily shown him, he +never gave himself airs. If he was asked the secret of his mastership he +would answer, "I was made to work; if you are equally industrious you will +be equally successful,"(203) a remark which made no allowance for his own +exceptional genius. His opinion of other composers and their work was +invariably fair and generous. Naturally, much of their work struck him as +somewhat trivial, viewed from his own altitude. But he never uttered a +harsh criticism, unless it were to a pupil, to whom he held himself bound +to say what he thought. Still less did he presume on his acknowledged +superiority to indulge in braggadocio, as often happens with performers +brought into touch with those whom they regard as their inferiors. Herein +Bach's modesty went so far that he never spoke voluntarily of his +frustrated contest with Marchand, though the latter was the +challenger.(204) Many absurd stories are told of Bach; for instance that, +dressed up as a village schoolmaster, he liked to enter a church and ask +the organist to let him play a Choral, in order to enjoy the astonishment +excited by his playing, or to hear the Organist declare, "This must be +Bach or the Devil."(205) He always ridiculed such stories, and indeed had +too much respect for his art to make it cloak his vanity. + +At musical parties where Quartet or other instrumental music was +performed, Bach liked to play the Viola, an instrument which put him, as +it were, in the middle of the harmony in a position from which he could +hear and enjoy it on both sides. On those occasions he would sometimes +join in a Trio or other piece on the Harpsichord. If he was in the mood +and the composer was agreeable, he would, as has been told already, +extemporise a new Trio from the Continuo part, or, adding a new part, +convert the Trio into a Quartet. But these were the only occasions on +which he was ready to display his great powers before others. One +Hurlebusch, of Brunswick,(206) a conceited and arrogant Clavier player, +once visited Bach at Leipzig, not to hear him play, but to play to him. +Bach received him politely and listened patiently to his very indifferent +performance. On taking leave Hurlebusch made Bach's eldest sons a present +of his published Sonatas, exhorting them to study them diligently. Bach, +knowing the kind of music his sons were wont to play, smiled at +Hurlebusch's naivete but did not permit him to suspect his amusement.(207) + +Bach was fond of listening to the music of other composers. If he and one +of his elder sons happened to be in church when a Fugue was played, +directly the subject had been stated he always pointed out how it ought to +be developed. If the composer knew his business and fulfilled Bach's +anticipations, he was pleased and nudged his son to draw his attention to +the fact. Is this not evidence of his impartial interest in other +people's compositions? + +I have mentioned already the composers whom in his youth Bach esteemed, +loved, and studied. Later, when experience ripened his critical faculty, +he had other favourites, among them Imperial Kapellmeister Fux, Handel, +Caldara,(208) Reinhard Keiser, Hasse,(209) the two Grauns,(210) +Telemann,(211) Zelenka,(212) Benda,(213) etc., and, in general, the +distinguished musicians at Dresden and Berlin. He was acquainted with all +except the first four of those I mention. In his youth Bach was intimate +with Telemann.(214) He also had a very warm regard for Handel and often +expressed a desire to know him. As Handel, like himself, was a famous +performer on the Organ and Clavier, many in Leipzig and its neighbourhood +wished to bring the two great men together. But Handel, then living in +London, never found time for a meeting during the visits he paid to Halle, +his native town. On his first visit in 1719, Bach was at Coethen, only +some twenty miles distant. As soon as he was informed of Handel's arrival +he lost not a moment in setting out to visit him, but on his arrival found +that Handel had returned to England. At the time of Handel's second +visit, between 1730 and 1740,(215) Bach was prevented from leaving Leipzig +by indisposition. But no sooner was he advised of Handel's arrival at +Halle than he sent his eldest son, Wilhelm Friedemann, to beg him to visit +Leipzig, an invitation which Handel was unable to accept. In 1752 or +1753, when Handel paid his third visit to Germany,(216) Bach was dead. He +had always expressed the strongest desire to know Handel, and the Leipzig +people were disappointed in their wish to hear the two great men together. + +While Hasse was Kapellmeister at Dresden both the Opera and Kapelle +flourished. Bach had many friends at Dresden, who held him in high +regard. Among them may be mentioned Hasse and his wife, the celebrated +Faustina.(217) They often visited Leipzig and were admirers of the +Cantor's rare talents. Hence, at Dresden he was always received in the +most respectful manner and often visited the Opera, generally accompanied +by his eldest son. When the time for their journey approached Bach would +say in fun, "Well, Friedemann, shall we go to Dresden to hear the pretty +tunes(218) again?" Innocent as the jest was, I am sure Bach would not have +uttered it to any but his son, who already could distinguish between great +music and agreeable trifles. + +Bach was never in a position to make what is called a brilliant +fortune.(219) He held a fairly lucrative office, but his income had to +maintain and educate a large family. He neither possessed nor sought +other means of livelihood, and was too absorbed in his art and work to +think of accepting engagements which, in those days, and to a man of his +genius, certainly would have brought riches. Had he possessed a taste for +travel he would, as even one of his detractors admits, have "drawn upon +himself the admiration of the whole world." But he preferred a quiet +domestic life, constant occupation in his work, with contentment and a +moderate competence, like his forbears. His modesty, however, did hot +prevent him from receiving manifold proofs of regard and affection and +marks of honourable distinction. Prince Leopold of Coethen, Duke Ernst +August of Weimar,(220) and Duke Christian of Weissenfels, all showed +sincere regard for him, which must have been the more agreeable to him +seeing that they were all sound judges of music. At Berlin, as at +Dresden, he was universally honoured and respected. If we add to these +testimonies the fact that he captured the admiration of all who heard him +play or were acquainted with his music, then we may be sure that Bach, +"singing for himself and the Muses," received at the hands of Fame the +recognition he valued most, and cherished it far more than the trivial +honour of a ribbon or gold chain. + +I add that, in 1747, Bach became a member of the "Society of the Musical +Sciences," founded by Mizler, only because we owe to the circumstance his +admirable Choral Variations on _Vom Himmel hoch._(221) He presented them +to the Society on his admission and they were engraved subsequently.(222) + + + + + +CHAPTER IX. BACH'S COMPOSITIONS + + +To have produced so many great works in all forms of musical expression +Bach necessarily must have been a prolific writer. For if a composer be +the greatest genius in the world, unless he constantly exercises his art +he cannot hope to produce real masterpieces. Superlative excellence is +the fruit of indefatigable application. Yet in Bach's case we should be +wrong to acclaim as masterpieces all the products of his great activity +just because masterpieces at length were the fruit of it. Already in his +early compositions we find undeniable evidence of genius. But they are +blemished by faults, passages poor in quality, extravagant, insipid, that +are hardly worth preserving, though of interest to the student who wishes +to trace from its source the development of Bach's genius. + +It is not difficult to distinguish with exactitude those of Bach's early +compositions which are of the first excellence; for he has been at pains +to give us the clue. As he did not publish his first work until he was +about forty years old (223) we are justified in assuming the merit of +what, at so mature an age, he thought worthy to put into print, and in +concluding generally that all his engraved works are of first-rate +merit.(224) + +With respect to his unpublished compositions, and they are by far the most +numerous, we must in order to distinguish their merit rely partly on a +critical examination of their texts, partly on Bach's own judgment. Like +all great composers, he was continually working on his compositions with a +view to making them still more finished. Indeed, he actually attempted to +improve some of them that were already perfect. Any that were susceptible +of improvement he improved, even those already engraved. Such is the +origin of the variant readings of his works found in older and more recent +texts. By constantly retouching his compositions Bach aimed at making +them indisputable masterpieces. In this category I place most of what he +wrote before the year 1725, as I show in detail in the following +catalogue. A great many compositions subsequent to 1725, which for +reasons easily understood are still in MS., bear too evidently the stamp +of perfection to leave us in doubt whether to class them as early essays +or as the finished work of an accomplished master. + +The following are those of Bach's works which have been engraved: + + 1. _Clavieruebung_, or "Exercises for the Clavier, consisting of + Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, etc., + for the Diversion of Amateurs. Opus I. Published by the Composer, + 1731." This was Bach's first published work and contains six + Suites. The first of them came out in 1726;(225) the others + followed in successive years until all were engraved together in + 1731.(226) The work was much noticed at the time. Such compositions + for the Clavier had not been seen or heard before, and the man who + could play them was sure of a success. Our young players to-day + would profit by the study of them, so brilliant, agreeable, + expressive, and original are they. In the new edition(227) they are + entitled, "Exercises for the Clavier." + 2. _Clavieruebung_, or "Exercises for the Clavier, Part II., + consisting of a Concerto in the Italian style and an Overture in the + French manner(228) for a Clavier with two manuals. Published by + Christopher Weigel, Junior, in Nuernberg."(229) + 3. _Clavieruebung_, or "Exercises for the Clavier, Part III., + consisting of various Organ Preludes to the Catechism and other + Hymns, composed for the diversion of amateurs and particularly of + competent judges of such works. Published by the Composer." + Besides the Preludes and Fugues for the Organ, all of which are + masterly, the book contains four Duetti for the Clavier,(230) models + of their kind. + 4. _Sechs Choraele_, or "Six Choral Melodies of different kinds, for + an Organ with two manuals and pedal. Zella, in the Thuringian + Forest. Published by Johann G. Schuebler."(231) They are full of + dignity and religious feeling. In some of them, too, we have + instances of Bach's original management of the stops.(232) Thus, in + the second Choral, _Wo soll ich fliehen hin,_ he gives to the first + manual an 8 foot, to the second a 16 foot, and to the pedal a 4 foot + stop. The pedal has the cantus firmus.(233) + 5. _Clavieruebung_, or "Exercises for the Clavier, consisting of an + Aria with several Variations, for a Clavier with two manuals. + Published by Balthasar Schmidt at Nuernberg."(234) This admirable + work consists of thirty Variations, some in canon, in a variety of + movements and at all intervals from the unison to the ninth, with + easy flowing melody. It includes a regular fourpart Fugue,(235) + several extremely brillant Variations for two Claviers,(236) and + concludes with a Quodlibet, as it is called, which alone would + render its composer immortal, though it is not the best thing in the + volume.(237) + + The Variations are models of what such compositions ought to be, + though no one has been so rash as to attempt to follow Bach's + footsteps. We owe them to Count Kaiserling, formerly Russian + Ambassador at the Saxon Electoral Court, who frequently visited + Leipzig with Goldberg, already mentioned(238) among Bach's pupils. + The Count was a great invalid and suffered from insomnia. Goldberg + lived in the Ambassador's house, and slept in an adjoining room, to + be ready to play to him when he was wakeful. One day the Count + asked Bach to write for Goldberg some Clavier music of a soothing + and cheerful character, that would relieve the tedium of sleepless + nights. Bach thought a set of Variations most likely to fulfil the + Count's needs, though, on account of the recurrence of the same + basic harmony throughout, it was a form to which he had hitherto + paid little attention. Like all his compositions at this period, + however, the Variations are a masterpiece, and are the only example + he has left us of this form.(239) The Count always called them "my + Variations" and was never weary of hearing them. For long + afterwards, when he could not sleep, he would say, "Play me one of + my Variations, Goldberg." Perhaps Bach was never so well rewarded + for any composition as for this. The Count gave him a golden goblet + containing one hundred louis d'ors, though, as a work of art, Bach + would not have been overpaid had the present been a thousand times + as large. It may be observed, that in the engraved copy of the + Variations there are serious mistakes, which the composer has + corrected in his own copy.(240) + + 6. _Einige kanonische Verdaederungen,_ "Canonic Variations on the + Christmas Hymn 'Vom Himmel hoch da komm ich her,' for an Organ with + two manuals and pedal. Published at Nuernberg by Balthasar Schmidt." + The work contains five canonic variations of the utmost + ingenuity.(241) + 7. _Musikalisches Opfer_, or "A Musical Offering," dedicated to + Frederick II., King of Prussia. The theme received by Bach from the + King(242) is treated first as a three-part Fugue under the acrostic + title "Ricercare" (Regis iussu cantio et reliqua canonica arte + resoluta). There follows a six-part "Ricercare" and Thematis regii + elaborationes canonicae of various kinds.(243) The work includes a + Trio for Flute, Violin, and Clavier upon the same subject.(244) + 8. _Die Kunst der Fuge_, or "The Art of Fugue." This work, unique + of its kind, did not appear till about 1752, after Bach's death, + though the greater part of it had been engraved by his sons during + his lifetime.(245) Marpurg,(246) the leading German musical critic + of that day, contributed a preface to this edition which contains + many just observations on the value and utility of such + treatises.(247) But, being too good for the general public, the work + found only a small circulation among those who discerned its merit + and eagerly bought copies. The plates were never used again and + eventually were sold(248) by Bach's heirs at the price of old + copper. Written by a man of Bach's transcendent genius, and + commended as a masterpiece by a critic so highly regarded as + Marpurg, a work of this kind, if published in any other country than + Germany, would have passed through at least ten editions by now, if + only at the bidding of patriotism. But in Germany not a sufficient + number of copies was sold to pay for the plates used in engraving + the work! + + The work consists of fugal Variations planned on the most elaborate + scale.(249) The composer's intention was to show in what a variety + of ways the same theme can be treated fugally. The Variations (here + called "Contrapunctus")(250) are complete Fugues upon the same + theme. The last Fugue of all has three subjects, in the third of + which the composer signs his name, B A C H.(251) Bach was prevented + from finishing it by the disorder of his eyes, and as an operation + brought no relief the movement was never completed. It is said that + Bach intended to introduce four themes into it and to bring it to an + impressive conclusion by inverting them all. All the Fugues in the + work are equally smooth and melodious. + + To make up for the unfinished Fugue Bach concluded the work with a + Choral Prelude upon the tune "Wenn wir in hoechsten Noethen sein," + which he dictated to his son-in-law, Altnikol, a few days before his + death.(252) Of the extraordinary skill it displays I do not speak, + save to remark that even in his last illness it proclaims Bach's + skill undiminished. The pious resignation and devotion that + characterise it move me deeply whenever I play it. Nor should I + find it easy to say which I had rather had been omitted, the Choral + Prelude, or the conclusion of the unfinished Fugue. + + 9. Lastly, after Bach's death, his four-part Chorals were collected + by his son, Carl Philipp Emmanuel, and were published by Birnstiel + (Berlin and Leipzig), Part I. in 1765, Part II. in 1769.(253) Each + Part contains one hundred Chorals, mostly taken from the composer's + church Cantatas. + + More recently Kirnberger edited, in four volumes, a collection of + Bach's Chorals. They are published by Breitkopf.(254) + + Bach's works, still in MS., consist of compositions for the Clavier, + Organ, with and without other instruments, Strings, and the voice. + I will enumerate them in that order. + + + + + I. Compositions For The Clavier + + + 1. _Six Little Preludes far Beginners_.(255) + 2. _Fifteen Two-part Inventions_. An Invention is a musical theme + so constructed that by imitation and inversion a whole movement can + be evolved from it. The subject having been first stated, the rest + develops naturally out of it. For the instruction of a young + Clavier player these fifteen Inventions are of great value, seeing + that the composer has been careful not only to provide exercises for + both hands but for every finger as well. They were composed at + Coethen in 1723, with a long title which begins: "An honest Guide, in + which lovers of the Clavier are shown a clear method of playing + correctly in two parts," etc.(256) + + It cannot be denied that, among other blemishes, the Inventions + occasionally exhibit melodic poverty and roughness. But finding + them useful to his pupils, Bach eventually revised them and removed + from them everything that offended his maturer taste, so that they + now stand as masterpieces of pure music. Moreover they are + invaluable exercises for the fingers and hands and are sound + instructors of taste. There is no better introduction to Bach's + larger works than they afford. + + 3. _Fifteen three-part Inventions_, also called Symphonies. They + were written for the same purpose as the Inventions, but are more + advanced.(257) + 4. _The Well-tempered Clavier_, or, Preludes and Fugues in all tones + and semitones, composed for the profit and use of young musicians + desirous of knowledge, as also for those who are skilled already in + this studio. Part I. was finished in 1722. Part II., like Part I., + contains twenty-four Preludes and twenty-four Fugues in every key, + and was composed at a later period.(258) Every number of it, from + first to last, is a masterpiece. In Part I., however, certain + Preludes and Fugues bear marks of immaturity and are included + probably only in order to complete the series. But here again Bach + eventually corrected whatever seemed to him lacking in finish. He + altered or rewrote entire passages, so that in the later texts few + movements are not perfect. Among these few I reckon the Fugues in A + minor,(259) G major and G minor,(260) C major,(261) F major and F + minor.(262) The rest are excellent, some of them so superlatively + good as to be not inferior to those in Part II.(263) Even Part II., + for all its original perfection, has been improved by the composer, + as may be observed by comparing the original and later texts. Both + Parts contain treasures of art not to be found outside Germany. + 5. _Chromatic Fantasia and Fugue._(264) I have taken considerable + pains to discover a similar piece of music by Bach, but without + success. The Fantasia is unique and unequalled. Wilhelm Friedemann + sent it to me from Brunswick inscribed with these words by a mutual + friend. "Anbey kommt an etwas Musik von Sebastian, sonst genannt: + Fantasia chromatica; bleibt schoen in alle Saecula." + + It is remarkable that this piece, for all its technical skill, + appeals to the most unpractised hearer, if it is performed at all + tolerably. + + 6. A _Fantasia in C minor_. It is not of the same character as the + preceding work, but resembles rather the Allegro of a Sonata. It is + divided into two parts, but must be played as a single movement. It + is an excellent work, and in old copies an unfinished Fugue follows, + which, however, cannot belong to it.(265) The first thirty bars + certainly are by Bach, for they are marked by an extremely bold use + of augmented and diminished intervals and their inversions, in + three-part harmony. None but Bach attempted such things. The rest + of the movement seems to have been added by another hand and bears + no trace of Bach's style. + 7. _Six large Suites_, consisting of Preludes, Allemandes, + Courantes, Sarabandes, etc. They are known as the "English Suites," + because the composer wrote them for an Englishman of rank.(266) All + of them are of great merit as works of art, and some movements, in + particular the Gigues of the fifth and sixth Suites, are perfect + masterpieces of harmony and melody. + 8. _Six small Suites_, consisting of Allemandes, Courantes, etc. + They are generally called the "French Suites," because they are + written in the French style.(267) The composer is intentionally less + academic in them than in his larger Suites, and their melodies are + more than usually pleasant and agreeable. In particular the fifth + Suite deserves to be noticed: all its movements are most melodious, + and in the concluding Gigue only consonant intervals, especially + thirds and sixths, are used. + +These are Bach's principal works for the Clavier which can be considered +classics.(268) A great number of single Suites,(269)Toccatas and +Fugues,(270) besides those already mentioned, have great and varying +merit, but are youthful works.(271) At the most, ten or twelve of them +seem to me worth preserving, some of them because they would be useful as +finger exercises, for which their author originally intended them, others +because they are at least better than similar works by other composers. +As an exercise for the fingers of both hands I particularly single out a +Fugue in A minor,(272) in which the composer has been at great pains to +write florid passages in order to give equal strength and suppleness to +both hands. For beginners a little two-part Fugue(273) should also prove +useful. It is melodious, flowing, and not at all old-fashioned. + + + + + II. Music For The Clavier With Other Instruments + + + 1. _Six Sonatas for Clavier with Violin obbligato_. Composed at + Coethen, they are among Bach's masterpieces in this form and display + fugal and canonic writing which is both natural and full of + character. The Violin part needs a master to play it; for Bach knew + the capabilities of the instrument and spared it as little as the + Clavier. The six Sonatas are in the keys of B minor, A major, E + major, C minor, F minor, and G major.(274) + 2. _Several Sonatas for Harpsichord and Violin_,(275) _Harpsichord + and Flute_,(276) _Harpsichord and Viol da Gamba_.(277) They are + admirably written and most of them are pleasant to listen to even + today.(278) + 3. _Several Concertos for the Clavier and other instruments_. They + contain real gems of art but are antiquated in form.(279) + 4. _Two Concertos for two Claviers_, with an accompaniment of two + Violins, Viola, and Violoncello. The first, in C minor,(280) has an + antique flavour. But the second, in C major,(281) is as fresh as if + it had been written yesterday.(282) It may be played without the + String quartet and still sounds admirable. The final Allegro is a + majestic movement and strictly fugal. Compositions of this form + were first perfected, indeed, we may conjecture, were first + attempted, by Bach. At least, I have met with only a single example + by another composer that may perhaps be older--namely, Pachelbel of + Nuernberg's Toccata, as he called it. Pachelbel, however, was a + contemporary of Bach and may have taken the idea from him. However, + his work is not worth considering. One instrument merely repeats + the other's phrases without being at all concertante. It almost + seems as if Bach at this period had made up his mind to discover + what could be done with any number of parts. Having already written + for a single solo instrument music which required no accompaniment, + he next experimented in dividing his material between as large a + number of solo instruments as possible. Hence the Concertos for two + Claviers were followed by + 5. _Two Concertos for three Claviers_ with an accompaniment of + Strings.(283) These Concertos present a remarkable characteristic: + besides the concertante combination of three Claviers, the stringed + instruments also have concertante parts distinct from the + accompaniment. It is difficult to realise the art involved in this + achievement. For, in spite of their technical skill, the two works + are so delicate, full of character, and expressive, that the + composer might be treating a simple melody (note particularly the + Concerto in D minor). Words are inadequate to express the + admiration they arouse. But Bach was not satisfied. Hence he wrote + 6. _A Concerto for four Claviers_ and four stringed + instruments.(284) I cannot judge the effect of this composition, for + I have never been able to get together the four instruments and four + performers it requires. But that it is admirably written can be + seen from the parts. + + + + + III. Compositions For The Organ + + +The pedal is the distinctive feature of the Organ which places it above +all other instruments, and gives it its magnificence, sonority, and +majesty. Deprive it of the pedal and you take from it the solemn and +imposing tones which are its distinctive utterance, reducing it to the +level of a "positiv," or Chamber-organ, an instrument relatively +insignificant. + +But an Organ equipped with a pedal must be able to employ it in its full +compass,(285) and both composer and organist must know the proper use of +it. No one excelled Bach in this knowledge. Not only is his rich harmony +and melody singularly adapted to the instrument, but he gave the pedal a +part of its own, even in his early compositions. Yet it was only +gradually that he mastered its technique; for his Organ masterpieces +belong to the period in which those for the Clavier began to be classics. +His early and immature Organ works are widely dispersed; for as soon as a +composer begins to be distinguished everybody is anxious to possess a +specimen of his art. Public curiosity, however, generally dies down long +before a composer comes to maturity, particularly if his work is over the +heads of the public. And this seems to have been Bach's fortune. +Consequently his mature Organ works are less familiar than his early +efforts. The latter, however, cannot possibly be admitted to a "correct +and critical" edition of his works, and I mention here only those whose +merit is as incontestable as that of the Clavier works enumerated in the +preceding paragraphs. + +Bach's finest Organ music falls into three groups: + + 1. _The Great Preludes and Fugues_, with obbligato pedal. Their + number cannot be stated, but I believe it not to exceed a + dozen.(286) At least, after prolonged search I have not been able to + collect more than that number.(287) To these I must add a very + clever and original Passacaglia, which, however, seems suitable + rather for a two-manual Clavicembalo and pedal than for the + Organ.(288) + 2. _Preludes on Choral Melodies_. It was at Arnstadt that Bach began + to compose Variations on Choral melodies, under the title _Partite + diverse._(289) Most of them can be played on the manuals alone. + Those which I include here are an exception and require the + obbligato pedal. Their number may amount to one hundred. I myself + possess above seventy, and more survive elsewhere.(290) No other + Choral Preludes approach them in religious feeling, dignity, and + sublimity of expression. I cannot notice them individually; they + are too numerous. Besides the larger, there is a great number of + shorter and easier ones, particularly useful for young players. + MSS. of them exist in considerable number.(291) + 3. _Six Sonatas_, or Trios, for two manuals and an obbligato + pedal.(292) Bach wrote them for his eldest son, Wilhelm Friedemann, + whom they helped to become the great performer he was when I knew + him. It is impossible to overpraise their beauty. Bach composed + them when he was in the full vigour of his powers, and they may be + considered his chef d'oeuvre in this form.(293) He also wrote other + Organ Sonatas, the MSS. of which are in various collections. They + are fine compositions, though they do not equal the Six in + merit.(294) + + + + + IV. Instrumental Music + + +There are few instruments for which Bach did not write. In his day it was +usual to play a Concerto or instrumental Solo during the Communion +office.(295) Bach composed many of these pieces himself, and always with a +view to their improving the technique of the player. Most of them are +lost. But two important works of another kind survive and to some extent +compensate us. They are: + + 1. Six Solos for Violin, unaccompanied.(296) + 2. Six Solos for Violoncello, unaccompanied.(297) The Violin Solos + have long been considered by the finest players to be the best + instructor for the instrument. The Violoncello Solos are equally + effective.(298) + + + + + V. Vocal Music + + + 1. Five complete sets of church Cantatas for the Sundays and + Festivals of the year.(299) + 2. Five compositions for Holy Week, one of which is for double + chorus.(300) + 3. Several Oratorios,(301) Masses,(302) a _Magnificat,_ settings of + the Sanctus,(303) compositions for birthdays and Saints' Days,(304) + funerals,(305) marriages,(306) and some Italian Cantatas.(307) + 4. Several Motets for single and double chorus.(308) + +Most of these works are now dispersed. The Church Cantatas were divided +between his elder sons after their composer's death. Wilhelm Friedemann +had the larger share because, being organist at Halle, he could make use +of them. Later, circumstances compelled him to part with them gradually. +I know of no other collection of Bach's larger choral works. There exist, +however, eight or ten Motets for double chorus, but they are dispersed in +various hands.(309) In the collection bequeathed by the Princess Amalia of +Prussia to the Joachimsthal Gymnasium at Berlin there are some of Bach's +vocal compositions.(310) Their number is not considerable, but among them +are the following: + + 1. Twenty-one Church Cantatas.(311) In one of them, set to the + words, _Schlage doch, gewuenschte Stunde,_(312) the composer + introduces a bell obbligato. From that fact we may conclude that + the Cantata was not composed in the period of Bach's maturity,(313) + for the use of bells is of doubtful taste. + 2. Two Masses for five voices with instrumental accompaniment.(314) + 3. A Mass for double chorus, the first being accompanied by Strings + and the second by wind instruments.(315) + 4. A _Passion,_ for double Chorus,(316) the text by Picander.(317) + 5. A _Sanctus,_ for four voices and instrumental accompaniment.(318) + 6. A Motet, for four voices, _Aus tiefer Noth schrei ich zu + dir._(319) + 7. A Motet for five voices, _Jesu, meine Freude._ + 8. Four Motets, for eight voices in double chorus: + + (a) _Fuerchte dich nicht, ich bin dei dir._ + (b) _Der Geist hilft unserer Schwachheit auf._ + (c) _Komm, Jesu, komm._ + (d) _Singet dem Herrn ein neues Lied._(320) + + 9. A detached four-part fugal chorus, _Nimm was dein ist, und gehe + hin._(321) + 10. A bucolic Cantata, with Recitatives, Aria, Duet, and Chorus. A + note is prefixed to it.(322) + + On the MS. of the last-named Cantata and of the Mass for double + chorus (No. 3 supra) there is a note by Kirnberger analysing the + skill and merit of the compositions. + + + + + +CHAPTER X. BACH'S MANUSCRIPTS + + +It has been remarked more than once that Bach, throughout his life, +devoted much thought to the improvement of his compositions. I have had +frequent occasion to compare the original and subsequent texts of his +works, and confess to have experienced both surprise and pleasure in +observing his care to improve whatever he thought faulty, to make good +better, and better perfect. Nothing is more instructive than a collation +of this kind, whether to the experienced musician or the instructed +amateur. I should like to see a supplement to the complete edition of +Bach's works showing these variant readings.(323) The collation would be +in the highest degree instructive, and to attempt it is as appropriate to +the works of the composer, a poet in sound, as to those of the poet in +words. + +In Bach's early texts he often repeats a phrase to other words with some +melodic variety, in a lower or even in the same octave. In his riper +experience he could not tolerate such poverty of workmanship, and cut out +these passages remorselessly, without regard for the number and quality of +the persons who had approved them in their original state. There occur to +me two good examples of this, the C major and C sharp minor Preludes in +the first part of the _Well-tempered Clavier._ Bach revised them so +drastically as to cut them down by one-half, sacrificing passages that he +thought redundant.(324) + +In other places Bach tends to be over-concise; he expresses an idea, but +does not fully develop it. The best illustration that occurs to me is the +D minor Prelude in the second part of the _Well-tempered Clavier._ I +possess several texts of it. In the oldest the first transposition of the +theme in the Bass and several other details essential to a complete +development of the idea are wanting. A second MS. gives the theme to the +Bass wherever the latter is in a key nearly related to that of the tonic. +In a third MS. these addenda are developed more fully and are joined more +skilfully. But melodic details are present of doubtful relevance to the +rest of the composition. In a fourth MS. these disappear or are amended, +so that, as we have it, the Prelude stands as one of the most beautiful +and least faulty in the _Well-tempered Clavier._ Many people, no doubt, +preferred the movement in its original form. But Bach was not a man to be +influenced by approbation or criticism. He went on correcting until he +satisfied himself. + +In the early part of the seventeenth century it was the fashion in +instrumental music to overload single notes with ornaments and add florid +runs. Lately it has become the fashion to do so in vocal music as well. +That Bach shared this disposition may be inferred from certain pieces that +he wrote in this style. An instance is the Prelude in E minor in the +first part of the _Well-tempered Clavier._ But he soon returned to his +natural better taste, and altered the movement to the form in which it is +engraved.(325) + +Every decade has its own style of melody, distinctive of itself and +evanescent. A composer must carefully avoid it if he hopes to be listened +to by posterity. In his young days even Bach ran upon this rock. His +early compositions for the Organ, and the two-part _Inventions_ in their +original form, are full of fiorituri such as the taste of his period +approved. His Organ compositions remain comparatively untouched, but the +_Inventions_ he closely revised. The public will soon be able to compare +them in their first and later forms, as the publishers, with admirable +spirit, have resolved to discontinue the present edition and to send out +to subscribers a revised one based on Bach's corrected text. + +Bach's processes of revision so far mentioned, however, merely correct +faults of form, that is, diffuseness or incomplete development of a +musical thought. But Bach employed other methods which are less easy to +describe because they are more subtle. He often rivets the style and +character of a piece by changing a single note, strictly correct +grammatically and yet disagreeable to an artist such as himself. Even +commonplace passages he could convert into phrases of beauty by the +addition or alteration of a single note. Only the most sensitive taste +and trained experience can decide in such cases, and Bach possessed both +in the highest perfection. He developed them to such a pitch, indeed, +that his brain eventually rejected any idea which, in all its properties +and relations, did not accord inevitably and naturally with the whole +composition. Consequently his later works display such consistency of +merit that all of them seem to have been cast complete in a mould, so +smooth, facile and abundant is the flow of his rich fancy. It is on the +highest summits of the art that harmony and melody find their ideal union, +and as yet Bach dwells there in majestic isolation. + + + + + +CHAPTER XI. THE GENIUS OF BACH + + +It is surely unnecessary to ask whether that artist is a genius who, in +every form of his art, has produced masterpiece after masterpiece, of an +originality which sets them above the achievements of all other ages, +distinguished also by a wealth of originality and agreeableness that +enslaves every hearer. The most fertile fancy, invention inexhaustible, a +judgment so nice as to reject intuitively every irrelevant and jarring +detail, unerring ingenuity in employing the most delicate and minute +resources of his art, along with an unrivalled technique--these qualities, +whose expression demands the outpouring of a man's whole soul, are the +signboards of genius. The man who cannot find them in Bach's music either +is not acquainted with it at all or knows it imperfectly. One needs to be +steeped in it thoroughly to appreciate the genius of its author. For the +greater the work the closer study is demanded for its apprehension. The +butterfly method, a sip here and there, is of little use. But admirable +as were the gifts Bach received from nature, he could never have become an +accomplished genius had he not learned betimes to avoid the rocks on which +many artists, some of them perhaps not less gifted than he, too often +founder. I will communicate to the reader some scattered thoughts on the +subject and conclude this essay with an indication of the characteristics +of Bach's genius. + +Even the largest natural gifts, coupled with the strongest propensity for +a particular art, offer no more than fruitful soil on which that art may +thrive by patient cultivation. Industry, the true begetter of every art +and science, is an indispensable factor. Not only does it enable genius +to master technique, but it stimulates the critical and reflective +faculties also. The very ease with which genius acquires and applies the +apparatus of musical composition frequently entices it to leap over root +principles in its plunge into deeper waters, or to fly before its wings +are grown. In such a case, unless genius is guided back to neglected +fundamentals and forced to build itself upon the great examples of the +past, it will inevitably expend its treasure uselessly and never attain to +its promised dimensions. For it is an axiom, that real progress can never +be made, nor the highest perfection be attained, if the foundations are +insecure. If arduous heights are to be achieved, the easier obstacles +must first be approached and overcome. Guided by his own inexperience no +one ever can hope to become great. He must profit by the practice and +example of others. + +Bach did not founder on this rock. His soaring genius attended an equally +ardent industry which incessantly impelled him, whenever he found his own +equipment insufficient, to seek guidance from others. Vivaldi and his +Concertos were the first from whom he sought counsel. From them he turned +to the principal Organ and Clavier composers of the period. Nothing is +more intellectually stimulating than counterpoint, and the composers Bach +studied were distinguished by their mastery of it, as their fugal writing +attests. Hence Bach's diligent study and imitation of them pointed his +taste and imagination to perceive wherein himself was lacking and what +steps were needed to take him farther in his art. + +A second rock upon which genius often comes to grief is the public's +undiscriminating applause. To be sure, I do not undervalue public +approval or commend without reserve the remark of a Greek teacher to his +pupil, "You performed badly, otherwise the audience would not have +applauded you." Yet it is none the less true that many artists are thrown +off their balance by exaggerated and often unmerited plaudits, +particularly in their early careers before they have acquired +self-discipline and sound judgment. The public merely asks for what it +can understand, whereas the true artist ought to aim at an achievement +which cannot be measured by popular standards. How, then, can popular +applause be reconciled with the true artist's aspirations towards the +ideal? Bach never sought applause, and held with Schiller: + + + Kannst du nicht allen gefallen durch deine That und dein + Kunstwerk, + Mach' es wenigen recht; vielen gefallen ist schlimm.(326) + + +Like every true artist, Bach worked to please himself in his own way, +obeying the summons of his own genius, choosing his own subjects, and +finding satisfaction only in the approval of his own judgment. He could +count on the applause of all who understood good music, and never failed +to receive it. Under what other conditions can sound works of art emerge? +The composer who debases his muse to the popular mood either lacks real +genius or, having it, abuses it. For to catch the ear of the public is +not a difficult task and merely connotes an agreeable facility. Composers +of that class are like artisans who frankly fashion their goods to suit +their market. But Bach never condescended to such artifices. The artist, +in his judgment, is the dictator of public taste, not its slave. If, as +often happened, he was asked to write something simple for the Clavier he +would answer, "I will do what I can." He would choose an easy theme. But +when he began to develop it he always found so much to say that the piece +soon became anything but simple. If his attention was drawn to the fact, +he would answer smilingly, "Practise it well and you will find it quite +easy. You have as many good fingers on each hand as I have." Nor was he +prompted in this by mere contradictoriness, but exhibited the true artist +spirit. + +It was, in fact, the artist temperament that led Bach to make the great +and sublime his goal. For that reason his music is not merely agreeable, +like other composers', but transports us to the regions of the ideal. It +does not arrest our attention momentarily but grips us the stronger the +oftener we listen to it, so that after a thousand hearings its treasures +are still unexhausted and yield fresh beauties to excite our wonder. Even +the beginner who knows but the A B C of his art warms with pleasure when +he hears Bach's music and can open his ear and heart to it. It was the +true artist spirit, too, that guided Bach to unite majesty and grandeur of +design with meticulous care for detail and the most refined elegance, +characteristics which we rather seek, perhaps, in works whose object is +merely to give pleasure. Bach held strongly that if the strands are +imperfect, the whole design is faulty. His genius is sublime and +impressive, and he never condescends to be frivolous even when he touches +the lighter forms of art. + +To conclude: it was the union of astounding genius and indefatigable +application that enabled Bach to widen at every point the domain of +musical expression. His successors have failed to maintain the art at the +level to which he raised it. If Bach was more successful, if he was able +to produce great work of convincing beauty and imperishable as a model for +those who came after him, we owe it as much to his application as to his +genius. + +This man, the greatest orator-poet that ever addressed the world in the +language of music, was a German! Let Germany be proud of him! Yes, proud +of him, but worthy of him too! + + [The Bach Statue at Leipzig] + + The Bach Statue at Leipzig + + + + + + +APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH'S COMPOSITIONS + + + + +I. CATALOGUE OF BACH'S COMPOSITIONS PRIOR TO HIS APPOINTMENT TO WEIMAR IN + JUNE 1708, in his twenty-fourth year.(327) + + + +VOCAL:-- + + +Motet: Lobet den Herrn, alle Heiden. + + + +CLAVIER(328):-- + + + Capriccio sopra la lontananza del suo fratello dilettissimo (bk. 208 + p. 62) (1704). + Capriccio in honorem Joh. Christoph Bachii, Ohrdruf (bk. 216 p. 34) + (c. 1704). + Sonata in D major (bk. 215 p. 44) (c. 1704).(329) + +B.G. XXXVI. prints a number of pieces which, in general, may be assigned +to Bach's immature years. They are reproduced in Peters' edition: + + Book 200: + + Fughetta in C minor (p. 10). + Prelude and Fughetta in D minor (p. 40). + Prelude and Fughetta in E minor (p. 42). + Prelude and Fughetta in A minor (p. 47). + Fugue in C major (p. 54). + Fugue in C major (p. 56). + + Book 207: + + Fantasia in C minor (p. 50). + + Book 212: + + Fantasia in C minor (p. 58). + Fugue in D minor (p. 59). + Fugue in D minor (p. 61). + Fugue in E minor (p. 68). + + Book 214: + + Prelude and Fughetta in F major (p. 76). + Prelude and Fughetta in G major (p. 78). + Prelude in G major (p. 80). + + Book 215: Three Minuets (p. 62). + +To these may be added (? authentic) from B.G. XLII.: + + Book 212: + + Fantasia and Fughetta in B flat major (p 58). + Do. do. D major (p. 60). + + + +Organ(330):-- + + + Prelude and Fugue in C minor (bk. 2 p. 48) (c. 1704). + Do. do. C major (bk. 8 p. 88) (? 1707).(331) + Do. do. the "Short," A minor (bk. 10 p. 208). + Fugue in C minor (bk. 12 p. 95) (c. 1704). + Do. C minor, on a theme by Legrenzi (bk. 10 p. 230) (c. 1708). + Do. B minor, on a theme by Corelli (bk. 3 p. 60). + Do. D major (bk. 12 p. 83). + Do. G major (bk. 12 p. 55). + Do. G major (bk. 12 p. 86). + Do. G minor (bk. 2 p. 41). + Prelude in A minor (bk. 10 p. 238) (by 1706). + Do. C major (bk. 12 p. 94). + Fantasia and Fugue in A minor (bk. 12 p. 60). + Fantasias in 6 major (bk. 9 p. 168; bk. 12 p. 75). + Pastorale in F major (bk. 12 p. 102). + Choral Partita: Christ, der du bist der helle Tag (bk. 19 p. 36). + Do. O Gott, du frommer Gott (bk. 19 p. 44). + Do. Sei gegruesset, Jesu guetig (bk. 19 p. 55). + +Generally speaking, the Choral Preludes, other than those in the maturer +collections made by Bach himself, may be regarded as youthful works (bks. +18, 19). + + + + + II. Catalogue Of Bach's Compositions At Weimar, 1708-17, from his + twenty-fourth to his thirty-third year. + + + +Vocal:-- + + + Secular Cantata: Was mir behagt (1716), _or_, Verlockender + Goetterstreit. + + + +Clavier:-- + + + Sixteen Concertos after Vivaldi (bk. 217) (c. 1708-12). + Toccatas in D major (bk. 211 p. 28), G major (bk. 215 p. 19), D + minor (bk. 210 p. 68), G minor (bk. 211 p. 4), E minor (bk. 210 p. + 23) (c. 1708-12). + Aria variata alia maniera Italiana (bk. 215 p. 12) (c. 1708-12). + Prelude and Fugue in A minor (bk. 211 p. 14) (c. 1715). + Fugues in A major (bk. 215 pp. 52, 57). + Do. B minor (bk. 214 p. 48). + Do. A major (bk. 212 p. 66). + Do. A minor (bk. 212 p. 70). + Fantasia in G minor (bk. 215 p. 32). + Do. B minor (bk. 215 p. 41). (For Organ, N. bk. 12 p. 71.) + Do. D major (bk. 211 p. 28). + Do. A minor (bk. 215 p. 5) (c. 1710). + + + +Organ:-- + + + Passacaglia and Fugue in C minor (bk. 10 p. 214). + Four Concertos after Vivaldi (bk. 11). + Eight Short Preludes and Fugues (bk. 1). + Orgelbuechlein (bk. 15) (1717). + Aria in F major (bk. 12 p. 112). + Fantasia con Imitazione (bk. 12 p. 71). + Do. C major (bk. 12 p. 92). + Do. C minor (bk. 3 p. 57). + Trio in C minor (bk. 12 p. 108). + Do. D minor (bk. 2 p. 54). + Canzona in D minor (bk. 2 p. 34) (c. 1714). + Allabreve in D major (bk. 2 p. 26). + Prelude and Fugue in C major (bk. 7 p. 74). + Do. do. the "Short," E minor (bk. 2 p. 44). + Do. do. D major (bk. 6 p. 10). + Do. do. the "Great," A minor (bk. 7 p. 42). + Do. do. A major (bk. 3 p. 64). + Do. do. the "Great," C minor (bk. 7 p. 64). + Do. do. F minor (bk. 6 p. 21). + Do. do. G major (bk. 7 p. 80). + Do. do. G minor (bk. 8 p. 120) (c. 1712). + Toccata and Fugue in D minor (bk. 6 p. 2). + Do. do. the "Great," C major (bk. 9 p. 137). + Do. do. the "Great," F major (bk. 9 p. 176). + Do. do. the Dorian, D minor (bk. 10 p. 196). + Fantasia and Fugue in C minor (bk. 3 p. 76). + Prelude in G major (bk. 2 p. 30). + Do. C major (bk. 12 p. 91). + Fugue, the "Short," in G minor (bk. 3 p. 84). + Do. C major (bk. 12 p. 100). + + + + + III. Catalogue Of Bach's Compositions At Coethen, 1717-23, from his + thirty-third to his thirty-ninth year. + + + +Vocal:-- + + + Secular Cantata: Durchlaucht'ster Leopold (1717). + Do. Mit Gnaden bekroene der Himmel die Zeiten + (?1721). Do. Weichetnur, betruebte Schatten (?1717-23).(332) + + + +Clavier:-- + + + Clavier-Buechlein vor Wilhelm Friedemann Bach (1720). + Chromatic Fantasia and Fugue (bk. 207 p. 4) (c. 1720-23). + Clavier-Buechlein vor A. M. Bachin (bk 1959) (1722). + The Well-tempered Clavier (Part i.) (bk. 2790a) (1722). + Six French Suites (bks. 202 and 2793) (c. 1722). + Six English Suites (bks. 203-4 and 2794-95) (before 1726). + Fantasia and Fugue in A minor (bk. 208 p. 50). + Fugue in A minor (bk. 207 p. 16) (B.G. III. p. 334). + Twelve Little Preludes and Six Preludes for Beginners (bks. 200 and + 2791) (c. 1722). + Inventions and Symphonies (bks. 201 and 2792) (1723). + Toccatas in F sharp minor and C minor (bk. 210 pp. 30 and 40). + Suites in A minor, E flat major, E minor, F major, and F minor + (fragment) (bk. 214 pp. 54,62, 68; bk. 215 p. 27; bk. 212 p. 84). + Prelude and Fugue in E flat major (bk. 214 p. 40). + + + +Chamber(333):-- + + + Six Sonatas (Suites) for Violin Solo (bk. 228) (c. 1720).(334) + Six Sonatas (Suites) for Violoncello Solo (bk. 238a) (c. 1720). + Six Sonatas for Violin and Clavier (bks. 232-33-232a-33a). + Suite in A major for Violin and Clavier (bk. 236). + Four Inventions for Violin and Clavier (bk. 2957). + Sonata in E minor and Fugue in G minor for Violin and Clavier (bk. + 236) (?early work). + Six Sonatas for Flute and Clavier (bks. 234-35). + Sonata in C major for two Violins and Clavier (bk. 237). + Three Sonatas for Viol da Gamba and Clavier (bk. 239). + Sonata in G major for two Flutes and Clavier (bk. 239 p. 2). + Sonata in G major for Violin, Flute, and Clavier (bk. 237). + + + +Orchestral:(335)-- + + + Six Brandenburg Concertos (bks. 261-66) (1721). + Four Suites (Overtures) (bks. 267-69, 2068).(336) + Three Concertos for Violin and Orchestra (bks. 229, 230).(337) + Concerto in D minor for two Violins and Orchestra (bk. 231).(338) + + + +Organ:-- + + + Prelude (Fantasia) and Fugue, the "Great," in G minor (bk. 8 p. 127) + (?1720). + + + + + IV. Catalogue Of Bach's Compositions At Leipzig, 1723-34, from his + thirty-ninth to his fiftieth year. + + + +Vocal:-- + + + Magnificat in D (?1723).(339) + Sanctus in C major, D major (c. 1723), D minor, and G major (P. bk. + 29b).(340) + St. John Passion (1723). + Trauer-Ode (1727). + St. Matthew Passion (1729). + Mass in B minor (1733-?1738). + Christmas Oratorio (1734). + Three Wedding Chorals (P. bk. 1654). + Motet: Jesu, meine Freude (1723). + Do. Der Geist hilft unsrer Schwachheit auf (1729). + Do. fuerchte dich nicht. + Do. Singet dem Herrn ein neues Lied. + Motet: Komm, Jesu, komm. + Secular Cantata: Der zufriedengestellte Aeolus (1725); also entitled + Blast Larmen, ihr Feinden (1734). + Do. Vereinigte Zwietracht der wechselnden Saiten (1726), or, Auf + schmetternde Toene der muntern Trompeten (after 1733). + Do. Schwingt freudig euch empor; _also entitled_ Die Freude reget + sich, _or_ Steigt freudig in die Luft (1726). + Do Entfernet euch, ihr heitern Sterne (1727; music lost). + Do. Vergnuegte Pleissenstadt (1728; music lost). + Do. Von der Vergnuegsamkeit, _or_ Ich bin in mir vergnuegt (c. 1730). + Do. Weichet nur, betruebte Schatten (c. 1730). + Do. Der Streit zwischen Phoebus und Pan 1731). + Do. Froher Tag, verlangte Stunden (1732; music lost). + Do. Schweigt stille (Coffee Cantata) (c. 1732). + Do. Herkules auf dem Scheidewege, _or_ Die Wahl des Herkules (1733). + Do. Toenet, ihr Pauken! Erschallet, Trompeten (1733). + Do. Preise dein Gluecke, gesegnetes Sachsen (1734). + Do. Schleicht, spielende Wellen (1734). + Do. Thomana sass annoch betruebt (1734; music lost). + Graduation Cantata: Siehe, der Hueter Israels (music lost). + + + +Clavier:-- + + + Notenbuch vor Anna Magdalena Bach (bk. 1959) (1725). + Clavieruebung, Part I. containing the six Partitas, or German Suites + (bks. 205-6 or 2796-97) (1731). + + + +Orchestral:-- + + + Concertos in C major, C minor, and C minor for two Claviers and + Orchestra (bks. 256, 257, 257b) (1727-36).(341) + Seven Concertos for Clavier and Orchestra (bks. 248-54) (1729-36). + Concerto in A minor for Violin, Flute, Clavier, and Orchestra (bk. + 255) (c. 1730).(342) + Concerto in A minor for four Claviers and Orchestra (bk. 260) (c. + 1733). + Concertos in D minor and C major for three Claviers and Orchestra + (bks. 258, 259) (c. 1733). + + + +Organ:-- + + + Prelude and Fugue, the Great, in G major (bk. 8 p. 112) (1724 or + 1725).(343) + Six Sonatas in E flat major, C minor, D minor, E minor, C major, G + major (bks. 4 and 5) (1727-33).(344) + Prelude and Fugue in C major (bk. 3 p. 70) (c. 1730). + Do. do. D minor (bk. 9 p. 150). + + + + + V. Catalogue Of Bach's Compositions At Leipzig, 1735-50, from his + fifty-first year to his death. + + + +Vocal:-- + + + Ascension Oratorio (Cantata 11) (c. 1735). + Schemelli's Hymn-book (1736). + Easter Oratorio (c. 1736). + Four Masses, in P major, A major (c. 1739), G minor, G major (c. + 1739). + Secular Cantata: Angenehmes Wiederau (1737). + Do. Willkommen, ihr herrschenden Goetter der Erden (1738) (music + lost). + Do. Mer hahn en neue Oberkeet (Peasant Cantata) (1742). + Do. O holder Tag (?1749), _or_, O angenehme Melodei. + Italian Cantata: Amore traditore. + Do. Andro dall' colle al prato (lost). + Do. Non sa che sia dolore. + + + +Clavier:-- + + + Clavieruebung, Part II. containing the Italian Concerto (bk. 207) and + Partita in B minor (bk. 208) (1735). + Fantasia and Fugue in C minor (bk. 207 p. 50 and bk. 212 p. 88) (c. + 1738). + Clavieruebung, Part III. containing the four Duetti (bk. 208) (1739). + Clavieruebung, Part IV. containing the Goldberg Variations (bk. 209) + (c. 1742). + The Well-tempered Clavier, Part II. (bk. Ib or 2790b) (1744). + + + +Chamber:-- + + + Sonata for Violin, Flute, and Clavier, in C minor (in the "Musical + Offering") (bk. 237 p. 3) (1747). + Three Partitas for the Lute (?1740).(345) + + + +Organ:-- + + + The Catechism Choral Preludes (in Clavieruebung, Part III.) (bk. 16) + (1739). + Fugue in D minor (in ditto) (bk. 16 p. 49) (1739). + Prelude and Fugue in E flat major (in ditto) (bk. 6 p. 28) (1739). + Do. do. the "Great," in C major (bk. 9 p. 156). + Do. do. the "Great," in B minor (bk. 7 p. 52) (1727-36). + Do. do. the "Great," in E minor (bk. 8 p. 98). + Canonic Variations on "Vom Himmel hoch" (bk. 19) (1746). + The Schuebler Choral Preludes (bk. 16) (c. 1747-50). + The Eighteen Choral Preludes (bk. 17) (c. 1747-50). + The Musical Offering (P. bk. 219) (1747). + The Art of Fugue (P. bk. 218) (1749). + + + + + +APPENDIX II. THE CHURCH CANTATAS ARRANGED CHRONOLOGICALLY + + +We have the statement of Carl Philipp Emmanuel Bach,(346) confirmed by +Forkel,(347) Bach's earliest biographer, that his father composed five +Cantatas for every Sunday and Festival of the ecclesiastical year. +Concerted music was sung at Leipzig annually on forty-three Sundays and +sixteen week-days.(348) Bach therefore must have written at least 295 +Cantatas. Of this number he composed at least thirty before 1723. Hence +approximately 265 were written at Leipzig. But Bach's fertility does not +appear to have outlived the year 1744. We have reason, therefore, to +conclude that the 265 Leipzig Cantatas were written in the course of +twenty-one years, that is, between 1723 and 1744. To complete that number +Bach must have composed a new Cantata every month, a surprising but +demonstrable conclusion. + +Of the 295 Cantatas only 202 have come down to us, three of them in an +incomplete state.(349) Of those written before 1723 the survivors are too +scanty to indicate a rate of productivity. But thereafter we have fuller +materials for a calculation. Bach, as Cantor, conducted his first Leipzig +Cantata on May 30, 1723, and in the following sixteen months produced +twenty-four Cantatas, at the rate of more than one a month.(350) Beginning +at the New Year of 1725 he wrote eighteen Cantatas in nine months, some of +which, however, may belong to the years 1726-7-8-9. But even so, his +monthly average seems to have been maintained. For 1730 we have, perhaps, +ten Cantatas. For 1731 about twenty survive, of which half a dozen may +belong to 1732, a deduction which still preserves Bach's steady average. +In 1735 he produced actually nineteen Cantatas between the New Year and +the following November, though not all of them are positively dated. +Thereafter his activity is less certainly measured. But from 1736 till +the end of 1744 he composed fifty-three Cantatas, at the rate, that is, of +at least six every year, without making allowance for Cantatas written and +lost. + +There are few phenomena in the record of art more extraordinary than this +unflagging cataract of inspiration, in which masterpiece followed +masterpiece with the monotonous periodicity of a Sunday sermon. Its +musical significance has been presented with illuminating exegesis by more +than one commentator. But its literary apparatus has captured little +attention. Yet Bach's task must have been materially eased or aggravated +according as the supply of libretti was regular or infrequent, while the +flow of his inspiration must have been governed by their quality. +Moreover, the libretto was the medium through which he offered the homage +of his art to the service of God. The subject therefore deserves +attention. However trivial, measured against the immensities of Bach's +genius, the study will at least provide a platform from which to +contemplate it. + +At the outset the opinion may be hazarded that the provision of his weekly +libretti caused Bach greater anxiety than the setting of them to music, a +task which he accomplished with almost magical facility. It is true that +from the early part of the 18th century cycles of Cantata texts for the +Church's year were not infrequently published. Bach was in more or less +intimate touch with the authors of four, perhaps five, printed collections +of the kind. But he used them with surprising infrequency. Neumeister's +published cycles provided him with seven libretti,(351) Franck's with +sixteen,(352) Picander's with ten,(353) Marianne von Ziegler's with +nine,(354) and Helbig's with two.(355) He took three libretti from the +Bible,(356) and the hymn-book furnished him with eleven more.(357) But all +these published sources together only account for fifty-eight texts. Bach +possessed only one book that could assist his own efforts at +authorship--Paul Wagner's eight-volumed Hymn-book--whence he took the +stanzas which decorate his Cantatas like jewels in the rare settings he +gave them. It was, therefore, mainly upon writers with whom he was +brought into occasional or official contact that Bach depended for his +texts. + +At the beginning of his career Bach was thrown upon his inexperience. His +earliest libretti, consequently, are tentative and transitory in their +construction. His first Cantata was written at Arnstadt for the Easter +Festival of 1704.(358) The core of the libretto is a seven-stanzaed Easter +song by an unknown poet, eked out by two passages of Scripture, a +Excitativo, Aria, and a verse of a congregational hymn. The Aria and +Recitativo are the only original numbers of the libretto, and there is +little doubt that Bach wrote them himself.(359) But the whole libretto is +stamped by his personality, and reveals the inveterate subjectivity of his +religion. For, disregarding the general message of the Festival, the +libretto opens on the soul's personal longing for immortality and closes +on its song of victory over death. In construction it is archaic, a +survival of traditions acquired from central and northern Germany through +Bach's earlier residence at Lueneburg and intercourse with Hamburg.(360) + +Three years passed before Bach produced his next extant Cantata. In the +interval, on 29th June 1707, he resigned his Arnstadt appointment to +become organist of the Church of St. Blasius at Muehlhausen.(361) Here, +within the space of ten months, he produced three Cantatas, the uniform +character of whose libretti points to local and transitory influence upon +the composer. The first of them,(362) written in August 1707, is a +setting of Psalm 130, with the addition of two hymn-stanzas. The +second(363) was performed on 4th February 1708, at the inauguration of the +Muehlhausen Town Council, and consists of Old Testament passages, a verse +of a hymn, and three original stanzas. The third,(364) a wedding Cantata, +was performed at Dornheim, near Arnstadt, on 5th June 1708, at the +marriage of Pastor Johann Lorenz Stauber to Frau Bach's aunt, and is set +to four verses of Psalm 115. + +We can have little doubt regarding the authorship of these singularly +austere libretti, so far removed in atmosphere from those of Bach's +subsequent periods. In fact, the clue is furnished by Bach himself. A +note in his handwriting on the score of the first of the three Cantatas +(No. 131) states that he composed it at the request of Georg Christian +Eilmar. The man was a close friend, godfather of Bach's eldest daughter, +Katharina Dorothea (b. 1708), chief pastor of the Church of the Blessed +Virgin, and Consistorial Assessor, at Muehlhausen. He was, moreover, an +aggressive foe of Pietism, of which Muehlhausen was the citadel, and Bach's +minister, Frohne, the protagonist. Indeed, the two men waged so public +and wordy a warfare(365) that Bach's social relations with the one and +official connection with the other must have been rendered difficult. To +his settled convictions regarding the fellowship of music and worship +Pietism offered Puritan opposition. In fact, its lack of sympathy +eventually drove him from Muehlhausen, in hope, in his own words, "to +realise my views upon the right ordering of Church music without vexation +from others."(366) Eilmar, on the other hand, though he admitted the +aesthetic value of music, conspicuously lacked the warmth and emotionalism +of Bach's religious temperament. To him undoubtedly we must attribute the +cold austerity of the three Muehlhausen libretti and the suppression of the +personal note already sounded in Bach's Arnstadt Cantata. Nor did +Eilmar's influence pass with Bach's departure from Muehlhausen.(367) It is +to be traced in the early libretti of the Weimar period. + +The Weimar Cantatas are twenty-two in number, of which all but three were +written subsequently to Bach's appointment as Concertmeister early in +1714. He had been organist to the Ducal Court of Weimar since June 1708, a +position which did not require him to compose for the Ducal Chapel. On the +other hand, three Cantatas are attributed to the early Weimar years. But +they cannot be positively dated, and their libretti bear such clear traces +of Eilmar's influence that their composition may belong rather to the +Muehlhausen period. Their texts display Eilmar's preference for strictly +Biblical material and a disinclination to employ secular forms. The first +of them(368) is a paraphrase of the Magnificat. The second(369) consists +of four verses of Psalm 25, along with three simple rhymed stanzas which +we have no difficulty in attributing to Bach himself. The third, _Gottes +Zeit ist die allerbeste Zeit_ (No. 106), was composed, Spitta +conjectures,(370) for the funeral of Philipp Grossgebauer, Rector of +Weimar School, in 1711. But more recently, and more probably, Pirro(371) +has expressed the opinion that Bach wrote it for the funeral of his uncle, +Tobias Lammerhirt, who was buried at Erfurt in September 1707. The theory +accords with the suggestion that all three Cantatas belong to the +Muehlhausen period. If so, it is probable that the libretto, a very +ingenious mosaic of Scripture texts, was written by Eilmar for the +occasion. It is the last in which we detect his influence. + +Bach's appointment as Ducal Concertmeister at Weimar can be placed between +14th January and 19th March 1714(372) and, it is probable, was nearer the +former date. He seems to have produced the first Cantata his new post +required him to write on Sexagesima Sunday, which fell on 4th February in +that year. From thence to the end of 1716 he produced nineteen Cantatas +and collaborated with a writer whose libretti at length gave him a +satisfactory literary medium. + +The new poet, Erdmann Neumeister, four of whose libretti Bach set to music +immediately after his appointment, and a fifth a year later,(373) was +considerably Bach's senior.(374) As far back as 1700 he had begun to write +a cycle of Cantata texts for the Ducal Chapel at Weissenfels, and pubushed +it in 1704, with an explanatory Preface referred to later.(375) In 1708 he +issued a second cycle for the Court of Rudolstadt, while in 1711 and 1714 +third and fourth cycles were written for the Ducal Chapel at Eisenach. +All four cycles were reissued in 1716,(376) with the addition of a fifth +and a Preface, which lauded Neumeister as "the first German to give sacred +music its fitting position by introducing and perfecting the Church +Cantata."(377) + +Spitta has dealt exhaustively(378) with the evolution and construction of +the Neumeister libretto. It need only be remarked that it adapted a +secular or operatic apparatus to the service of religion, and that the +innovation, hateful to many, triumphed because of Neumeister's delicate +handling of it. He perfected the new form, however, in stages. "A +Cantata," he insisted in his 1704 Preface, "is simply a fragment of Opera +made up of Aria and Recitativo." But the restriction excluded from the +Cantata its most appropriate material. In his 1708 cycle he found a place +for the chorus. Finally, he admitted the Bible stanza and congregational +hymn. With their inclusion the Cantata libretto assumed the form familiar +to us in Bach's use. It represents a combination of secular Opera and +ecclesiastical Motet. The free Arias and Recitativi are derived from the +one, the Bible stanzas and congregational hymns perpetuate the traditions +of the other. Unity of design is stamped on the whole by its general +subordination to the Gospel for the Day. Thus, at the moment when Bach +was about to devote his genius to the Cantata, Neumeister opportunely +provided him with a libretto singularly adapted to the end Bach had in +view, and appropriate to the musical expression by which he proposed to +secure it. He adhered to it almost to the end of his life, and found +unfailing inspiration in Neumeister's sincerity, delicacy, and uniformly +religious outlook. Neumeister's Arias, with a single exception,(379) are +hymn-like in mood and metre. His Recitativi are reflective and prayerful, +rarely oratorical or pictorial, simple communings upon the Gospel themes +which the libretto handles.(380) + +Bach's early introduction to Neumeister's texts is explained by the close +relations between the Courts of Weimar and Eisenach, by his associations +with his own birthplace, and his intimacy with Georg Philipp Telemann, +Kapellmeister there, for whose use Neumeister's third and fourth cycles +were written.(381) Bach set, in all, seven of the libretti--four from the +fourth cycle,(382) one from the third,(383) and two from the first,(384) +one of which (No. 142) differs so much from the published version as to +raise the question whether Bach did not receive it direct from Neumeister +in the form in which he set it.(385) + +That Bach should have set no more than seven of Neumeister's texts(386) is +strange. He shrank, perhaps, from appropriating libretti on which his +friend Telemann had a prior claim.(387) But the reason is found rather in +the fact that at Weimar Bach discovered in 1715 a local poet of first-rate +ability who, with perhaps but one exception, wrote the libretti of all the +Cantatas he composed during the last two years of his Weimar appointment. + +Salomo Franck, Bach's new collaborator, was Curator of the Ducal Museum of +Coins and Medals at Weimar. He was twenty-six years older than Bach. But +Spitta's conjecture,(388) that the two men were not acquainted, is hardly +tenable. Both resided in the same small provincial town, both were in the +Duke's service, and throughout 1715 and 1716 collaborated in at least ten +Cantatas performed in the Ducal Chapel. Moreover, though the Preface of +Franck's first cycle is dated 4th June 1715,(389) Bach had already set one +of its libretti for Easter of that year. A second cycle of texts, of which +Bach made little use,(390) was published by Franck in 1717.(391) + +Schweitzer, no doubt, is correct in his conclusion(392) that Bach was +drawn to Franck by his poetic insight, his mysticism, and innate feeling +for nature. It must be remembered, too, that his libretti were, in some +degree, official. On the other hand, Franck was Neumeister's inferior in +ability to conceive a picture fit to express Bach's larger moods, and on +occasion could descend to sheer bathos.(393) But his texts have a rhythmic +swing and melody which Bach found agreeable. He set at least sixteen of +them, and returned to them even after he settled at Leipzig. + +The circumstances which terminated Bach's service at Weimar are familiar, +and need not be restated. He received a new appointment at Coethen on 1st +August 1717, and took up his duties there, probably at Christmas, that +year.(394) His position was that of Capellmeister to the princely Court. +He never styles himself Court Organist,(395) and his duties severed him +for five years from the service of the Church, to which he had declared +his particular dedication in 1708. The Coethen Court was unpretentious. +The Prince was a Calvinist. Figurate music was not permitted in the Court +Chapel, and its Organ was small and inadequate. Hence Bach devoted +himself chiefly to chamber music, and only two genuine Church Cantatas +belong to this period of his career. Both must have been written for +performance elsewhere, possibly in connection with Bach's frequent Autumn +tours as a performer.(396) + +For both Cantatas Bach employed a librettist, otherwise little known, +named Johann Friedrich Helbig, State Secretory to the Eisenach Court. In +March 1720,(397) more than two years after Bach's arrival at Coethen, +Helbig published a cycle of "Musical Texts on the Sunday and Saints' Day +Gospels throughout the year," for performance "in God's honour by the +Prince's Kapelle at Eisenach."(398) How they came into Bach's hands we do +not know, but can readily conjecture. They are indifferent poetry, +judging them by the two specimens Bach made use of, and are uniform in +construction. The first movement invariably is a Chorus upon a text from +the Gospel for the Day, or a Scripture passage closely related to it. Two +Arias separated by a Recitative follow. A Choral brings the libretto to an +end.(399) + +The first of the two Cantatas written to Helbig's words was designed for +the Seventeenth Sunday after Trinity, which fell in 1720 on September +22.(400) Spitta conjectures(401) that Bach intended it for performance at +Hamburg. In fact, his wife's death postponed Bach's visit to that town +until November, by which date the Sunday appropriate to the Cantata had +passed. Spitta holds that the Cantata may have been performed, after all, +during the visit. Schweitzer is sceptical.(402) But Bach certainly +expended great pains upon the score. + +The second Helbig Cantata(403) is for the Third Sunday in Advent, and the +date of it would appear to have been 1721. It is one of the least +agreeable of Bach's works. Spitta (404) declares it a juvenile +composition hastily adapted to a new libretto. Schweitzer(405) expresses +the same opinion, and Sir Hubert Parry(406) finds the work "rather +commonplace." Its genuineness is discussed by Max Schreyer in the +"Bach-Jahrbuch" for 1912, and more recently Rudolf Wustmann has insisted +that it does not bear the stamp of Bach's genius.(407) If it actually was +composed in 1721, its production must have coincided with Bach's second +marriage on December 3 of that year.(408) In that case, his resort to old +material is explicable. + +Only these two Cantatas were composed at Coethen. But later, at Leipzig, +two others were manufactured out of secular material written there.(409) +It is unnecessary to refer to them, except to remark that in each case +Bach appears to have been the author of the new libretto. In the first of +them(410) it is clear that he was handicapped by the frankly secular metre +of the original stanzas. The second of them,(411) originally a Birthday +Ode to Prince Leopold of Anhalt-Coethen, is a masterly conversion into a +Whit-Monday text which, assuming that Bach wrote it, puts his literary +facility beyond question. + +Bach made the last move in his professional career on May 31, 1723, when +he was inducted Cantor of St. Thomas' School at Leipzig, with particular +charge of the Churches of St. Thomas and St. Nicolas. Here by far the +greater number of his Cantatas appeared, and 172 of them survive. They +are too numerous to be considered individually, and their classification +is rendered difficult by the fact that the authorship of most of their +libretti is conjectural and not ascertained. They fall, however, into two +large categories, each of which exhibits characteristics of its own. + +The dividing year, clearly but not arbitrarily, is 1734. Before it and +after it Bach was aided by new writers. But the earlier period +pre-eminently was one of experiment, out of which emerged the glorified +hymn-libretto, or Choral Cantata, of Bach's last years. That it sprang, +in some degree, from the difficulty of finding good original texts in +sufficient number may be granted. That it was adopted as an avenue of +escape from Picander's coarser work is a conjecture based, apparently, +upon a prevalent exaggeration of Bach's dependence on that writer. The +fundamental reason which led Bach to the hymn-libretto undoubtedly was the +fact that it most closely fulfilled the ideals which informed his work. + +The first Cantata performed during Bach's Cantorship(412) reveals a new +author, whose assistance, if the conclusion is well grounded, was at +Bach's disposal throughout the whole of the earlier Leipzig period. +Spitta's keen insight failed him in this instance. He betrays no +recognition of the new writer, and occasionally(413) attributes his +libretti to Picander. The credit of the discovery belongs to Rudolf +Wustmann, though he fails to work it out to its fullest conclusions.(414) + +No one can read the early Leipzig libretti without being struck by the +number of them that are not only uniform in structure, but similar in tone +and point. They all begin with a Bible text, chosen frequently, but not +invariably, from the Gospel for the Day. Every one of them ends with a +hymn-stanza. Their Arias, with hardly an exception,(415) are written in +what, compared with Picander's rollicking dactyls, may be held +hymn-metres. Their Recitativi, almost invariably, are didactic or +exegetical.(416) They do not display the vapid rhetoric of Picander. Nor +do they express the reflective or prayerful mood that reveals Bach. They +are essentially expositive and, it is noticeable, are studded with direct +or veiled references to Bible passages which expand or enforce the lesson +of the initial text. In a word, they suggest the work of a preacher +casting his sermon notes into lyrical form, an impression which is +strengthened by the fact that the libretto invariably opens with a +Scripture passage and frequently blends the Gospel and Epistle for the Day +in one harmonious teaching. Spitta detected this characteristic. But he +failed to follow up the clue. He speaks(417) of one of these texts(418) +as a "moralising homily," a phrase concisely appropriate to them all. +Moreover, a remark of his,(419) pointing the significance of the +god-parents chosen by Bach for his children--Eilmar, for instance--as +revealing Bach's intimate associates at the moment, affords another clue +to the personality of the new writer. + +Among the clergy of St. Thomas' during Bach's Cantorate were two men, +father and son, each of whom bore the name Christian Weiss. The elder was +Pastor of the Church from 1714 till his death in 1737. He was a cultured +man, in touch with the University, and possibly formed a link between it +and Bach, to whom he showed greater cordiality than the Cantor received +from other clerical colleagues. In 1732 his daughter, Dorothea Sophia +stood godmother to Bach's son, Johann Christoph Friedrich, afterwards +famous as the "Bueckeburg Bach."(420) In 1737 his son stood sponsor to +Bach's daughter, Johanna Caroline.(421) Nor can it be altogether without +significance that the names Dorothea, Sophia, Christian, are borne by +others of Bach's children by his second marriage. There is sufficient +evidence, therefore, that Bach's relations with the elder Weiss were +intimate enough to support a literary partnership. Moreover, +circumstances lend weight to the inference. For some years before Bach's +arrival in Leipzig, Weiss suffered from an affection of the throat which +kept him from the pulpit. But, during the first year of Bach's Cantorate, +he was able to resume his preaching. If he was, in fact, the author of +the libretti, we can have little difficulty in concluding that they and +his sermons were built on the same text. + +So far as they can be identified--the attempt is somewhat speculative--Weiss +provided Bach with at least thirty-three libretti. He set five of them in +1723, three in 1724, nine in or about 1725, one in 1727, two in 1730, six +in 1731, three in 1732, and four in the later Leipzig period.(422) +Fourteen others bear a constructional resemblance to Weiss's texts,(423) +but their character refers them rather to Bach or Picander. Even so, if +we do not exaggerate his activity, Weiss seems to have written at least +one-sixth of the Leipzig libretti and more than a quarter of those of the +earlier period. Without a doubt he eased a difficult situation in Bach's +experience before his regular association with Picander began. + +Apart from their revelation of Christian Weiss, the libretti of Bach's +first year at Leipzig do not call for comment. Franck and Neumeister +appear among them, and we trace Bach's hand in nine.(424) But at Easter, +1724, he broke new ground with a libretto whence developed the Cantata +form of his latest period. + +The Cantata for Easter Day 1724,(425) is Bach's earliest setting of an +entire congregational hymn. Spitta suggests(426) that he felt the fitness +of giving the libretto an antique character to match the hymn's melody. +However that may be, Bach would appear already to have been groping +towards the Choral Cantata of the late '30's. And though he did not +repeat the experiment until the Easter of 1731,(427) he treated three +hymn-libretti in the interval in a manner which shows him already to have +worked out the essentials of the Choral Cantata form.(428) + +Another landmark meets us a year and a half after the Easter experiment. +On September 23, 1725(?)--the Seventeenth Sunday after Trinity--Bach +produced a Cantata(429) whose Arias are set to words which had appeared in +print in the preceding year. Their author was a hack writer named +Christian Friedrich Henrici, or, as he preferred to style himself, +Picander. His hand probably is also traced in the libretto used by Bach +on the preceding Sunday(430) and again in that for Sexagesima in the same +year.(431) But the evidence is only inferential. That he collaborated +with Bach on September 23, 1725 (?), is incontestable, and the work +defines the beginning of a long and fruitful partnership. + +Spitta,(432) who tells us all that is known of Picander, has sufficiently +exposed his superficial literary facility. He commenced to write sacred +poetry in 1724, and on Advent Sunday of that year began a cycle of +"Profitable Thoughts," so he termed them, upon the Sunday and Saints' Day +Gospels. He published them in 1725, when the cycle was complete.(433) +Three years later he issued a cycle of Cantata texts for 1728-29 in the +Neumeister form.(434) That he intended them for Bach's use is apparent in +the fact that he expressly dedicated them to the service of "our +incomparable Capellmeister." But Bach made the sparest use of them and of +the earlier "Profitable Thoughts" alike. From the latter he took not one +libretto.(435) Of the 1728-29 cycle he used only eight texts.(436) One +more libretto can be referred to Picander's later publications,(437) and +of six others we can be sure that they are based upon his texts.(438) In +other words, of the original libretti of the Leipzig period we can trace +Picander's hand positively in no more than fifteen. + +It is necessary to emphasise this point. For Spitta(439) has stated +positively that Picander wrote "most" of the Leipzig libretti, and his +opinion has been generally accepted. But its correctness may be +contested. It is suspicious, to begin with, that Picander never published +the texts which Spitta asserts him to have poured out in such profusion. +"He placed no value," Spitta answers readily, "on these manufactured +compositions, put together hastily to please his friend." But the +argument cannot stand. Why should Picander have thought less of libretti +actually used by his "incomparable Capellmeister" than of those published +for and rejected by him?--for Spitta does not venture to declare that as +literature the rejected were superior to the accepted texts. If out of a +published cycle of libretti expressly written for him Bach chose only +eight texts, are Picander's "manufactured compositions," as Spitta calls +them, likely to have attracted him to a greater degree? We can detect his +hand perhaps in six Cantatas(440) besides those already mentioned, and +Bach relied on him exclusively for his secular texts. One concludes, none +the less, that Bach rarely accepted an original Cantata libretto from +Picander, and employed him chiefly on the Choral Cantatas of his latest +period. Excluding them, and adding the probable to the actual original +Picander texts, they total only twenty-one, a fraction inadequate to +support Spitta's sweeping statement. + +From the advent of Picander in 1725, to the end of the first Leipzig +period nine years later, Bach does not seem to have gone outside the +circle of familial authors for his regular Cantata texts. On October 17, +1727, however, he produced a funeral Cantata, or "Trauer-Musik," in memory +of the late Queen of Poland, the libretto of which was written by +Professor J. C. Gottsched. The partnership, in fact, was accidental: the +libretto was supplied to Bach with the commission to set it to music, and, +so far as is known, Gottsched and he did not collaborate again. + +So, reviewing Bach's activities during his first eleven years at Leipzig, +we find that of the hundred libretti set by him to music Christian Weiss +heads the list as the presumed author of twenty-nine. Bach follows him +with eighteen.(441) Picander's hand appears in fifteen, Franck's in +eight,(442) Neumeister's and Gottsched's in one each. Fifteen libretti +are congregational hymns in their original or paraphrased form. One is +the _Gloria in Excelsis_ of the B minor Mass adapted as a Christmas +Cantata (No. 190). Twelve are by authors not identified. + +Passing to the later Leipzig period, seventy-two surviving Cantatas are +attributed to the years 1735-50. They reveal one, perhaps two, new +writers. The first of them, Marianne von Ziegler, was identified by +Spitta in 1892. She was the widow of an officer, resident in Leipzig, a +cultured woman, in touch with University life, her house a salon for music +and musicians.(443) There is no reason to suppose Bach to have been of her +circle, or that he was acquainted with her literary gifts. Indeed the +contrary is to be inferred from the fact that, though she published her +poems in 1728,(444) he does not seem to have known them until seven years +later, when he used them for nine consecutive Sundays and Festivals in +1735, beginning on the Third Sunday after Easter, and ending on Trinity +Sunday. + +In addition to these nine libretti, both Spitta(445)and Schweitzer(446) +attribute to her the text of Bach's Cantata for the Second Sunday after +Easter in the same year.(447) It is uniform in construction with the +authentic nine, but is not among the authoress's published works. +Wustmann(448) finds the tone of the libretto less ardent and its rhythm +rougher than those published under her name. Admitting the soundness of +Wustmann's criticism, one hazards the opinion that the challenged text was +written at the period when Bach set it, namely, in 1735, eight years after +the poetess published her earlier texts. The difference of time may +account for the difference of texture to which Wustmann draws attention, +but leaves undecided the question whether Bach was drawn to the earlier +through the later and unpublished texts or vice versa. It is quite +probable that he set other libretti by the same writer, though +Schweitzer's(449) attribution to her of a second text for Ascension Day, +1735, must be rejected.(450) + +It is worth noticing, since it certainly reveals Bach's preference, that +Marianne von Ziegler's libretti are constructed almost invariably in the +Weiss form. Every one of them but three(451) opens with a Bible passage, +invariably taken from St. John's Gospel, which provides the Gospel for the +Day from the First Sunday after Easter down to Trinity Sunday, excepting +Ascension Day. All but one (No. 68) of the libretti conclude with a +Choral, and their Arias are hymn-like in metre. The tone of them, +however, is warmer, more personal, less didactic than the Weiss texts. +That Bach regarded them with particular favour is apparent in the +circumstance that he took the trouble to revise all but one of them.(452) +That they stirred his genius deeply is visible in the settings he gave +them. + +After 1735 the chronology of the Cantatas is not certainly ascertained. +Of those that fall after the Ziegler year, as we may term it, the majority +can only be dated approximately as circa 1740, that is, anywhere between +1735 and 1744. Nor, except rarely, can we detect in their libretti the +work of those on whom Bach elsewhere relied. Weiss, who died late in +1737, is only an occasional contributor. The texts of this period, in +fact, are the outcome of Bach's own experiments in libretto form. +Thirty-three of them are Choral Cantatas, whose evolution it remains to +trace concisely. + +That Bach should have turned to Lutheran hymnody, chiefly of the fifteenth +and sixteenth centuries, and that the Cantatas built upon it should be his +most perfect religious work is not surprising. The hymns and their +melodies were the foundations upon which the temple of German +Protestantism had been reared. They appealed vividly and powerfully to +Bach's spiritual nature, and profoundly influenced his musical utterance. +His whole career, as Sir Hubert Parry points out,(453) was an effort to +widen his means for self-expression. And the Choral Cantata, in effect, +was the reconciliation or blending of this self-discipline. It was the +supreme achievement of Bach's genius to assert the faith and idealism of +Lutheran hymnody with the fullest resources of his technique. + +It is not our task to consider the hymn libretto in its relation to the +structure of Bach's latest Cantatas. Necessarily it tied him to a +stereotyped design, which he clung to with greater persistency because it +exactly fulfilled his devotional purpose. But experience compelled him, +after a brief trial, to discard the simple hymn libretto. In the earlier +Leipzig years as many as eight Choral Cantatas(454) are set to the +unaltered text of a congregational hymn. In the later Leipzig period only +two(455) libretti are of that character. Bach, in fact, soon realised +that, while the unaltered hymn-stanza, with its uniform metre and balanced +rhyme, was appropriate to the simple Choral or elaborate Fantasia, it was +unmalleable for use as an Aria or Recitative. Hence, retaining the +unaltered Hymn-stanza for the musical movements congruous to it, he was +led to paraphrase, in free madrigal form, those stanzas which he selected +for the Arias and Recitativi. + +As early as September 16, 1725,(456) Bach was moving towards this +solution. And it is significant that Picander's hand is visible in the +libretto. The next example(457) occurs three years later, and again +reveals Picander's authorship. Two other instances also occur in the +early Leipzig period.(458) To that point, however, it is clear that Bach +was not satisfied as to the most effective treatment of the hymn-libretto. +But in the second Leipzig period, after his collaboration with Marianne +von Ziegler, he arrived at and remained constant to a uniform design. Of +the thirty-nine Choral Cantatas of the whole period only two exhibit the +earlier form. Of all the others the libretto consists partly of unaltered +hymn-stanzas--invariably used for the first and last movements, and +occasionally elsewhere--but chiefly of paraphrased stanzas of the hymn, +whose accustomed melody, wherever else it may be introduced, is associated +invariably with the hymn when the text is used in its unaltered form. We, +to whom both words and melody are too frequently unfamiliar, may view the +perfections of the Choral Cantata with some detachment. But Bach's +audience listened to hymns and tunes which were in the heart of every +hearer and a common possession of them all. The appeal of his message was +the more arresting because it spoke as directly to himself as to those he +addressed. + +It would be satisfactory and interesting to point positively to Bach's own +handiwork in these libretti, of which he set fifty-four in the period +1724-44. Unfortunately it is impossible to do so, except, perhaps, in a +single case,(459) where we can reasonably infer that the libretto is his. +Of the rest, one is by Franck.(460) In eighteen of them the hand of +Picander is more or less patent.(461) Nineteen(462) we can only venture to +mark "anonymous," though Picander is probably present in most of them. +Ten are unaltered congregational hymns.(463) There remain, however, +five(464) in which, perhaps, we detect another, and the last, of Bach's +literary helpers. + +Wustmann draws attention(465) to the libretto of Cantata No. 38, a +paraphrase of Luther's Psalm 130. He finds in it, and reasonably, an +expression of "Jesus religion" very alien to Picander's muse, and suggests +the younger Christian Weiss as the author of it. Like his father, he was +Bach's colleague, the godfather of his daughter, and undoubtedly on terms +of close friendship with him. But if he wrote the libretto of Cantata No. +38, probably it is not the only one. The same note rings in four more of +the Choral Cantatas,(466) which may be attributed tentatively to Weiss, +though their ascription to Bach would be equally congruous. + +Returning, however, to the seventy-two libretti of the later Leipzig +period we reach this result: More than half of them (thirty-nine) are +congregational hymns, all but two of which are of the paraphrased type in +which we detect the work of Picander, Bach himself, and perhaps the +younger Weiss. Of the remaining thirty-three original libretti Marianne +von Ziegler heads the list with nine, and perhaps ten.(467) Bach follows +with a problematical six,(468) Picander with five,(469) the elder Weiss +with four,(470) Neumeister with one.(471) One text is taken from the +Bible.(472) Another consists of a single stanza of a hymn by Martin +Behm.(473) Five are by authors unknown or undetected.(474) + +But, as was said at the outset, the attribution of particular libretti to +individual writers is conjectural, except in comparatively few cases. +Yet, unsatisfying as it is, this guess-work reveals with approximate +correctness the extent to which Bach drew upon his own and other people's +abilities for the texts he needed. Summarising our conclusions, we +discover that about one-quarter (fifty-four) of the 202 libretti set by +Bach between the years 1704 and 1744 were provided by the hymn-book. It +is shown elsewhere(475) that all but eleven of them are taken from Paul +Wagner's volumes. The elder Weiss comes next with thirty-three libretti. +Bach follows with thirty, Salomo Franck with twenty-one, Picander with +twenty (exclusive of his arrangements of Choral Cantata texts). Marianne +von Ziegler contributes ten, Neumeister seven, Eilmar and Helbig two each, +Gottsched and Martin Behm one each. Three libretti are taken from the +Bible or Church liturgy. Eighteen remain anonymous. + +The literary qualities of the libretti are not under discussion here. +They have a characteristic, however, on which one cannot forbear from +remarking. Indifferent literature as, for the most part, they +are--children of their period and blemished with its imperfections--they +enshrine an extraordinarily interesting anthology of the religious poetry +of the sixteenth, seventeenth, and eighteenth centuries. They expose the +evangelical thought of Germany from the age of Luther to that of Bach, and +are particularly rich in the lyrical fervour of the Reformation itself. +Of the seventy-seven hymn-writers whom Bach includes in his collection, so +many as forty-four belong to the sixteenth century. Only thirteen of them +touch Bach's own period. And a similar bias to the Reformation epoch is +observable in his choice of the tunes of the Chorals, which are absent +from only twenty-one of the Cantatas. By far the greater number of them +are coeval with the hymns themselves; that is, they date from the +Reformation and behind it. + +Here clearly is the source of Bach's inspiration, the master-key of his +art. He touches Luther, is in a sense his complement, his art builded on +the foundations Luther laid, consecrated to the ends Luther vindicated, +inspired by a dedication of himself to God's service not less exalted--a +great artist, a great Protestant, a great man.(476) + +NOTE.--Cantatas distinguished by an asterisk (*) are for Soli voices only +(S.A.T.B. unless the particular voices are stated); those marked ({~DAGGER~}) +include, in addtion, simple four-part Chorals: the rest contain concerted +Choruses. + + + + + (1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.) + + + + + (2) COMPOSED AT MUeLHAUSEN (see also Nos. 150, 189.) + + + + + (3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.) + + + + + (4) COMPOSED AT COeTHEN. (See also Nos. 22 and 23.) + + + + + (5) COMPOSED AT LEIPZIG. 1723-34. (See also Nos. 31, 70, 134, 147, 158, + 173.) + + + + + (6) COMPOSED AT LEIPZIG: 1735-50 + + + + + +APPENDIX III. THE BACHGESELLSCHAFT EDITIONS OF BACH'S WORKS + + +The Bachgesellschaft was founded on December 15, 1850, issued its first +volume in 1851, and was dissolved on January 27, 1900, upon the +publication of its sixtieth and concluding volume. The Society had +fulfilled its fundamental purpose--the publication of Bach's works--and on +the very date of its dissolution the Neue Bachgesellschaft was founded +with the object of popularising Bach's music by publishing it in +practicable form and by holding Bach Festivals. A secondary object, the +foundation of a Bach Museum at Eisenach, in the house in which Bach was +born, already has been achieved. Bach Festivals have been held at regular +intervals--at Berlin in 1901, Leipzig in 1904, Eisenach--in connection with +the opening of the Museum--in 1907, at Chemnitz in 1908, Duisburg in 1910, +Breslau in 1912, Vienna in 1914. The publications of the new Society +necessarily are unimportant by the side of those of its predecessor. It +has, however, brought to light and published a Cantata overlooked by the +old Bachgesellschaft. (See New B.G. XIII. (2).) + +The publications of both Societies are quoted here by their year of +issue--I., II., III., and so forth. When more than one volume has been +published in a single year they are differentiated thus: XV.(1), XV.(2). +When a volume appeared upon a date subsequent to the Vereinsjahr it bears, +the date of the Preface is indicated in a bracket, e.g. 1872[1876]. + +The editorial work of the original Bachgesellschaft was undertaken, in +unequal proportions, by ten editors during fifty years. Of the Society's +sixty volumes three were edited by Moritz Hauptmann (1851-58), one by Carl +F. Becker (1853), two by Julius Rietz (1854-56), twenty-seven by Wilhelm +Rust (1855-81), one by Franz Kroll (1866), eleven by Alfred Doerffel +(1876-98), six by Paul Graf Waldersee (1881-94), five by Ernst Naumann +(1886-94), two by Franz Wuellner (1887-92), and two by Hermann Kretzschmar +(1895-1900). + + + + + (A) PUBLICATIONS OF THE BACHGESELLSCHAFT + + + I. 1851. Kirchencantaten. Erster Band. Ed. Moritz Hauptmann.(478) + + No. *1. Wie schoen leuchtet der Morgenstern. + No. *2. Ach Gott, vom Himmel sieh darein. + No. *3. Ach Gott, wie manches Herzeleid (c. 1740). + No. *4. Christ lag in Todesbanden. + No. 5. Wo soll ich fliehen hin. + No. *6. Bleib' bei uns, denn es will Abend werden. + No. 7. Christ unser Herr zura Jordan kam. + No. *8. Liebster Gott, warm werd' ich sterben? + No. 9. Es ist das Heil uns kommen her. + No. *10. Meine Seel' erhebt den Herren! + Frontispiece: G. Haussmann's portrait of Bach, in the + possession of St. Thomas' School, Leipzig. + + II. 1852. Kirchencantaten. Zweiter Band. Ed. Moritz Hauptmann. + + *No. 11. Lobet Gott in seinen Reichen. + No. *12. Weinen, Klagen, Sorgen, Zagen. + No. 13. Meine Seufzer, meine Thraenen. + No. 14. War' Gott nicht mit uns diese Zeit. + No. 15. Denn du wirst meine Seele nicht in der Hoelle lassen. + No. 16. Herr Gott dich loben wir. + No. 17. Wer Dank opfert, der preiset mich. + No. 18. Gleich vie der Begen uud Schnee vom Himmel fallt. + No. 19. Es erhub sich ein Streit. + No. 20. O Ewigkeit, du Donnerwort (c. 1725). + + III. 1853. Clavierwerke. Erster Band. Ed. Carl F. Becker. + + (1) Fifteen Inventions and Fifteen Symphonies (Sinfonie) (P. bk. + 201).(479) + (2) Clavieruebung, Part I.:-- + + Partiten 1-6 (P. bka. 205, 206). + + (3) Clavieruebung, Part II.:-- + + Concerto, in F major, in the Italian style (P bk. 207). + Partita (Overture) in B minor (P. bk. 208). + + (4) Clavieruebung, Part III.:-- + + Organ Prelude and Fugue in E flat major (N. bk. 16 pp. + 19, 83). + Four Duetti (P. bk. 208 p. 78). + Catechism Choral Preludes (Organ):-- + + Kyrie, Gott Vater in Ewigkeit (N. bk. 16 p. + 28). + Christe, aller Welt Trost (ib. p. 30). + Kyrie, Gott heiliger Geist (ib. p. 33). + + Kyrie, Gott Vater in Ewigkeit (alio modo) + ( 2. ib. 1. p. 36). + Christe, aller Welt Trost (ib. p. 37). + Kyrie, Gott heiliger Geist (ib. p. 38). + + 3. Allein Gott in der Hoh' sei Ehr' (ib. p. 39). + 4. Ditto (ib. p. 40*).(480) + 5. Allein Gott in der Hoh' sei Ehr' (Fughetta) (N. + bk. 16 p. 41). + 6. Dies sind die heil'gen zehn Gebot' (ib. p. 42). + 7. Ditto (Fughetta) (ib. p. 47). + 8. Wir glauben all' an einen Gott (ib. p. 49). + 9. Ditto (Fughetta) (ib. p. 52). + 10. Vater unser im Himmelreich (ib. p. 53). + 11. Ditto (ib. p. 61).(481) + 12. Christ unser Herr zum Jordan kam (ib. p. 62). + 13. Ditto (ib. p. 67). + 14. Aus tiefer Noth schrei ich zu dir (ib. p. 68). + 15. Ditto (ib. p. 72). + 16. Jesus Christus unser Heiland (ib. p. 74). + 17. Ditto (Fugue) (ib. p. 80). + + (5) Clavieruebung, Part IV.:-- + + Aria and thirty Variations (Goldberg) (P. bk. 209). + + Toccata in F sharp minor (P. bk. 210 p. 30). + Ditto. C minor (P. bk. 210 p. 40). + Fugue (with Fantasia) in A minor (P. bk. 207 p. 16). + + IV. 1854. *Passionsmusik nach dem Evangelisten Matthaeus. Ed. Julius + Rietz. +V(1). 1855. Kirchencantaten. Dritter Band. Ed. Wilhelm Rust. + + *21. Ich hatte viel Bekuemmerniss. + 22. Jesus nahm zu sich die Zwoelfe. + *23. Du wahrer Gott und Davids Sohn. + 24. Ein ungefaerbt Gemuethe. + *25. Es ist nichts Gesundes an meinem Leibe. + 26. Ach wie fluechtig, ach wie nichtig. + *27. Wer weiss, wie nahe mir mein Ende. + *28. Gottlob! nun geht das Jahr zu Ende. + 29. Wir danken dir, Gott, wir danken dir. + *30. Freue dich, erloeste Schaar. + +V(2). 1855 [1856]. Weinachts-Oratorium. Ed. Wilhelm Rust. + VI. 1856. *Messe. H moll. Ed. Julius Rietz. + VI. VII. 1857. Kirchencantaten. Vierter Band. Ed. Wilhelm Rust. + + No. 31. Der Himmel lacht, die Erde jubiliret. + *32. Liebster Jesu, mein Verlangen. + 33. Allein zu dir, Herr Jesu Christ. + *34. O ewiges Feuer, O Ursprung der Liebe. + 35. Geist und Seele wird verwirrt. + 36. Schwingt freudig euch empor. + 37. Wer da glaubet und getauft wird. + *38. Aus tiefer Noth schrei ich zu dir. + *39. Brich dem Hungrigen dein Brod. + *40. Dazu ist erschienen der Sohn Gottes. + +VIII. 1858. Vier Messen. F dur, *A dur, G moll, G dur. Ed. Moritz + Hauptmann. + IX. 1859 [I860]. Kammermusik. Erster Band. Ed. Wilhelm Rust. + + Three Sonatas, in B minor, E flat major, A minor (and + Variant), for Clavier and Flute (P. bk. 234). + Suite in A major, for Clavier and Violin (P. bk. 236). + Six Sonatas, in B minor, A major, E major, C minor, F minor + (and Variant), G major (and Variants), for Clavier and Violin + (P. bks. 232, 233). + Three Sonatas, in G major (or 2 Flutes), D major, G minor for + Clavier and Viola da Gamba (P. bk. 239). + Sonata in G major, for Flute, Violin, and Clavier (P. bk. + 237). + Sonata in C major, for two Violins and Clavier (P. bk. 237). + Sonata in G minor, for Clavier and Violin (not in P.).( (6) + 482) + + X. 1860. Kirchencantaten. Fuenfter Band. Ed. Wilhelm Rust. + + No. *41. Jesu, nun sei gepreiset. + 42. Am Abend aber desselbigen Sabbaths. + *43. Gott fahret auf mit Jauchzen. + *44. Sie werden euch in den Bann thun (c. 1725). + 45. Es ist dir gesagt, Mensch, was gut ist. + 46. Schauet doch und sehet, etc. + 47. Wer sich selbst erhoehet, der soll emiedriget werden + 48. Ich elender Mensch, wer wird mich erloesen? + 49. Ich geh' und suche mit Verlangen. + *50. Nun ist das Heil und die Kraft. + +XI (1). 1861 [1862]. *Magnificat, D dur, und vier Sanctus, C dur, D dur, D + moll, G dur. Ed. Wilhelm Rust. + + The Appendix contains four additional numbers which are found + in one of the two Autograph scores of the Magnificat. + +XI (2). 1861 [1862]. Kammermusik fuer Gesang. Erster Band. Ed. Wilhelm + Rust. + + Secular Cantata: *Phoebus und Pan. + Secular Cantata: Weichet nur, betruebte Schatten. + Secular Cantata: Amore traditore. + Secular Cantata: Von der Vergnuegsamkeit, or, Ich bin in mir + vergnuegt. + Secular Cantata: Der zufriedengestellte Aeolus, or, Zer + reisset, zersprenget, zertruemmert die Gruft. + +XII (1). 1862 [1863]. *Passionsmusik nach dem Evangelisten Johannes. Ed. + Wilhelm Rust. +XII (2). 1862 [1863]. Kirchencantaten. Sechster Band. Ed. Wilhelm Rust. + + No. 51. Jauchzet Gott in allen Landen. + 52. Falsche Welt, dir trau ich nicht. + *53. Schlage doch, gewuenschte Stunde. + *54. Widerstehe doch der Suende. + 55. Ich armer Mensch, ich Suendenknecht. + *56. Ich will den Kreuzstab gerne tragen. + 57. Selig ist der Mann. + 58. Ach Gott, wie manches Herzeleid (1733). + 59. Wer mich liebet, der wird mein Wort halten (1716). + 60. O Ewigkeit, du Donnerwort (1732). + +XIII (1). 1863 [1864]. Trauungs-Cantaten. Ed. Wilhelm Rust. + + No. *195. Dem Gerechten muss das Licht. + 196. Der Herr denket an uns. + 197. + + Gott ist uns're Zuversicht. + Drei Chorale zu Trauungen : (1) Was Gott thut, (2) Sei + Lob und Ehr', (3) Nun danket alle Gott. + +XIII (2). 1863. Clavierwerke. Zweiter Band. Ed. Wilhelm Rust. + + Six Great Suites, in A major, A minor, G minor, F major, E + minor, D minor, known as the "English Suites" (P. bks. + 203,204). + Six Small Suites, in D minor, C minor, B minor, E flat major, + G major, E major, known as the "French Suites" (P. bk. + 202).(483) + +XIII (3). 1863 [1865]. *Trauer-Ode. Ed. Wilhelm Rust. + XIV. 1864 [1866]. Clavierwerke. Dritter Band. Das wohltemperirte Clavier + (P. bks. 2790 a-b.). Ed. Franz Kroll.(484) + + Erster Theil, 1722. + Zweiter Theil, 1744. + + XV. 1865 [1867]. Orgelwerke. Erster Band. Ed. Wilhelm Rust. + + Six Sonatas, in E flat major, C minor, D minor, E minor, C + major, G major (N. bks. 4, 5), for 2 Claviers and Pedal. + Eighteen Preludes and Fugues:-- + + Prelude and Fugue in C major (N. bk. 7 p. 74). + Prelude and Fugue in D major (N. bk. 6 p. 10). + Prelude and Fugue in E minor (N. bk. 2 p. 44). + Prelude and Fugue in F minor (N. bk. 6 p. 21). + Prelude and Fugue in G minor (N. bk. 8 p. 120). + Prelude and Fugue in A major (N. bk. 3 p. 64). + Prelude (Fantasia) and Fugue in C minor (N. bk. 3 p. + 76). + Prelude (Toccata) in D minor (N. bk. 10 p. 196). + Prelude and Fugue in D minor (N. bk. 9 p. 150). + Prelude and Fugue (Toccata) in F major (N. bk. 9 p. + 176). + Prelude and Fugue the Great, in G major (N. bk. 8 p. + 112). + Prelude (Fantasia) and Fugue in G minor (N. bk. 8 p. + 127).(485) + Prelude (Fantasia) and Fugue in A minor (N. bk. 7 p. + 42).(486) + Prelude (Fantasia) and Fugue in B minor (N. bk. 7 p. + 52). + Prelude (Fantasia) and Fugue in C minor (N. bk. 7 p. + 64). + Prelude (Fantasia) and Fugue in C major (N. bk. 9 p. + 156). + Prelude (Fantasia) and Fugue in E minor (N. bk. 8 p. + 98). + Prelude and Fugue in C major (N. bk. 3 p. 70). + + Three Toccatas and Fugues, in C major, the "Great" + (N. bk. 9 p. 137). + Toccata and Fugue D minor (N. bk. 6 p. 2). + Toccata and Fugue E major (N. bk. 8 p. 88, as Prelude + and Fugue in C major) + + Passacaglia, in C minor (N. bk. 10 p. 214). + + XVI. 1866 [1868]. Kirchencantaten. Siebenter Band. Ed. Wilhelm Rust. + + No. *61. Nun komm, der Heiden Heiland (1714). + 62. Nun komm, der Heiden Heiland (c. 1740). + 63. Christen, aetzet diesen Tag. + 64. Sehet, welch' eine Liebe. + *65. Sie werden aus Saba Alle kommen. + 66. Erfreut euch, ihr Herzen. + *67. Halt' im Gedachtniss Jesum Christ. + *68. Also hat Gott die Welt geliebt. + 69. Lobe den Herren, meine Seele. + *70. Wachet, betet, seid bereit allezeit. + +XVII. 1867 [1869]. Kammermusik. Zweiter Band. Ed. Wilhelm Rust. + + Seven Concertos, in D minor (and Variant),(487) E major (and + Variant), D major (and Variant), A major (and Variant), F + minor, F major, G minor, for Clavier and Orchestra (Strings; + two flutes added in Concerto VI. (P. bks. 248-254).(488) + Triple Concerto in A minor, for Flute, Violin, Clavier, and + Orchestra (Strings). (P. bk. 255). + +XVIII. 1868 [1870]. Kirchencantaten. Achter Band. Ed. Wilhelm Rust. + + No. 71. Gott ist mem Kueonig. + 72. Alles nur nach Gottes Willen. + 73. Herr, wie du willt, so schick's mit mir. + 74. Wer mich liebet, der wird mein Wort halten (? 1735). + 75. Die Elenden sollen essen. + 76. Die Himmel erzahlen die Ehre Gottes. + 77. Du sollst Gott, deinen Herren, lieben. + 78. Jesu, der du meine Seele. + *79. Gott, der Herr, ist Sonn' und Schild. + *80. Ein' feste Burg ist unser Gott. + + XIX. 1869 [1871]. Kammermusik. Dritter Band. Ed. Wilhelm Rust. + + Six Concertos ("Brandenburg") for Orchestra and Continuo:-- + + No. I. in F major (Strings, 3 Ob., Fag., 2 Cor. (P. bk. + 261).(489) + No. II. in F major (Strings, Flute, Oboe, Tromba) (P. bk. + 262). + No. III. in G major (Strings) (P. bk. 263). [N.B.G. IX. (3)]. + No. IV. in G major (Strings and 2 Flutes) (P. bk. 264). + No. V. in D major (Strings, Flute, Clavier) (P. bk. 265). + No. VI. in B flat major (2 Violas, 2 Violas da Gamba, + Violoncello, Contrabasso) (P. bk. 266). + +XX (1). 1870 [1872]. Kirchencantaten. Neunter Band. Ed. Wilhelm Rust. + + No. *81. Jesus schlaeft, was soll ich hoffen? + *82. Ich habe genug. + 83. Erf route Zeit im neuen Bunde. + 84. Ich bin vergnuegt mit meinem Gluecke. + 85. Ich bin ein guter Hirt. [Score, N.B.G. IX. (1)]. + 86. Wahrlich, wahrlich, ich sage euch. + 87. Bisher habt ihr nichts gebeten in meinem Namen. + 88. Siehe, ich will viel Fischer aussenden. [Score, N.B.G. + VII. (1)]. + 89. Was soll ich aus dir machen, Ephraim? + 90. Es reifet euch ein schrecklich Ende. + +XX (2). 1870 [1873]. Kammermusik fuer Gesang. Zweiter Band. Ed. Wilhelm + Rust. + + Secular Cantata: Schleicht, spielende Wellen. + Secular Cantata: Vereinigte Zwietracht der wechsehiden Saiten. + Secular Cantata: Auf, schmetternde Tone der muntern Trompeten. + [See B.G. XXXIV]. + +XXI (1). 1871 [1874]. Kammermusik. Vierter Band. Ed. Wilhelm Rust. + + Three Concertos for Violin and Orchestra (Strings):-- + + No. I. in A minor (P. bk. 229).(490) + No. II. in E major (P. bk. 230).(491) + No. III. in D minor (two Violins) (P. bk. 231).(492) + + Symphonic movement, in D major, for Violin and Orchestra + (Strings, 2 Ob., 3 Trombe, Timp.).(493) + +XXI (2). 1871 [1874]. Kammermusik. Fuenfter Band. Ed. Wilhelm Rust. + + Three Concertos for two Claviers and Orchestra (Strings):-- + No. I. in C minor (P. bk. 257). + No. II. in C major (P. bk. 256). + No. III. in C minor (P. bk. 257b).(494) + +XXI (3). 1871 [1874]. *0ster-0ratorium: "Kommt, eilet und laufet." Ed. + Wilhelm Rust. +XXII. 1872 [1875]. Kirchencantaten. Zehnter Band. Ed. Wilhelm Rust. + + No. 91. Gelobet seist du, Jesu Christ. + 92. Ich hab' in Gottes Herz und Sinn. + *93. Wer nur den lieben Gott laesst walten. + 94. Was frag ich nach der Welt. + 95. Christus, der ist mein Leben. + 96. Herr Christ, der ein'ge Gottes-Sohn. + 97. In allen meinen Thaten. + 98. Was Gott thut, das ist wohlgethan, in B major (c. 1732). + 99. Was Gott thut, das ist wohlgethan, in G major (c. 1733). + 100. Was Gott thut, das ist wohlgethan, in G major (c. 1735). + +XXIII. 1873 [1876]. Kirchencantaten. Elfter Band. Ed. Wilhelm Rust. + + No. 101. Nimm von uns, Herr, du treuer Gott. + 102. Herr, deine Augen sehen nach dem Glauben. + 103. Ihr werdet weinen und heulen. + *104. Du Hirte Israel, hoere. + 105. Herr, gehe nicht in's Gericht. + *106. Gottes Zeit ist die allerbeste Zeit (Actus tragicus). + 107. Was willst du dich betrueben. + 108. Es ist euch gut, dass ich hingehe. + 109. Ich glaube, lieber Herre. + 110. Unser Mund sei voll Lachens. + +XXIV. 1874 [1876]. Kirchencantaten. Zwoelfter Band. Ed. Alfred Doerffel. + + No. 111. Was mein Gott will, das g'scheh' allzeit. + *112. Der Herr ist mein getreuer Hirt. + 113. Herr Jesu Christ, du hoechstes Gut. + 114. Ach, lieben Christen, seid getrost. + *115. Mache dich, mem Geist, bereit. + *116. Du Friedefuerst, Herr Jesu Christ. + 117. Sei Lob und Ehr' dem hoechsten Gut. + 118. O Jesu Christ, mein's Lebens Licht.(495) + *119. Preise, Jerusalem, den Herrn. + 120. Gott, man lobet dich in der Stille. + +XXV (1). 1875 [1878]. Die Kunst der Fuge: 1749-1750 Ed. Wilhelm Rust. (P. + bk. 218) + + Contrapunctus 1-14 + Four Canons I + Two Fugues for two Claviers) + Fugue on three subjects ) + +XXV (2) 1875 [1878], Orgelwerke. Zweiter Band. Ed. Wilhelm Rust. + + (1) Orgelbuechlein (N. bk. 15), containing Preludes on the + following melodies:(496) + + _ Advent--_ + + 1. Nun komm der Heiden Heiland. + 2. Gott, durch deine Guete, or, Gottes Sohn ist + kommen. + 3. Herr Christ, der ein'ge Gottes-Sohn, or, Herr + Gott, nun sei gepreiset. + 4. Lob sei dem allmaechtigen Gott. + + _ Christmas--_ + + 5. Puer natus in Bethlehem. + 6. Gelobet seist du, Jesu Christ. + 7. Der Tag, der ist so freudenreich. + 8. Vom Himmel hoch, da komm' ich her. + 9. Vom Himmel kam der Engel Schaar. + 10. In dulci jubilo. + 11. Lobt Gott, ihr Christen, allzugleich. + 12. Jesu, meine Freude. + 13. Christum wir sollen loben schon. + 14. Wir Christenleut'. + + _ New Year--_ + + 15. Helft mir Gottes Guete preisen. + 16. Das alte Jahr vergangen ist. + 17. In dir ist Freude. + + _ Feast of the Purification of the B.V.M.--_ + + 18. Mit Fried' und Freud' ich fahr' dahin. + 19. Herr Gott, nun schleuss den Himmel auf. + + _ Passiontide--_ + + 20. O Lamm Gottes, unschuldig. + 21. Christe, du Lamm Gottes. + 22. Christ us, der uns selig macht. + 23. Da Jesus an dem Kreuze stund. + 24. O Mensch, bewein' dein' Suende gross. + 25. Wir danken dir, Herr Jesu Christ. + 26. Hilf Gott, dass mir's gelinge. + + _ Easter--_ + + 27. Christ lag in Todesbanden. + 28. Jesus Christus, unser Heiland, der den Tod. + 29. Christ ist erstanden (three verses). + 30. Erstanden ist der heil'ge Christ. + 31. Erschienen ist der herrliche Tag. + 32. Heut' triumphiret Gottes Sohn. + + _ Whitsunday--_ + + 33. Komm, Gott, Schoepfer, heiliger Geist. + + _ Trinity Sunday--_ + + 34. Herr Jesu Christ, dich zu uns wend'. + 35-6. Liebster Jesu, wir sind hier (two settings). + + _ The Catechism--_ + + 37. Dies sind die heil'gen zehn Gebot. + 38. Vater unser im Himmelreich. + + _ Penitence and Amendment--_ + + 39. Durch Adam's Fall ist ganz verderbt. + 40. Es ist das Heil uns kommen her. + + _ Christian Conduct and Experience--_ + + 41. Ich ruf' zu dir, Herr Jesu Christ. + + _ In Time of Trouble--_ + + 42. In dich hab' ich gehoffet, Herr. + 43. Wenn wir in hoechsten Nothen sein. + 44. Wer nur den lieben Gott laesst walten. + + _ Death and the Grave--_ + + 45. Alle Menschen muessen sterben. + + _ The Life Eternal--_ + + 46. Ach wie nichtig, ach wie fluechtig. + + (2) Six Chorals (Schuebler) (N. bk. 16) on the following + melodies: + + Wachet auf, ruft uns die Stimme. + Wo soll ich fliehen hin, _or_, Auf meinen lieben Gott. + Wer nur den lieben Gott laesst walten. + Meine Seele erhebt den Herren. + Ach bleib bei uns, Herr Jesu Christ. + Kommst du nun, Jesu, vom Himmel herunter. + + (3) Eighteen Chorals (N. bk. 17) on the following melodies: + + 1., 2. Komm, heiliger Geist, Herre Gott (two settings). + 3. An Wasserfluessen Babylon. + 4. Schmuecke dich, O liebe Seele. + 5. Herr Jesu Christ, dich zu uns wend'. + 6. O Lamm Gottes unschuldig (three verses). + 7. Nun danket Alle Gott. + 8. Von Gott will ich nicht lassen. + 9, 10, 11. Nun komm der Heiden Heiland (three settings). + 12, 13, 14. Allein Gott in der Hoeh' sei Ehr' (three settings). + 15, 16. Jesus Christus, unser Heiland, der von uns (two + settings). + 17. Komm, Gott, Schoepfer, heiliger Geist. + 18. Vor deinen Thron tret' ich, or, Wenn wir in hoechsten + Noethen sein. + + (4) Older texts of the "Orgelbuelein" and "Eighteen" Chorals: + + 1. Christus, der uns selig macht (Orgelbuelein No. 22) (P. + bk. 244 p. 108). + 2. Komm, Gott, Schoepfer, heiliger Geist (Orgelbuelein No. + 33) (P. bk. 246 p. 86A). + 3. Komm, heiliger Geist, Herre Gott (Eighteen No. 1) (P. + bk. 246 p. 86). + 4. Ditto (Eighteen No. 2) (P. bk. 246 p. 88). + 5. An Wasserfluessen Babylon (Eighteen No. 3) (P. bk. 245 p. + 103). + 6. Herr Jesu Christ, dich zu uns wend' (Eighteen No. 5) (P. + bk. 245 pp. 107, 108 prints two of the three Variants). + 9. O Lamm Gottes unschuldig (Eighteen No. 6)(P. bk. 246 p. + 97). + 10. Von Gott will ich nicht lassen (Eighteen No. 8) (P. bk. + 246 p. 102). + 11. Nun komm der Heiden Heiland (Eighteen No. 9) (P. bk. 246 + p. 92). + 12. Ditto (Eighteen No. 10) (P. bk. 246 pp. 93, 94). + 14. Ditto (Eighteen No. 11) (P. bk. 246 p. 96). + 15. Allein Gott in der Hoeh' sei Ehr' (Eighteen No. 13) (P. + bk. 245 p. 100). + 16. Allein Gott in der Hoe' sei Ehr' (Eighteen No. 14) (P. + bk. 245 p. 97). + 17. Jesus Christus unser Heiland (Eighteen No. 15) (P. bk. + 245 p. 112). + +XXVI. 1876 [1878]. Kirchencantaten. Dreizehnter Band. Ed. Alfred Doerffel. + + 121. Christum wir sollen loben schon. + 122. Das neugebor'ne Kindelein. + 123. Liebster Immanuel, Herzog der Frommen. + 124. Meinen Jesum lass' ich nicht. + 125. Mit Fried' und Freud' ich fahr' dahin. + 126. Erhalt' uns, Herr, bei deinem Wort. + 127. Herr Jesu Christ, wahr'r Mensch und Gott. + 128. Auf Christi Himmelfahrt allein. + 129. Gelobet sei der Herr. + 130. Herr Gott, dich loben alle wir. + +XXVII (1). 1877 [18791. Kammermusik. Sechster Band. Ed. Alfred Doerffel. + + Three Sonatas (Suites), in G minor, A minor,(497) C + major,(498) for Violin Solo (Nos. 1, 3, 5 in P. bk. 228). + Three Partitas (Suites, Sonatas), in B minor, D minor, E + major,1 for Violin Solo (Nos. 2, 4, 6 in P. bk. 228). + Six Suites (Sonatas), in G major, D minor, C major, E flat + major, C minor, D major, for Violoncello Solo (P. bks. 238a, + 238). + +XXVII (2). 1877 [1878]. Thematisches Verzeichniss der Kirchencantaten No. + 1-120. Ed. Alfred Doerffel. + + [Note.--The Thematic Catalogue is completed in B.G. XLVI. (P. bk. + 270b).] + +XXVIII. 1878 [1881]. Kirchencantaten. Vierzehnter Band Ed. Wilhelm Rust. + + 131. Aus der Tiefe rufe ich, Herr, zu dir. + 132. Bereitet die Wege, bereitet die Bahn. + 133. Ich freue mich in dir. + 134. Ein Herz, das seinen Jesum lebend weiss [and Variant]. + 135. Ach Herr, mich armen Sunder. + 136. Erforsche mich, Gott. + 137. Lobe den Herren, den maechtigen Kueonig. + 138. Warum betruebst du dich, mein Herz? + 139. Wohl dem, der sioh auf seinen Gott. + *140. Wachet auf, ruft uns die Stimme.(499) Mit Gnaden bekrone der + Himmel die Zeiten (No. 134 adapted). + +XXIX. 1879 [1881]. Kammermusik fuer Gesang, Dritter Band. Ed. Paul Graf + Waldersee. + + Secular Cantata: Was mir behagt, ist nur die muntre Jagd. + Secular Cantata: Non sa che sia dolore. + Secular Cantata: O holder Tag, erwuenschte Zeit (Wedding). + Church Cantata No. 194: Hochsterwuenschtes Freudenfest. + Secular Cantata: Schweigt stille, plaudert nicht. + Secular Cantata: Mer hahn en neue Oberkeet. + Secular Cantata: Mit Gnaden bekroene der Himmel die Zeiten. + Secular Cantata: O angenehme Melodei. + Instrumental Piece for Violin, Flute, and Continuo. (Not in + P.). + + XXX. 1880 [1884]. Kirchencantaten. Fuenfzehnter Band. Ed. Paul Graf + Waldersee. + + 141. Das ist je gewisslich wahr. + 142. Uns ist ein Kind geboren. + 143. Lobe den Herren, meine Seele. + 144. Nimm, was dein ist, und gehe hin. + 145. So du mit deinem Munde bekennest Jesum. + 146. Wir muessen durch viel Truebsal in das Reich Gottes + eingehen. + 147. Herz und Mund und That und Leben. + 148. Bringet dem Herrn Ehre seines Namens. + *149. Man singet mit Freuden vom Sieg. + 150. Nach dir, Herr, verlanget mich. + +XXXI (1). 1881 [1885] Orchesterwerke. Ed. Alfred Doerffel. (P. bk. 219) + + Overture in C major (Strings, Ob. 1 and 2, Fagotto) (P. bk. + 267). + Overture B minor (Strings, Flauto traverso) (P. bk. 268). + Overture D major (Strings, Ob. 1 and 2, Trombe 1, 2, 3, + Timpani) (P. bk. 269). + Overture D major (Strings, Ob. 1, 2, 3, Fagotto, Trombe 1, 2, + 3, Timpani) (P. bk. 2068). + Sinfonia in F major (Strings, Ob. 1, 2, 3, Fagotto, Corno da + caccia 1 and 2).(500) + +XXXI (2). 1881 [1885] Musikalisches Opfer. 1747. Ed. Alfred Doerffel. + + Ricercare a tre voci. + Canon perpetuus super thema regium. + Canones diversi 1-5. + Fuga canonica in Epidiapente. + Ricercare a sei voci. + Two Canons. + Sonata in C minor, for Flute, Violin, Clavier + Canone perpetuo (Flute, Violin, Clavier)(501) + +XXXI (3). 1881 [1885]. Kammermusik. Siebenter Band. Ed. Paul Graf + Waldersee. + + Two Concertos for three Claviers and Orchestra (Strings): No. + 1 in D minor (P. bk. 258).(502) + No. 2 in C major (P. bk. 259).).(503) + +XXXII. 1882 [1886]. Kirchencantaten. Sechzehnter Band. Ed. Ernst Naumann. + + 151. Suesser Trost, mein Jesus kommt. + *152. Tritt auf die Glaubensbahn. + 153. Schau', lieber Gott, wie meine Feind'. + 154. Mein liebster Jesus ist verloren. + 155. Mein Gott, wie lang', ach lange. + 156. Ich steh' mit einem Fuss im Grabe. + 157. Ich lasse dich nicht. + 158. Der Friede sei mit dir. + 159. Sehet, wir geh'n binauf gen Jerusalem. + 160. Ich weiss, das mein Erloeser lebt. + +XXXIII. 1883 [1887]. Kirchencantaten. Siebzehnter Band: Ed. Franz Wuelner. + + 161. Komm, du suesse Todesstunde. + 162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe. + 163. Nur Jedem das Seine. + 164. Ihr, die ihr euch von Christo nennet. + 165. O heil'ges Geist- und Wasserbad. + 166. Wo gehest du bin? + *167. Ihr Menschen, ruehmet Gottes Liebe. + 168. Thue Rechnung! Donnerwort. + 169. Gott soll allein mein Herze haben. + 170. Vergnuegte Ruh', beliebte Seelenlust. + +XXXIV. 1884 [1887]. Kammermusik fuer Gesang. Vierter Band. Ed. Paul Graf + Waldersee. + + Secular Cantata: Durchlaucht'ster Leopold. + Secular Cantata: Schwingt freudig euch empor, _or_, Die Freude + reget sich. + Secular Cantata: Hercules auf dem Scheidewege, _or_, Lasst uns + sorgen, lasst uns wachen. + Secular Cantata: Toenet, ihr Pauken! Erschallet, Trompeten. + Secular Cantata: Preise dein Gluecke, gesegnetes Sachsen. + Secular Cantata: Angenehmes Wiederau. + Secular Cantata: Auf, schmetternde Toene der muntern + Trompeten.(504) + +XXXV. 1885 [1888]. Kirchencantaten. Achtzehnter Band. Ed. Alfred Doerffel. + + 171. Gott, wie dein Name, so ist auch dein Ruhm. + 172. Erschallet, ihr Lieder. + 173. Erhoetes Fleisch und Blut. + 174. Ich liebe den Hoechsten von ganzem Gemuethe. + 175. Er rufet seinen Schafen mit Namen. + 176. Es ist ein trotzig und verzagt Ding. + 177. Ich ruf' zu dir, Herr Jesu Christ. + 178. Wo Gott der Herr nicht bei uns haelt. + 179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei. + *180. Schmuecke dich, O liebe Seele. + +XXXVI. 1886 [1890]. Clavierwerke. Vierter Band. Ed. Ernst Naumann. + + 1. Suite in A minor (Appendix version in P. bk. 214). + 2. Suite in E flat major (P. bk. 214).(505) + 3. Suite (Overture), in F major (P. bk. 215). + 4. Sonata in D major (P. bk. 215). + 10. Chromatic Fantasia and Fugue in D minor (P. bk. 207). + 11. Fantasia and Fugue in A minor (P. bk. 208). + 12. Prelude and Fugue in E flat major (not in P.). + 13. Prelude and Fugue in A minor (P. bk. 211). + 14. Prelude and Fugue in A minor (P. bk. 200). + 15. Prelude and Fughetta in D minor (P. bk. 200). + 16. Prelude and Fughetta in E minor (P. bk. 200). + 17. Prelude and Fughetta in F major (P. bk. 214).(506) + 18. Do. do. G major (P. bk. 214).(507) + 19. Twelve Preludes for Beginners (P. bk. 200). 20 Six Little + Preludes (P. bk. 200). + 21. Prelude in C major (for Organ, N. bk. 12 p. 94). + 22. Do. (Fantasia) in C minor (not in P.). + 23. Do. do. in A minor (P. bk. 215). + 24. Fantasia in G minor (P. bk. 215). + 25. Do. C minor (P. bk. 207). + 26. Do. (on a Rondo), in C minor (not in P.). + 27. Do. C minor (P. bk. 212). + 28. Fughetta in C minor (two-parte) (P. bk. 200). + 29. Fugue in E minor (P. bk. 212). + 30. Do. A major (P. bk. 212). + 31. Do. C major (for Organ, N. bk. 12 p. 100). + 32. Do. A minor (P. bk. 212). + 33. Do. D minor (P. bk. 212 p. 61). + 34. Do. A major (P. bk. 215 p. 52). + 35. Do. A major (P. bk. 215 p. 57). + 36. Do. B minor (Theme by Albinoni) (P. bk. 214). + 37. Do. C major (P. bk. 200 p. 54). + 38. Do. C major (P. bk. 200 p. 56). + 39. Do. D minor (P. bk. 212 p. 59). + 40. Capriccio in B flat major, sopra la lontananza del suo + fratello dilettissimo (P. bk. 208). + 41. Do. E major, in honorem J.C.Bach (P. bk. 215). + 42. Aria variata in A minor (P. bk. 215). + 43. Three Minuets, in G major, G minor, G major (P. bk. 215). + 44. Fragment of a Suite in F minor (P. bk. 212). + 45. Do. do. A major (P. bk. 1959, p. 3). + 46. Prelude, Gavotte II, and Minuet in E flat major.(508) + 47. Two Minuet-Trios, in C minor and B minor.(509) + 48. "Applicatio" in C major.(510) + 49. Prelude in A minor (not in P.). + 50. Do. (unfinished) in E minor (not in P.). + 51. Fugue (unfinished) in C minor (P. bk. 212 p. 88). (511) + +XXXVII. 1887 [1891]. Kirchencantaten. Neunzehnter Band. Ed. Alfred + Doerffel. + + 181. Leichtgesinnte Flattergeister. + 182. Himmelskoenig, sei willkommen. + 183. Sie werden euch in den Bann thun (?1735). + 184. Erwuenschtes Freudenlicht. + 185. Barmherziges Herze der ewigen Liebe. + 186. Aergre dich, 0 Seele, nicht. + 187. Es wartet Alles auf dich. + 188. Ich habe meine Zuversicht.(512) + 189. Meine Seele ruehmt und preist. + *190. Singet dem Herrn ein neues Lied. + +XXXVIII. 1888 [1891]. Orgelwerke. Dritter Band. Ed. Ernst Naumann. + + 1. Prelude and Fugue in C minor (N. bk. 2 p. 48). + 2. Prelude and Fugue in G major (N. bk. 7 p. 80). + 3. Prelude and Fugue in A minor (N. bk. 10 p. 208). + 4. Eight Short Preludes and Fugues in C major, D minor, E minor, + F major, G major, G minor, A minor, B flat major (N. bk. 1). + 5. Fantasia and Fugue in A minor (N. bk. 12 p. 60). + 6. Fantasia con Imitazione in B minor (N. bk. 12 p. 71). + 7. Fantasia in C major (N. bk. 12 p. 92). + 8. Fantasia in C minor (N. bk. 3 p. 57). + 9. Fantasia in G major (N. bk. 12 p. 75). + 10. Fantasia in G major (N. bk. 9 p. 168). + 11. Prelude in C major (N. bk. 12 p. 91). + 12. Prelude in G major (N. bk. 2 p. 30). + 13. Prelude in A minor (N. bk. 10 p. 238). + 14. Fugue (Theme by Legrenzi) in C minor (and Variant) (N. bk. 10 + p. 230). + 15. Fugue in C minor (N. bk. 12 p. 95). 16" Do. G major (N. bk. 12 + p. 86). + 17. Fugue G major (N. bk. 12 p. 55). + 18. Fugue G minor (N. bk. 3 p. 84). + 19. Fugue B minor (Theme by Corelli) (N. bk. 3 p. 60). + 20. Canzona in D minor (N. bk. 2 p. 34). + 21. Allabreve in D major (N. bk. 2 p. 26). + 22. Pastorale in F major (N. bk. 12 p. 102). + 23. Trio in D minor (N. bk. 2 p. 54). + 24. Four Concertos after Antonio Vivaldi:(513) + + No. 1, in G major (N. bk. 11 no. I).(514) + No. 2, in A minor (N. bk. 11 no. 2).(515) + No. 3, in C major (N. bk. 11 no. 3). + No. 4, in C major (N. bk. 11 no. 4). + + 25. Fantasia (incomplete) in C major (not in N. or P.).(516) + 26. Fugue (incomplete) in C minor (not in N. or P.). + 27. Pedal Exercise in G minor (not in N. or P.). + 28. Fugue (authenticity doubtful) in C major (not in N. or P.). + 29. Fugue (authenticity doubtful) in D major (N. bk. 12 p. + 83).(517) + 30. Fugue (authenticity doubtful) in G minor (N. bk. 2 p. 41). + 31. Trio in C minor (N. bk. 12 p. 108). + 32. Aria in F major (N. bk. 12 p. 112). + 33. Kleinea harmonisches Labyrinth (authenticity doubtful) (P. bk. + 2067 p. 16) (not in N.). + +XXXIX. 1889 [1892]. Motetten, Choraele und Lieder. Ed. Franz Wuellner. + + (1) Motets: + + Motet: *Singet dem Herrn ein neues Lied. + Motet: *Der Geist hilft unsrer Schwachheit auf.(518) + Motet: *Jesu, meine Freude. + Motet: *Fuerchte dich nicht, ich bin bei dir. + Motet: *Komm, Jesu, komm. + Motet: * Lobet den Herrn, alle Heiden. + Motet: *Ich lasse dich nicht, du segnest mich denn (by + Johann Christoph Bach). + Motet: *Sei Lob und Preis mit Ehren (the second number, + Nun lob' mein' Seel' den Herrn, of Cantata 28). + + (2) 185 Chorals harmonised by Bach, from the collection made by + Carl Philipp Emmanuel Bach:(519) + + 1 (1). Ach bleib' bei uns, Herr Jesu Christ. + 2 (2). Ach Gott, erhoer' mein Seufzen und Wehklagen. + 3 (3). Ach Gott und Herr, wie gross und schwer. + 4 (385). Ach lieben Christen, seid getrost (Wo Gott der Herr + nicht bei uns haelt). + 5 (388). Waer' Gott nicht mit uns diese Zeit (Wo Gott der Herr + nicht bei uns haelt).(520) + 6 (383). Wo Gott der Herr nicht bei uns haelt. + 7(10). Ach, was soll ich Suender machen. + 8 (12). Allein Gott in der Hoeh' sei Ehr. + 9 (15). Allein zu dir, Herr Jesu Christ. + 10 (17). Alle Menschen muessen sterben. + 11 (19). Alles ist an Gottes Segen. + 12(20). Als der guetige Gott. + 13 (21). Als Jesus Christus in der Nacht. + 14 (22). Als vierzig Tag' nach Ostern war'n. + 15 (23). An Wassernuessen Babylon. + 16(24). Auf, auf mein Herz. + 17 (30). Aus meines Herzens Grunde. + 18 (157). Befiehl du deine Wege (Herzlich thut mich + verlangen). + 19 (158). Ditto. + 20 (32). Befiehl du deine Wege. + 21 (33). Christ, der du bist der helle Tag. + 22 (34). Christe, der du bist Tag und Licht. + 23 (35). Christe, du Beistand deiner Kreuzgemeinde. + 24 (36). Christ ist erstanden. + 25 (38). Christ lag in Todesbanden. + 26(39). Ditto. + 27 (43). Christ, unser Herr, zum Jordan kam. + 28 (46). Christus, der ist mein Leben. + 29 (47). Ditto. + 30 (48). Christus, der uns selig macht. + 31 (51). Christus ist erstanden. + 32 (52). Da der Herr zu Tische sass. + 33 (53). Danket dem Herren, denn er ist sehr freundlich. + 34 (54). Dank sei Gott in der Hoehe. + 35 (55). Das alte Jahr vergangen ist. + 36 (56). Ditto. + 37 (57). Das walt' Gott Vater und Gott Sohn. + 38 (58). Das walt' mein Gott, Vater, Sohn. + 39 (59). Den Vater dort oben. + 40 (60). Der du bist drei in Einigkeit. + 41 (61). Der Tag, der ist so freudenreich. + 42 (62). Des heil'gen Geistes reiche Gnad'. + 43 (63). Die Nacht ist kommen. + 44 (64). Die Sohn' hat sich mit ihrem Glanz. + 45 (65). Dies sind die heil'gen zehn Gebot. + 46 (67). Dir, dir, Jehovah, will ich singen (Bach's melody). + 47 (70). Du grosser Schmerzensmann. + 48 (71). Du, 0 schoenes Weltgebaeude. + 49 (74). Ein' feste Burg ist unser Gott. + 50 (75). Ditto. + 51 (77). Eins ist noth, ach Herr, dies Eine. + 52 (78). Erbarm' dich mein, 0 Herre Gott. + 53 (85). Erstanden ist der heil'ge Christ. + 54 (262). Est ist gewisslich an der Zeit (Nun freut euch, + lieben Christen g'mein). + 55 (92). Es spricht der Unweisen Mund wohl. + 56 (93). Es steh'n vor Gottes Throne. + 57 (94). Es wird schier der letzte Tag herkommen. + 58 (95). Es wol' uns Gott genaedig sein. + 59 (96). Ditto. + 60 (106). Fuer Freuden lasst uns springen. + 61 (107). Gelobet seist du, Jesu Christ. + 62 (111). Gieb dich zufrieden und sei stille (Bach's melody). + 63 (112). Gott, der du selber bist das Licht. + 64 (113). Gott der Vater wohn' uns bei. + 65 (115). Gottes Sohn ist kommen. + 66 (116). Gott hat das Evangelium. + 67 (117). Gott lebet noch. + 68 (118). Gottlob, es geht nunmehr zum Ende. + 69 (119). Gott sei gelobet und gebenedeiet. + 70 (120). Gott sei uns gnaedig und barmherzig. + 71 (121). Meine Seele erhebet den Herrn. + 72 (123a). Heilig, Heilig, Heilig! + 73 (129). Herr Gott, dich loben alle wir. + 74 (132). Fuer deinen Thron tret' ich hiermit (Herr Gott dich + loben alle wir). + 75 (133). Herr Gott dich loben wir. + 76 (136). Herr, ich denk' an jene Zeit. + 77 (137). Herr, ich habe missgehandelt. + 78 (138). Ditto. + 79 (139). Herr Jesu Christ, dich zu uns wend'. + 80 (140). Herr Jesu Christ, du hast bereit't. + 81 (141). Herr Jesu Christ, du hoechstes Gut. + 82 (145). Herr Jesu Christ, mein's Lebens Licht. + 83 (146). Herr Jesu Christ, wahr' Mensch und Gott. + 84 (148). Herr, nun lass in Friede. + 85 (149). Herr, straf' mich nicht in deinem Zorn. + 86 (151). Herr, wie du willst, so Schick's mit mir. + 87 (152). Herzlich lieb hab' ich dich, 0 Herr. + 88 (170). Heut' ist, O Mensch, ein grosser Trauertag. + 89 (171). Heut' triumphiret Gottes Sohn. + 90 (172). Hilf, Gott, dass mir's gelinge. + 91 (173). Hilf, Herr Jesu, lass gelingen. + 92 (174). Ich bin ja, Herr, in deiner Macht (Bach's melody). + 93 (175). Ich dank' dir, Gott, fuer all' Wohlthat. + 94 (176). Ich dank' dir, lieber Herre. + 95 (177). Ditto. + 96 (179). Ich dank' dir schon durch deinen Sohn. + 97 (180). Ich danke dir, O Gott, in deinem Throne. + 98 (182). Ich hab' mein' Sach' Gott heimgestellt. + 99 (185). Jesu, der du meine Seele. + 100 (186). Ditto. + 101 (187). Ditto. + 102 (189). Jesu, der du selbst so wohl. + 103 (190). Jesu, du mein liebstes Leben. + 104 (191). Jesu, Jesu, du bist mein (Bach's melody). + 105 (195). Jesu, meine Freude. + 106 (363). Jesu, meiner Seelen Wonne (Werde munter, mein + Gemuethe). + 107 (364). Ditto. + 108 (202). Jesu, meines Herzens Freud'. + 109 (203). Jesu, nun sei gepreiset. + 110 (206). Jesus Christus, unser Heiland, der von uns. + 111 (207). Jesus Christus, unser Heiland, der den Tod. + 112 (208). Jesus, meine Zuversicht. + 113 (210). Ihr Gestirn', ihr hohlen Luefte. + 114 (211). In allen meinen Thaten. + 115 (215). In dulci jubilo. + 116 (217). Keinen hat Gott verlassen. + 117 (218). Komm, Gott, Schoepfer, heiliger Geist. + 118 (225). Kyrie! Gott Vater in Ewigkeit. + 119 (226). Lass, O Herr, dein Ohr sich neigen. + 120 (228). Liebster Jesu, wir sind hier. + 121 (232). Lobet den Herren, denn er ist sehr freundlich. + 122 (233). Lobt Gott, ihr Christen allzugleich. + 123 (234). Ditto. + 124 (237). Mach's mit mir, Gott, nach deiner Guet.' + 125 (240). Mein' Augen schliess' ich jetzt. + 126 (241). Meinen Jesum lass' ich nicht, Jesus. + 127 (242). Meinen Jesum lass' ich nicht, weil. + 128 (248). Meines Lebens letzte Zeit. + 129 (249). Mit Fried' und Freud' ich fahr' dahin. + 130 (252). Mitten wir im Leben sind. + 131 (253). Nicht so traurig, nicht so sehr (Bach's melody). + 132 (254). Nun bitten wir den heiligen Geist. + 133 (257). Nun danket Alle Gott. + 134 (260). Nun freut euch, Gottes Kinder all. + 135 (261). Nun freut euch, lieben Christen g'mein. + 136 (269). Nun lob', mein' Seel', den Herren. + 137 (270). Ditto. + 138 (273). Nun preiset alle Gottes Barmherzigkeit. + 139 (298). Nun ruhen alle Waelder (0 Welt, ich muss dich + lassen) + 140 (289). 0 Welt, sieh' hier dein Leben (O Welt, ich muss + dich lassen). + 141 (290). Ditto. + 142 (291). Ditto. + 143 (274). Nun sich der Tag geendet hat. + 144 (275). O Ewigkeit, du Donnerwort. + 145 (277). O Gott, du frommer Gott (1679 tune). + 146(282). Ditto (1693 tune). + 147 (284). O Herzensangst, O Bangigkeit und Zagen (Bach's + melody). + 148 (285). 0 Lamm Gottes, unschuldig. + 149 (286). O Mensch, bewein' dein Suende gross. + 150 (287). 0 Mensch, schau' Jesum Christum an. + 151 (288). 0 Traurigkeit, 0 Herzeleid. + 152 (299). O wie selig seid ihr doch, ihr Frommen (1649). + 153 (300). Ditto (1566). + 154 (301). O wir armen Suender. + 155 (303). Schaut, ihr Suender. + 156(306). Seelenbraeutigam, Jesu, Gottes Lamm. + 157 (307). Sei gegruesset, Jesu guetig. + 158 (309). Singt dem Herrn ein neues Lied. + 159 (310). So giebst du nun, mein Jesu, gute Nacht. + 160 (311). Sollt' ich meinem Gott nicht singen. + 161 (313). Uns ist ein Kindlein heut' gebor'n. + 162 (314). Valet will ich dir geben. + 163 (316). Vater unser im Himmelreich. + 164 (324). Von Gott will ich nicht lassen. + 165 (325). Ditto. + 166 (326). Ditto. + 167 (331). Warum betruebst du dich, mein Herz. + 168 (332). Ditto. + 169 (334). Warum sollt' ich mich denn graemen. + 170 (336). Was betruebst du dich, mein Herze (Bach's melody). + 171 (337). Was bist du doch, 0 Seele, so betruebet. + 172 (349). Was willst du dich, 0 meine Seele. + 173 (351). Weltlich Ehr' und zeitlich Gut. + 174 (352). Wenn ich in Angst und Noth. + 175 (353). Wenn mein Stuendlein vorhanden ist. + 176 (354). Ditto. + 177 (355). Ditto. + 178 (358). Wenn wir in hoechsten Noethen sein. + 179 (359). Ditto. + 180 (366). Wer Gott vertraut, hat wohlgebaut. + 181 (367). Wer nur den lieben Gott laesst walten. + 182 (374). Wie bist du, Seele, in mir so gar betruebt. + 183 (375). Wie schoen leuchtet der Morgenstern. + 184 (382). Wir glauben all' an einen Gott, Schoepfer. + 185 (389). Wo Gott zum Haus nicht gibt sein' Gunst. + + (3) Seventy-five Chorals harmonised by Bach:(521) + + *1 (S). Ach, dass ich nicht die letzte Stunde. + 2 (S). Auf, auf! die rechte Zeit ist hier. + 3 (S). Auf, auf! mein Herz, mit Freuden. + 4 (S). Beglueckter Stand getreuer Seelen. + *5 (S). Beschraenkt, ihr Weisen dieser Welt. + 6 (S). Brich entzwei, mein armes Herze. + 7 (S). Brunnquell aller Gueter. + 8 (S). Der lieben Sonne Lacht und Pracht. + 9 (S). Der Tag ist hin, die Sonne gehet nieder. + 10 (S). Der Tag mit seinem Lichte. + *11 (S). Dich bet' ich an, mein hoechster Gott. + 12 (S). Die bitt're Leidenszeit beginnet. + 13 (S). Die gold'ne Sonne, voll Freud' und Wonne. + *14 (S). Dir, dir, Jehova, will ich singen. + *15 (S). Eins ist noth, ach Herr, dies Eine. + 16 (S). Ermuntre dich, mein schwacher Geist. + 17 (S). Erwuergtes Lamm, das die verwahrten Siegel. + 18 (S). Es glaenzet der Christen inwendiges Leben. + 19 (S). Es ist nun aus mit meinem Leben. + 20 (S). Es ist vollbracht! Vergiss ja nicht dies Wort. + 21 (S). Es kostet viel, ein Christ zu sein. + *22. Gieb dich zufrieden und sei stille (erste Composition). + *23. Ditto. (zweite Composition).(522) + 24 (S). Ditto. (dritte Composition). + 25 (S). Gott lebet noch! Seele, was verzagst du doch? + *26 (S). Gott, wie gross ist deine Guete. + 27 (S). Herr, nicht schricke deine Rache. + *28 (S). Ich bin ja, Herr, in deiner Macht. + 29 (S). Ich freue mich in dir. + *30 (S). Ich halte treulich still. + 31 (S). Ich lass' dich nicht. + 32 (S). Ich liebe Jesum alle Stund'. + *33 (8). Ich steh' an deiner Krippen hier. + *34 (8). Jesu, Jesu, du bist mein. + 35 (S). Jesu, deine Liebeswunden. + 36 (8). Jesu, meines Glaubens Zier. + 37 (8). Jesu, meines Herzens Freud'. + 38 (8). Jesus ist das schoenste Licht. + 39 (8). Jesus, unser Trost und Leben. + 40 (8). Ihr Gestirn', ihr hohlen Luefte. + 41 (8). Kein Stuendlein geht dahin. + *42 (8). Komm, suesser Tod, komm, sel'ge Ruh'! + *43 (8). Kommt, Seelen, dieser Tag. + *44 (8). Kommt wieder aus der finst'ren Gruft. + 46 (8). Lasset uns mit Jesu ziehen. + 46 (S). Liebes Herz, bedenke doch. + 47 (8). Liebster Gott, wann werd' ioh sterben. + *48 (S). Liebeter Herr Jesu, wo bleibst du so lange. + 49 (S). Laebster Immanuel. + 60 (S). Mein Jesu, dem die Seraphinen. + *61 (S). Mein Jesu, was fuer Seelenweh. + 62 (S). Meines Lebens letzte Zeit. + *63 (S). Nicht so traurig, nicht so sehr. + 64 (S). Nur mein Jesus 1st mein Leben. + 66 (S). O du Liebe, meiner Liebe. + 66. O Ewigkeit, du Donnerwort. + *67 (S). O finst're Nacht, wann wirst du doch vergehen. + 68 (S). O Jesulein suess, O Jesulein mild. + *69 (S). O liebe Seele, zieh' die Sinnen. + 60 (8). O wie selig seid ihr doch. + *61. Schaffs mit mir, Gott, naoh deinem Willen. + 62 (8). Seelenbraeutigam, Jesu, Gottes Lamm. + 63 (8). Seelenweide, meine Freude. + 64 (S). Selig, wer an Jesum denkt. + 66 (8). Sei gegruesset, Jesu guetig. + 66 (8). So gehest du nun, mein Jesu, hin. + 67 (8). So giebst du nun, mein Jesu, gute Nacht. + 68 (8). So wuensch' ich mir zu guter Letzt. + 69 (S). Steh' ioh bei meinein Gott. + 70 (8). Vergiss mein nioht, date ich dein nicht + vergesse. + *71 (S). Vergiss mein nicht, mein allerliebster Gott. + *72. Warum betruebst du dich und beugest. + 73 (S). Was bist du doch, 0 Seele, so betruebet. + *74. Wie wohl ist mir, 0 Freund der Seelen. + 75 (S). Wo ist mein Schaeflein, das ich liebe.(523) + + (4) Five Arias from Anna Magdalena Bach's "Notenbuch" (1725)"(524) + + *1. So oft ich meine Tabakspfeife. + *2. Bist bu bei mir. + *3. Gedenke doch, mein Geist, zuruecke. + 4. Gieb dich zufrieden und sei stille. + 5. Willst du dein Herz mir schenken (Aria di Giovannini). + + XL. 1890 [1893]. Orgelwerke. Vierter Band. Ed. Ernst Naumann. + + (1) Choral Preludes, from Kirnberger's collection.(525) + + 1. Wer nur den lieben Gott laesst walten (N. bk. 19 p. 21). + 2. Ditto (N. bk. 19 p. 22). + 3. Ach Gott und Herr (N. bk. 18 p. 1). + 4. Ditto (N. bk. 18 p. 2). + 5. Wo soll ich fliehen hin (N. bk. 19 p. 32). + 6. Christ lag in Todesbanden (Fantasia) (N. bk. 18 p. 16). + 7. Christum wir sollen loben schon, _or_, Was fuercht'st du, + Feind Herodes, sehr (N. bk. 18 p. 23). + 8. Gelobet seist du, Jesu Christ (Fughetta) (N. bk. 18 p. + 38). + 9. Herr Christ, der ein'ge Gottes-Sohn (Fughetta) (N. bk. + 18 p. 43). + 10. Nun komm der Heiden Heiland (Fughetta) (N.bk. 18 p. 83). + 11. Vom Himmel hoch da komm ich her (N. bk. 19 p. 16). + 12. Ditto. (Fughetta) (N. bk. 19 p. 14). + 13. Das Jesulein soll doch mein Trost (Fughetta) (N. bk. 18 + p. 24). + 14. Gottes Sohn ist kommen (Fughetta) (N. bk. 18 p. 41). + 15. Lob sei dem allmaechtigen Gott (Fughetta) (N. bk. 18 p. + 73). + 16. Durch Adams Fall ist ganz verderbt (N. bk. 18 p. 28). + 17. Liebster Jesu wir sind hier (N. bk. 18 p. 72a). + 18. Ditto. (N. bk. 18 p. 72b). + 19. Ich hab' mein' Sach' Gott hergestellt (N. bk. 18 p. + 54)(526) + 20. Ditto. (N. bk. 18 p. 58a). + 21. Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 50). + 22. Wir Christenleut' (N. bk. 19 p. 28b).(527) + 23. Allein Gott in der Hoeh' sei Ehr (Bicinium) (N. bk. 18 p. + 5). + 24. In dich hab' ich gehoffet, Herr (N. bk. 18 p. 59). + 25. Jesu, meine Freude (Fantasia) (N. bk. 18 p. 64). + + (2) Twenty-eight other Choral Preludes(528) + + 1. Ach Gott und Herr (Canon) (N. bk. 18 p. 3). + 2. Allein Gott in der Hoeh' sei Ehr' (N. bk. 18 p. 4). + 3. Ditto. (Fuga) (N. bk. 18 p. 7). + 4. Ditto. (N. bk. 18 p. 11). + 5. An Wasserfluessen Babylon (N. bk. 18 p. 13). + 6. Christ lag in Todesbanden (N. bk. 18 p. 19). + 7. Der Tag der ist so freudenreich (N. bk. 18 p. 26). + 8. Ein' feste Burg ist unser Gott (N. bk. 18 p. 30). + 9. Erbarm' dich mein, 0 Herre Gott (N. bk. 18 p. 35). + 10. Gelobet seist du, Jesu Christ (N. bk. 18 p. 37). + 11. Gelobet seist du, Jesu Christ (N. bk. 18 p. 39). + 12. Gottes Sohn ist kommen (N. bk. 18 p. 42). + 13. Herr Gott, dich loben wir (N. bk. 18 p. 44). + 14. Herr Jesu Christ, dich zu uns wend' (N. bk. 18 p. 52). + 15. Herzlich thut mich verlangen (N. bk. 18 p. 53). + 16. Jesus, meine Zuversicht (N. bk. 18 p. 69). + 17. In dulci jubilo (N. bk. 18 p. 61). + 18. Liebster Jesu, wir sind hier (N. bk. 18 p. 70). + 19. Ditto. (N. bk. 18 p. 71). + 20. Lobt Gott, ihr Christen allzugleich (N. bk. 18 p. 74). + 21. Meine Seele erhebt den Herren (Magnificat) (Fuga) (N. + bk. 18 p. 75). + 22. Nun freut euch, lieben Christen g'mein, _or_, Es ist + gewisslich an der Zeit (N. bk. 18 p. 80). + 23. Valet will ich dir geben (Fantasia) (N. bk. 19 p. 2). + 24. Ditto. (N. bk. 19 p. 7). + 25. Vaterunser im Himmelreich (N. bk. 19 p. 12). + 26. Vom Himmel hoch da komm ich her (N. bk. 19 p. 19). + 27. Wie schoen leuchtet der Morgenstern (N. bk. 19 p. 23). + 28. Wir glauben all' an einen Gott (N. bk. 19 p. 30). + + (3) Choral Variations: + + 1. Christ, der du bist der helle Tag (N. bk. 19 p. 36). + 2. 0 Gott, du frommer Gott (N. bk. 19 p. 44). + 3. Sei gegruesset, Jesu guetig (N. bk. 19 p. 55). + 4. Vom Himmel hoch da komm ich her (N. bk. 19 p. 73). + + (4) Variant texts and fragments: + + 1. Variant of Kirnberger's No. 2 (P. bk. 244 p. 111). + 2. Variant of Kirnberger's No. 3 (not in N. or P.). + 3. Ich hab' mein' Sach' Gott heimgestellt (N. bk. 18 p. + 58b). + 4. Variant of Kirnberger's No. 6 (P. bk. 245 p. 104). + 5. Variant of Kirnberger's No. 25 (P. bk. 245 p. 110). + 6. Variant of No. 10 of the Twenty-eight supra (not in N. + or P.). + 7. Variant of No. 17 (not in N. or P.). + 8. Variant of No. 20 (not in N. or P.). + 9. Variant of No. 26 (not in N. or P.). + 10. Variant of No. 22 (P. bk. 246 p. 91). + 11. Variant of No. 23 (P. bk. 246 p. 100). + 12. Jesu, meine Freude (fragment) (P. bk. 244 p. 112). + 13. Wie schoen leuchtet der Morgenstern (fragment) (not in N. + or P.). + + (5) Choral Preludes and Variations of faulty text or doubtful + authenticity: + + 1. Ach Gott vom Himmel sieh' darein (P. bk. 2067 p.44). + 2. Auf meinen lieben Gott (P. bk. 2067 p. 39). + 3. Aus der Tiefe rufe ich (P. bk. 2067 p. 64). + 4. Christ ist erstanden (not in N. or P.). + 5. Christ lag in Todesbanden (P. bk. 2067 p. 56). + 6. Gott der Vater wohn' uns bei (P. bk. 245 p. 62) (by J. + G. Walther).(529) + 7. O Vater, allmaechtiger Gott (not in N. or P.). + 8. Schmuecke dich, O liebe Seele (not in N. or P.) (also + attributed to G. A. Homilius). + 9. Vater unser im Himmelreich (not in N. or P.) (also + attributed to G. Boehm). + 10. Ditto. + 11. Wir glauben all' an einen Gott, Schoepfer (P. bk. 2067 p. + 40).(530) + 12. Variations on Ach, was soll ich Suender machen (not in N. + or P.). + 13. Variations on Allein Gott in der Hoeh' sei Ehr' (not in + N. or P.). + + (6) Addendum to B.G. III.: + + Allein Gott in der Hoeh' sei Ehr' (an early version of N. + bk. 16 p. 40*) (P. bk. 245 p. 96). + + XLI. 1891 [1894]. Kirchenmusikwerke. Erganzungsband. Ed. Alfred Doeffel. + + Cantata No. 191: Gloria in excelsis (the B minor Mass + "Gloria"). + Cantata No. 192: Nun danket Alle Gott (incomplete). + Cantata No.193: Ihr Pforten zu Zion (incomplete). + Ehre sei Gott in der Hone (incomplete). + Wedding Cantata: O ewiges Feuer, O Ursprung der Liebe + (incomplete). + Wedding Cantata: Herr Gott, Beherrscher aller Dinge + (incomplete). + Sanctus in D major. + Kyrie eleison (Christe, du Lamm Gottes). + Christe eleison (Johann Ludwig Bach). + Jesum lass' ich nicht von mir (the original concluding Choral + of the first Part of the "St. Matthew Passion" (Breitkopf and + Haertel's "Choralgesange," No. 247). + Four Cantatas of doubtful authenticity: + + Gedenke, Herr, wie es uns gehet. + Gott der Hoffnung erfulle euch. + Siehe, es hat iiberwunden der Lowe. + Lobt ihn mit Herz und Munde. + +XLII. 1892 [1894]. Clavierwerke. Funfter Band. Ed. Ernst Naumann. + + Sonata in D minor (P. bk. 213 p. 24).(531) + Suite in E major (not in P.).(532) + Adagio in G major (P. bk. 213 p. 1).(533) + Sonata in A minor (P. bk. 213 p. 2).(534) + Sonata in C major (P. bk. 213 p. 16).(535) + Fugue in B flat major (P. bk. 1959 p. 75).(536) + Fugue in B flat major (P. bk. 1959 p. 90).(537) + Sixteen Concertos after Antonio Vivaldi (P. bk. 217).(538) + Fifteen Compositions of probable authenticity : + + 1. Prelude and Fugue in A minor (P. bk. 1959 p. 84). + 2. Fantasia and Fugue in D minor (P. bk. 1959 p. 80). + 3. Fantasia in G minor (P. bk. 1959 p. 94). + 4. Concerto and Fugue in C minor (not in P.). + 5. Fugato in E minor (P. bk. 1959 p. 24). + 6. Fugue in E minor (P. bk. 1959 p. 72). + 7. Fugue in G major (P. bk. 1959 p. 68). + 8. Fugue in A minor (not in P.). + 9. Fugue in A minor (not in P.). + 10. Prelude in B minor (and Variant) (not in P.). + 11. Suite in B flat major (P. bk. 1959 p. 54). + 12. Andante in G minor (P. bk. 1959 p. 63). + 13. Scherzo in D minor (and Variant) (P. bk. 1959 p. 62). + 14. Sarabande con Partite in C major (P. bk. 1959 p. 26). + 15. Passacaglia in D minor (P. bk. 1959 p. 40). + + Ten Compositions of doubtful authenticity : + + 1. Fantasia in C minor (not in P.). + 2. Toccata quasi Fantasia con Fuga in A major (not in + P.).(539) + 3. Partie in A major (not in P.). + 4. Allemande in C minor (not in P.). + 5. Gigue in F minor (not in P.). + 6. Allemande and Courante in A major (not in P.). + 7. Allemande in A minor (not in P.). + 8. Fantasia and Fughetta in B flat major (P. bk. 212 p. + 58). + 9. Do. D major (P. bk. 212 p. 60). + 10. Fugue (unfinished) in E minor (not in P.). + + Concerto in G major by Antonio Vivaldi (original of the second + Clavier Concerto supra).(540) + +XLIII(l). 1893 [1894]. Kammermusik. Achter Band. Ed. Paul Graf Waldersee. + + Three Sonatas for Flute and Clavier: + + 1. In C major (P. bk. 235 p. 33). + 2. In E minor (ib. p. 39). + 3. In E major (ib. p. 51). + + Sonata in E minor, for Violin and Clavier (P. bk. 236). + Fugue in G minor for Violin and Clavier (P. bk. 236). + Sonata in F major for two Claviers (by Wilhelm Friedemann + Bach). + Concerto in A minor for four Claviers and Orchestra (Strings) + (P. bk. 260 p. 3).(541) + +XLIII (2). 1893 [1894]. Musikstuecke in den Notenbuechen der Anna Magdalena + Bach. Ed. Paul Graf Waldersee. + + (1) The Notebook of the year 1722 contains: + + 1. The French Suites (incomplete) (see B.G. an. (2)). + 2. Fantasia in C major for the Organ (see B.G. XXXVIII. No. + 25). + 3. Air (unfinished) in C minor (not in P.). + 4. Choral Prelude, ' Jesus, meine Zuversicht' (see B.G. XL. + sec. 2 No. 16). + 5. Minuet in G major (see B.G. xxxvi. and P. bk. 215 p. + 62). + + (2) The Notebook of the year 1725 contains:(542) + + 1. Partita III. (A minor) from the "Clavieruebung," Part I. + (see B.G. III.). + 2. Partita VI. (E minor) from the same (see B.G. III.). + 3 (P). Minuet in F major. + 4 (P). Minuet in G major. + 5 (P). Minuet in G minor. + 6 (P). Rondeau in B flat major (by Couperin). + 7 (P). Minuet in G major. + 8 (P). Polonaise in F major (two versions). + 9 (P). Minuet in B flat major. + 10 (P). Polonaise in G minor. + 11. Choral Prelude, "Wer nur den lieben Gott laesst alten" + (see B.G. XL., Kirnberger's Collection, no. 2). + 12. Choral, "Gieb dich zufrieden und sei stille" see B.G. + XXXIX. see. 4 no. 4). + 13. Aria, "Gieb dich zufrieden un sei stille" (see B.G. + XXXIX. sec. 2 no. 62). + 14 (P). Minuet in A minor. + 15 (P). Do. C minor. + 16 (P). March in D major. + 17 (P). Polonaise in G minor. + 18 (P). March in A major. + 19 (P). Polonaise in G minor. + 20. Aria, "So oft ich meine Tabakspfeife" (see B.G. XXXIX. + sec. 4 no. 1). + 21. Minuet in G major, "fait par Moens. Boehm." + 22 (P). Musette in D major. + 23 (P). March in E flat major. + 24 (P). Polonaise in D minor. + 25. Aria, "Bist du bei mir" (see B.G. XXIX. sec. 4 no. 2). + 26. Aria in G major (the Aria of the Goldberg Variations. + See B.G. III.). + 27 (P). Solo per il Cembalo in E flat major. + 28 (P). Polonaise in G major. + 29. Prelude in C major (Prelude i. of the first Part of the + "Well-tempered Clavier." See B.G. XIV.). + 30. Suite in D minor (the first of the French Suites. See + B.G. XIII (2)). + 31. Suite in C minor (the first three movements of the + second French Suite. See B.G. XIII (2)). + 32. Choral (wordless) in F. major. + 33. Aria, "Warum betruebst du dich" (see B.G. XXXIX. sec. 3 + no. 72). + 34. Recitativo and Aria, "Ich habe genug," and "Schlummert + ein," for Basso (from Cantata 82, nos. 2 and 3), + transposed. + 35. Aria, "Schaff's mit mir, Gott, nach deinem Willen" (see + B.G. xxxrx. sec. 3 no. 61). + 36 (P). Minuet in D minor. + 37. Aria, "Willst du dein Herz mir schenken" (di Giovannini) + (see B.G. XXXIX. sec. 4 no. 5). + 38. Aria, No. 34 supra. + 39. Choral, "Dir, dir Jehovah, will ich singen" (see B.G. + XXXIX. sec. 2 no. 46). + 40. Aria, "Wie wohl ist mir, 0 Freund der Seelen" (see B.G. + XXXIX. sec. 3 no. 74). + 41. Aria, "Gedenke doch, mein Geist, zurticke" (see B.G. + XXXIX. sec. 4 no. 3). + 42. Choral, "O Ewigkeit, du Donnerwort" (see B.G. XXXIX. + sec. 2 no. 144). + +XLIV. 1894 [1895]. Handschrift in zeitlich geordneten Nachbildungen. Ed. + Hermann Kretzschmar. Contains facsimiles of Bach's handwriting and + autograph MSS. +XLV(1). 1895 [1897]. Clavierwerke. Zweiter Band (neue berichtigte + Ausgabe). Ed. Alfred Doeffel.(543) + + The Six English Suites (see B.G. XIII. (2)). (P. bks. 2794, + 2795.) + The Six French Suites (see B.G. XIII. (2)). (P. bk. 2793.) + Five Canons in 4, 6, 7, 8 parts. + Prelude and Fugue in E flat major (P. bk. 214 p. 40). + Suite in E minor (P. bk. 214 p. 68). + Suite in C minor (not in P.). + Sonata (first movement) in A minor (not in P.).(544) + Four Inventions, in B minor, B flat major, C minor, D major, + for Violin and Clavier (P. bk. 2957). + Overture in G minor for Strings and Clavier (not in P.). + The "Clavier-Buechlein" of Wilhelm Friedemann Bach contains: + + 1. Applicatio in C major (see B.G. XXXVI. no. 48). + 2. Prelude in C major (the first of the Twelve Little + Preludes) (see B.G. XXXVI. no. 19). + 3. Choral Prelude, "Wer nur den lieben Gott laesst walten" + (see B.G. XL., Kirnberger's Collection, no. 2). + 4. Prelude in D minor (the fifth of the Little Preludes) + (see B.G. XXXVI. no. 19). + 5. Choral Prelude, "Jesu meine Freude" (fragment) (see B.G. + XL. sec 4 no. 12). + 6. Allemande in G minor (not in P.). + 7. Allemande (fragment) in G minor (not in P.). + 8. Prelude in F major (the eighth of the Little Preludes) + (see B.G. XXXVI. no. 19). + 9. Prelude in G minor (the eleventh of the Little Preludes) + (see B.G. XXXVI. no. 19). + 10. Prelude in F major (the ninth of the Little Preludes) + (see B.G. XXXVI. no. 19). + 11. Minuet in G major (the first of the three Minuets) (see + B.G. XXXVI. no. 43). + 12. Minuet in G minor (the second of the three Minuets) (see + B.G. XXXVI. no. 43). + 13. Minuet in G major (the third of the three Minuets) (see + B.G. XXXVI. no. 43). + 14. Prelude in C major (the first Prelude of the first Part + of the "Well-tempered Clavier." See B.G. XIV.). + 15. Do. C minor (the second Prelude of the first Part of the + same. See B.G. XIV.). + 16. Do. D minor (the sixth Prelude of the first Part of the + same. See B.G. XIV.). + 17. Do. D major (the fifth Prelude of the first Part of the + same. See B.G. XIV.). + 18. Prelude in E minor (the tenth Prelude of the first Part + of the same. See B.G. XIV.). + 19. Prelude in E major (the ninth Prelude of the first Part + of the same. See B.G. XIV.). + 20. Prelude in F major (the eleventh Prelude of the first + Part of the same. See B.G. XIV.). + 21. Prelude in C sharp major (the third Prelude of the first + Part of the same. See B.G. XIV.). + 22. Prelude in C sharp minor (the fourth Prelude of the + first Part of the same. See B.G. XIV.). + 23. Prelude in E flat minor (the eighth Prelude of the first + Part of the same. See B.G. XIV.). + 24. Prelude in F minor (the twelfth Prelude of the first + Part of the same. See B.G. XIV.) + 25. Allemande and Courante in C major, by J. C. Richter. + 26. Prelude in C major (first of the Little Preludes. See + B.G. XXXVI. no. 19). + 27. Prelude in D major (fourth of the Little Preludes. See + B.G. XXXVI. no. 19). + 28. Prelude in E minor (see B.G. xxxvi. no. 50). + 29. Prelude in A minor (B.G. xxxvi. no. 49). + 30. Prelude in G minor (not in P.). + 31. Fugue in C major (see B.G. xxxvi. no. 38). + 32. Prelude in C major (Invention i. See B.G. m.). + 33. Prelude in D minor (Invention iv. See B.G. m.). + 34. Prelude in E minor (Invention vii. See B.G. m.). + 35. Prelude in F major (Invention viii. See B.G. m.). + 36. Prelude in G major (Invention x. See B.G. in.). + 37. Prelude in A minor (Invention xiii. See B.G. m.). + 38. Prelude in B minor (Invention xv. See B.G. m.). + 39. Prelude in B flat major (Invention xiv. See B.G. III.). + 40. Prelude in A major (Invention xii. See B.G. III.). + 41. Prelude in G minor (Invention xi. See B.G. III.). + 42. Prelude in F minor (Invention ix. See B.G. III.). + 43. Prelude in E major (Invention vi. See B.G. III.). + 44. Prelude in E flat major (Invention v. See B.G. III.). + 45. Prelude in D major (Invention iii. See B.G. III.). + 46. Prelude in C minor (Invention ii. See B.G. III.). + 47. Suite in A major (fragment) (see B.G. XXXVI. no. 45). + 48. Partita in G minor by Steltzel, including a Minuet Trio + by J. S. B. (Minuet in P. bk. 1959 p. 8). + 49. Fantasia in C major (Sinfonia i. See B.G. III.). + 50. Fantasia inD minor (Sinfonia iv. See B.G. III.). + 51. Fantasia in E minor (Sinfonia vii. See B.G. III.). + 52. Fantasia in F major (Sinfonia viii. See B.G. III.). + 53. Fantasia in G major (Sinfonia x. See B.G. III.). + 54. Fantasia in A minor (Sinfonia xiii. See B.G. III.). + 55. Fantasia in B minor (Sinfonia xv. See B.G. III.). + 56. Fantasia in B flat major (Sinfonia xiv. See B.G. III.). + 57. Fantasia in A major (Sinfonia xii. See B.G. III.). + 58. Fantasia in G minor (Sinfonia xi. See B.G. III.). + 59. Fantasia in F minor (Sinfonia ix. See B.G. III.). + 60. Fantasia in E major (Sinfonia vi. See B.G. III.). + 61. Fantasia in E flat major (Sinfonia v. See B.G. III.). + 62. Fantasia in D major (Sinfonia iii. See B.G. III.).(545) + +XLV (2). 1895 [1898]. Passionsmusik nach dem Evangelisten Lucas. Ed. + Alfred Doeffel. + + Though the Score is in Bach's autograph, the work is generally held + not to be his. + +XLVI. 1896 [1899].(546) Schlussband. Bericht und Verzeichnisse. Ed. + Hermann Kretzschmar. + + The volume contains:-- + + Historical retrospect of the Society and its activities. + Thematic Index to Cantatas 121-191 (see B.G. XXVII (2)), + unfinished Cantatas, Cantatas of doubtful authenticity, + Christmas Oratorio, Easter Oratorio, St. Matthew Passion, St. + John Passion, St. Luke Passion, Mass in B minor, the four + Masses in F major, A major, G minor, G major, the four Sanctus + in C major, D major, D minor, G major, Magnificat in D major, + the "Trauer-Ode" Wedding Cantatas and Chorals, Motets, Secular + Cantatas (P. bk. 270b). + Alphabetical Index of the movements throughout the vocal + works. + Thematic Index to the Clavier music. + Thematic Index to the Chamber music. + Thematic Index to the Orchestral music. + Thematic Index to the Organ music. + Thematic Index to the "Musikalisches Opfer". + Thematic Index to the "Kunst der Fuge" + Index to the several movements throughout the instrumental + works. + Index of names and places occurring in the Prefaces of the + B.G. volumes. + Bach's vocal and instrumental works arranged (1) in the order + of the yearly volumes, (2) in groups. + + + + + (B) PUBLICATIONS OF THE NEW BACHGESELLSCHAFT + + +1(1). 1901. Lieder und Arien. Fur eine Singstimme mit Pianoforte (Orgel + oder Harmonium). Ed. Ernst Naumann + + The seventy-eight Songs are those contained in B.G. XXXIX. secs. 3 + and 4 (first three only) supra. + +I (2). 1901. Lieder und Arien. Furvierstimmigen gemischten Chor. Ed. Franz + Wuellner. + + The seventy-five Songs are those contained in I (1), omitting those + in sec. 4 of B.G. XXXIX. supra. + +1(3). 1901. Erstes deutsches Bach-Fest in Berlin 21 bis 23 Marz 1901. + Festschrift. + + The frontispiece is Carl Seffner's bust of Bach. + +II (1). 1902. Orgelbuechlein. 46 kuerzere Choralbearbeitungen fuer Klavier zu + vier Handen. Ed. Bernhard Fr. Richter. + + The original forty-six Organ Preludes, here arranged for two + pianofortes (see B.G. XXV (2), sec. 1). + +II(2). 1902. Kirchen-Kantaten. Klavierauszug. Erstes Heft. Ed. Gustav + Schreck and Ernst Naumann. + + Contains Breitkopf and Haertel's vocal scores of-- + + Cantata 61: Nun komm, der Heiden Heiland. + Cantata 64: Sehet, welch' eine Liebe. + Cantata 28: Gottlob! nun geht das Jahr zu Ende. + Cantata 65: Sie werden aus Saba Alle kommen. + Cantata 4: Christ lag in Todesbanden. + +III (1). 1903. Kirchen-Kantaten. Klavierauszug. Zweites Heft. Ed. Ernst + Naumann. + + Contains Breitkopf and Haertel's vocal scores of-- + + Cantata 104: Du Hirte Israel, hoere. + Cantata 11: Lobet Gott in seinen Reichen. + Cantata 34: O ewiges Feuer. + Cantata 45: Es ist dir gesagt. + Cantata 80: Bin' feste Burg. + +III(2). 1903. Drei Sonaten fuer Klavier und Violine. Ed. Ernst Naumann. + + Sonata I. in B minor. + Sonata II. in A major. (See B.G. IX.) + Sonata III. in E major.) + +IV (1). 1904. Drei Sonaten fuer Klavier und Violine. Ed. Ernst Naumann. + + Sonata IV. in C minor. + Sonata V. in F minor (See BG. IX) + Sonata VI. in G major. + +IV (2). 1904. Joh. Seb. Bach, Bildnis in Heliogravure. + + A print of the portrait discovered by Dr. Fritz Volbach reproduced + at p. 92 of this present volume. + +IV (3). 1904. Zweites deutsches Bach-Fest in Leipzig 1 bis 3 Oktober 1904. + Festschrift. +V (1). 1905. Fest-Gottesdienst zum deutschen Bachfeste in der Thomaskirche + zu Leipzig. Ed. Georg Rietschel. + + Contains the order of service and music sung on the occasion. + +V (2). 1905. Ausgewahlte Arien und Duette mit einem obligaten Instrument + und Klavier- oder Orgelbegleitung. + + I Abteilung: Arien fuer Sopran Ed. Eusebius Mandyczewski. + + 1. Auch mit gedaempften schwachen Stimmen (Cantata 36: Violin). + 2. Die Armen will der Herr unarmen (Cantata 186: Violin). + 3. Es halt' es mit der blinden Welt (Cantata 94: Oboe d'amore). + 4. Gerechter Gott, ach, rechnest du (Cantata 89 : Oboe). + 5. Gott versorget alles Leben (Cantata 187 : Oboe). + 6. Hochster, was ich habe, ist nur deine Gabe (Cantata 39: + Flauto). + 7. Hoert, ihr Augen, auf zu weinen (Cantata 98 : Oboe). + 8. Ich bin vergnuegt in meinem Leiden (Cantata 58: Violin). + 9. Ich ende behende mein irdisches Leben (Cantata 57: Violin). + 10. Ich nehme mein Leiden mit Freuden auf mich (Cantata 75: Oboe + d'amore). + 11. Ich will auf den Herren schau'n (Cantata 93: Oboe). + 12. Seufzer, Thranen, Kummer, Noth (Cantata 21 : Oboe). + +V(3). 1905. Bach-Jahrbuch 1904. Herausgegeben von der Neuen + Bachgesellschaft. + + In addition to sermons and addresses on the occasion of the second + Bach Festival at Leipzig in 1904, the volume contains the following + articles: + + 1. Bach und der evangelische Gottesdienst. By Karl Greulich. + 2. Praktische Bearbeitungen Bachscher Kompositionen. By Max + Seiffert. + 3. Bachs Rezitativbehandlung mit besonderer Berueck sichtigung der + Passionen. By Alfred Heuss. + 4. Verschwundene Traditionen des Bachzeit alters. By Arnold + Schering. + +VI (1). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument + und Klavier- oder Orgelbegleitung. II Abteilung: Arien fuer Alt. Ed. + Eusebius Mandyczewski. + + 1. Ach, bleibe doch, mein liebstes Leben (Cantata 11: Violin). + 2. Ach, es bleibt in meiner Liebe (Cantata 77: Tromba). + 3. Ach Herr! was ist ein Menschenkind (Cantata 110: Oboe + d'amore). + 4. Ach, unaussprechlich ist die Noth (Cantata 116: Oboe d'amore). + 5. Christen muessen auf der Erden (Cantata 44: Oboe). + 6. Christi Glieder, ach, bedenket (Cantata 132: Violin). + 7. Es kommt ein Tag (Cantata 136: Oboe d'amore). + 8. Gelobet sei der Herr, mein Gott (Cantata 129: Oboe d'amore). + 9. Ich will doch wohl Rosen brechen (Cantata 86: Violin). + 10. Jesus macht mich geistlich reich (Cantata 75: Violin). + 11. Kein Arzt ist ausser dir zu finden (Cantata 103: Flauto). + 12. Was Gott thut, das ist wohlgethan (Cantata 100: Oboe d'amore). + +VI (2). 1906. Ausgewahlte Arien und Duette mit einem obligaten Instrument + und Klavier- odor Orgelbegleitung. III Abteilung: Duette fuer Sopran + und Alt. Ed. Eusebius Mandyczewski. + + 1. Die Armuth, so Gott auf sich nimmt (Cantata 91: Violin). + 2. Wenn Sorgen auf mich dringen (Cantata 3: Violin or Oboe + d'amore). + 3. Er kennt die rechten Freudenstunden (Cantata 93: Violin). + +VI (3). 1906. Bach-Jahrbuch 1905. Herausgegeben von der Neuen + Bachgesellschaft. + + Contains the following articles: + + 1. Johann Sebastian Bachs Kapelle zu Coethen und deren + nachgelassene Instrumente. By Rudolf Bunge. + 2. Geleitwort. By Arnold Sobering. + 3. Die Wahl Joh. Seb. Bachs zum Kantor der Thomaschule i. J. + 1723. By Bernhard Fr. Richter. + 4. Ein' feste Burg ist unser Gott. Kantata von Joh. Seb. Bach. By + Fritz Volbach. + 5. Verzeichnis der bisher erschienenen Literatur ueber Johann + Sebastian Bach. By Max Schneider. + 6. Reviews of books. + +VII (1). 1907. Kantate No. 88: "Siehe, ich will viel Fischer aussenden." + Partitur. Ed. Max Seiffert. +VII (2). 1907. Kantate No. 88: "Siehe, ich will viel Fischer aussenden." + Klavierauszug mit Text. Ed. Max Seiffert und Otto Taubmann. +VII (3). 1907. Bach-Jahrbuch 1906. Herausgegeben von der Neuen + Bachgesellschaft. + + Contains the following articles: + + 1. Erfahrungen und Ratschlueger bezueglich der Auffuehrung Bachscher + Kirchenkantaten. By Wilhelm Voigt. + 2. Ueber die Schickssle der der Thomasschule zu Leipzig + angehorenden Kantaten Joh. Seb. Bachs. By Bernhard Fr. + Richter. + 3. Die grosse A-moll Fuge fuer Orgel [Novello bk. 7 p. 42] und + ihre Vorlage. By Reinhardt Oppel. + 4. Zur Rritik der Gesamtausgabe von Bachs Werken. By Max + Seiffert. + 5. Verzeichnis der bis zum Jahre 1851 gedruckten (und der + geschrieben im Handel gewesenen) Werke von Johann Sebastian + Bach. By Max Schneider. + 6. Uebersicht der Auffuehrungen J. S. Bachscher Werke von Ende 1904 + bis Anfang 1907. + 8. Notes. + +VII (4). 1907. Drittes deutsches Bach-Fest zur Einweihung von Johann + Sebastian Bachs Geburtshaus als BachMuseum [at Eisenach]. Fest- und + Programmbuch [26-28 May 1907]. + + The frontispiece is Carl Seffner's bust of Bach. + +VIII (1). 1908. Violinkonzert No. 2 in E dur. Partitur. Ed. Max Seiffert. + + See B.G. XXI (1) no. 2. + +VIII (2). 1908. Violinkonzert No. 2 in E dur fur Violine und Klavier. Ed. + Max Seiffert and A. Saran. +VIII (3). 1908. Bach-Jahrbuch. 4 Jahrgang 1907: Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering. + + In addition to a sermon by Professor Georg Rietschel and an obituary + notice of Joseph Joachim, the volume contains the following + articles: + + 1. Sebastian Bach und Paul Gerhardt. By Wilhelm Nolle. + 2. Stadtpfeifer und Alumnen der Thomasschule in Leipzig zu Bachs + Zeit. By Bernhard Fr. Richter. + 3. Angeblich von J. S. Bach komponierte Oden von Chr. H. + Hoffmannswaldau. By --. Landmann. + 4. Die neuen deutschen Ausgaben der zwei- und dreistimmigen + Inventionen [Peters bk. 2792]. By Reinhardt Oppel. + 5. Thematisches Verzeichnis der musikalischen Werke der Familie + Bach. I. Theil. By Max Schneider. + 6. Notes and Reviews of books. + +IX (1). 1909. Kantate No. 85: "Ich bin ein guter Hirt." Partitur. Ed. Max + Seiffert. +IX (2). 1909. Kantate No. 85: "Ich bin ein guter Hirt." Klavierauszug mit + Text. Ed. Max Seiffert and Max Schneider. +IX (3). 1909. Brandenburgisches Konzert No. 3. Partitur. Ed. Max Seiffert. + + See B.G. XIX. no. 3. + +IX (4). 1909. Brandcnburgisches Konzert No. 3 fuer Klavier zu vier Haenden. + Ed. Max Seiffert and Max Schneider. +IX (5). 1909. Viertes deutsches Bach-Fest in Chemnitz 3-5 Oktober 1908. + Fest- und Programmbuch. + + The frontispiece is a photograph of Carl Seffner's statue of Bach, + unveiled at Leipzig May 17, 1908. + +IX (6). 1909. Bach-Jahrbuch. 5 Jahrgang 1908: Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering. + + Contains the following articles: + + 1. Zu Bachs Weihnachtsoratorium, Theil 1 bis 3. By Woldemar + Voigt. + 2. Ueber Seb. Bachs Kantaten mit obligater Pedal. By Bernhard Fr. + Richter. + 3. Cembalo oder Pianoforte? By Richard Buchmayer. + 4. Bearbeitung Bachscher Kantaten. By Max Schneider. + 5. Nachrichten ueber das Leben Georg Boehms mit spezieller + Beruecksichtigung seiner Beziehungen zur Bachschen Familie. By + Richard Buchmayer. + 6. Ein interessantes Beispiel Bachscher Textauffassung. By Alfred + Heuss. + 7. Edgar Tinel ueber Seb. Bach. + 8. Notes. + +X (I). 1910. Ausgewahlte Arien und Duette mit einem obligaten Instrument + und Klavier- oder Orgelbegleitung. IV Abteilung: Arien fuer Tenor. + Ed. Eusebius Mandyczewski. + + 1. Dein Blut, so meine Schuld durchstreit (Cantata 78: Flauto). + 2. Die Liebe zieht mit sanften Schritten (Cantata 36: Oboe + d'amore). + 3. Ergiesse dich reichlich, du gottliche Quelle (Cantata 5: + Viola). + 4. Handle nicht nach deiuen Bechten mit uns (Cantata 101: + Violin). + 5. Ich will an den Himmel denken (Cantata 166 : Oboe). + 6. Ja, tausendmal Tausend (Cantata 43 : Violin). + 7. Mich kann kein Zweifel stoeren (Cantata 108 : Violin). + 8. Seht, was die Liebe thut! (Cantata 85 : Violin or Viola). + 9. Tausendfaches Unglueck, Schrecken, Truebsal (Cantata 143: + Violin). + 10. Wir waren schon zu tief gesunken (Cantata 9 : Violin). + 11. Woferne du den edlen Frieden (Cantata 41 : Violoncello). + 12. Wo wird in diesem Jammerthale (Cantata 114: Flauto). + +X (2). 1910. Brandenburgisches Konzert No. 1. Partitur. Ed. Max Seiffert. + + See B.G. XIX. no. 1. + +X(3). 1910. Brandenburgisches Konzert No. 1 fur Klavier zu vier Handen. + Ed. Max Seiffert and Max Schneider. +X(4). 1910. Bach-Jahrbuch. 6 Jahrgang 1909: Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering. + + The volume contains the following articles: + + 1. Zum Linearprinzip J. S. Bachs. By Robert Handke. + 2. Bachs Verhaeltnis zur Klaviermusik. By Karl Nes. + 3. Zur Tenorarie ["Ich will an den Himmel denken": See X (1) no. + 5, supra] der Kantate 166. By Reinhard Oppel. + 4. Die Verzierungen in den Werken von J. S. Bach. By E. + Dannreuther. + 5. Konnte Bachs Gemeinde bei seinen einfachen Choral-saetzen + mitsingen? By Rudolf Wustmann. + 6. Buxtehudes musikalischer Nachrnf heim Tode seines Vaters (mit + einer Notenbeilage). By Reinhard Oppel. + 7. "Matthauspassion," erster Theil. By Rudolf Wustmann. + 8. Zu den Beschluessen des Dessauer Kirchengesangver einstages. By + Arnold Schering. + 9. Notes. + +X (5). 1910. Fuenftes deutsches Bach-Fest in Duisburg 4 bis 7 Juni 1910. + Fest- und Programmbuch. + + Frontispiece, St. Thomas' Church and School, Leipzig, in 1723. + Reproduced at p. 28 of the present volume. + +XI (1). 1911. Ausgewahlte Arien und Duetto mit einem obligaten Instrument + und Klavier- oder Orgelbegleitung V Abteilung: Arien fuer Bass, Ed. + Eusebius Mandyczewski. + + 1. Achzen und erbaermlich Weinen (Cantata 13: Violin or Flute). + 2. Die Welt mit allen Koenigreichen (Cantata 59: Violin). + 3. Endlicb, endlich wird niein Joch (Cantata 56: Oboe). + 4. Erleucht' auch meine finstre Sinnen ("Christmas Oratorio," + Part V. no. 5: Oboe d'amore). + 5. Gleichwie die wilden Meeres-Wellen (Cantata 178: Violin or + Viola). + 6. Greifet zu, fasst das Heil (Cantata 174: Violin or Viola). + 7. Herr, nun laessest du deinen Diener (Cantata 83: Violin or + Viola). + 8. Hier, in meines Vatera Staette (Cantata 32: Violin). + 9. Komm, suesses Kreuz ("St. Matthew Passion," no. 57: + Violoncello). + 10. Lass', O Welt, mich aus Verachtung (Cantata 123: Flauto). + 11. Tritt auf die Glaubensbahn (Cantata 152: Oboe d'amore). + 12. Wenn Trost und Huelf' ermangeln muss (Cantata 117: Violin). + +XI (2). 1911. Bach-Jahrbuch. 7 Jahrgang 1910: Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Sobering. + + The volume contains the following articles: + + 1. Die Diatonik in ihrem Einfluss auf die thematische Gestaltung + des Fugenbaues. By Robert Handke. + 2. Bach und die franzosische Klaviermusik. By Wanda Landowska. + 3. Sebastian Bachs Kirchenkantatentexte. By Rudolf Wustmann. + 4. Uber Joh. Kasp. Fred. Fischers Einfluss auf Joh. Seb. Bach. By + Reinhard Oppel. + 5. Hans Bach, der Spielmann. By Werner Wolffheim. + 6. Vom Rhythmus des evangelischen Chorals. By Rudolf Wustmann. + 7. W. Friedemann Bach und seine hallische Wirksamkeit. By C. + Zehler. + 8. Neues Material zum Verzeichnis der bisher erschienenen + Literatur ueber Johann Sebastian Bach. By Max Schneider. + 9. Reviews of books. + +XII (1). 1912. Ausgewahlte Arien und Duette mit einem obligaten Instrument + und Klavier- oder Orgelbegleitnng. VI Abteilung: Arien fur Sopran. 2 + Heft. Ed. Eusebius Mandyczewski. + + 1. Bereite dir, Jesu, noch itzo die Bahn (Cantata 147: Violin). + 2. Eilt, ihr Stunden, kommt herbei (Cantata 30: Violin). + 3. Erfuellet, ihr bimmlischen, goettlichen Flammen (Cantata 1: Oboe + da caccia). + 4. Genuegsamkeit ist ein Schatz in diesem Leben (Cantata 144: Oboe + d'amore). + 5. Hoert, ihr Voelker, Gottes Stimme (Cantata 76: Violin). + 6. Ich folge dir gleichfalls ("St. John Passion," no. 9: Flauto). + 7. Jesus soll mein erstes Wort (Cantata 171: Violin). + 8. Liebster Jesu, mein Verlangen (Cantata 32: Oboe). + 9. Meinem Hirten bleib' ich treu (Cantata 92: Oboe d'amore). + 10. Seele, deine Spezereien sollen nicht ("Easter Oratorio," no. + 4: Flauto or Violin). + 11. Was Gott thut, das ist wohlgethan (Cantata 100: Flauto). + 12. Wie zittern und wanken der Suender Gedanken (Cantata 105: + Oboe). + +XII (2). 1912. Bach-Jahrbuch. 8 Jaargang 1911: Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 Bildnissen + und 8 Faksimiles. + + The volume contains the following articles: + + 1. "Mein Herze schwimmt im Blut" [see infra XIII (2)]. By Werner + Wolffheim. + 2. Das sogensante Orgelkonzert D-moll, von Wilhelm Friedemann + Bach [Peters bk. 3002]. By Max Schneider. + 3. Bachiana. By Werner Wolffheim. + 4. Zur Geschichte der Passionsauffuehrungen in Leipzig. By + Bernhard Fr. Richter. + 5. Tonartensymbolik zu Bachs Zeit. By Rudolf Wustmann. + 6. Ueber die Viola da Gamba und ihre Verwendung bei Joh. Seb. + Bach. By Christian Dobereiner. + 7. Carl Philipp Emanuel Bach und Joh. Gottl. Im. Breitkopf. By + Hermann von Hase. + 8. Zur "Lukaspassion." By Max Schneider. + 9. Verzeichnis der Sammlung alter Musikinstrumente im Bachhaus zu + Eisenach. By G. Bornemann. + + The illustrations are, portraits of W. Friedemann Bach (aet. 72) and + Johann Sebastian Bach (son of Carl P. E. Bach); facsimiles of Bach's + arrangement of the D minor Vivaldi Organ Concerto (attributed to W. + F. Bach) and "Lukaspassion," and of a letter written to J. G. I. + Breitkopf by C. P. E. Bach, dated 28th February 1786. + +XII (3). 1912. Sechstes Deuteches Bach-Fest in Breslau 15 bis 17 Juni + 1912. Fest- und Frogrammbuch. + + Frontispiece, J. S. Bach after the oil-painting by G. Haussmann in + possession of St. Thomas' School, Leipzig (see Spitta, vol. i. + frontispiece and XVI (1) infra). + +XIII (1). 1913. Ausgewahlte Arien mit obligaten Instrumenten und + Klavierbegleitung. VII Abteilung: Arien fur Sopran. 3 Heft. + Weltliche Arien. Ed. Eusebius Mrmdyczewski. + + 1. Wenn die Fruhlingsluefte streichen ("Weichet nur betruebte + Schatten": Violin). + 2. Sich ueben im Lieben ("Weichet nur betruebte Schatten": Oboe). + 3. Des Reichtums Glanz ("Ich bin in mir vergnuegt": Violin).(547) + 4. Meine Seele, sei vergnuegt ("Ich bin in mir vergnuegt": Flauto). + 5. Angenehmer Zephryus ("Der zufnedengestellte Aeolus": Violin). + 6. Schweigt, ihr Floeten ("O holder Tag": Flauto). + 7. Ei! wie schmeckt der Coffee suesse ("Schweigt stille, plaudert + nicht": Flauto). + 8. Ruhig und in sich zufrieden ("Ich bin in mir vergnuegt": 2 + Oboi). + 9. Schafe koennen sicher weiden ("Was mir behagt": 2 Flauti). + 10. Ruhet hie, matte Toene ("O holder Tag": Violin and Oboe + d'amore). + 11. Jagen ist die Lust der Goetter ("Was mir behagt": 2 Horns). + 12. Hoert doch! der sanften Floeten Chor ("Schleicht, spielende + Wellen": 3 Flauti). + +XIII (2). 1913. Solo-Kantate fuer Sopran, "Mein Herze schwimmt im Blut," + ausgefunden und herausgegeben von C. A. Martiensen. Partitur. +XIII (3). 1913. Solo-Kantate fuer Sopran, "Mein Herze schwimmt im Blut." + Klavierauszug mit Text von Max Schneider. +XIII (4). 1913. Bach-Jahrbuch. 9 Jahrgang 1912: Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering. Mit 2 + Noten-Anhaengen. + + The volume contains the following articles: + + 1. Uber die Motetten Seb. Bachs. By Bernhard Ft. Richter. + 2. Uber die F-dur Toccata [N. bk. 9 p. 176] von J. S. Bach. By + Woldemar Voigt. + 3. Die Moellersche Handschrift. Ein unbekanntes Gegenstueck zum + Andreas-Bach-Buche (mit einem Notenanhange). By Werner + Wolffheim. + 4. Bachs Bearbeitungen und Umarbeitungen eigener und fremder + Werke. By Karl Grunsky. + 5. Ueber die Kirchenkantaten vorbachischer Thomaskantoren (mit + einem Notenanhange). By Arnold Sobering. + 6. Beitraege zur Bachkritik. By Arnold Sobering. + 7. Auffuehrungen von Joh. Seb. Bachs Kompositionen. By Th. + Biebrich. + 8. Notes. + +XIV (1). 1914.(548) Joh. Seb. Bachs Kantatentexte. Im Auftrage der Neuen + Bachgesellsehaft herausgegeben von Rudolf Wustmann. + + Contains the literary texts of the Church Cantatas, with critical + notes. + + XIV (2). 1914. Bach-Jahrbuch. 10 Jahrgang 1913. Im Auftrage der + Neuen Bachgesellsehaft herausgegeben von Arnold Sobering. Mit einem + Titelbilde und einer Beilage. + + The volume contains the following articles: + + 1. Studien zu J. S. Bachs Klavierkonzerten. By Adolf Aber. + 2. Ueber Joh. Seb. Bachs Konzerte fur drei Klaviere. By Hans Boas. + 3. Die Kantata Nr. 150, "Nach dir, Herr, verlanget mich." By + Arnold Sobering. + 4. Ueber die C-dur-Fuge aus dem I. Theil des "Wohltemperierten + Klaviers." By Wanda Landowska. + 5. Die Varianten der grossen G-moll-Fuge fuer Orgel [Novello bk. 8 + p. 127]. By Hermann Keller. + 6. Ein Bachkonzert in Kamenz. By Hermann Kretzschmar. + 7. Breitkopfsche Textdrucke zu Leipziger Musikauffuehrungen zu + Bachs Zeiten. By Hermann von Hase. + 8. J. S. Bachs Aria, "Erbauliche Gedanken ernes Tabakrauchers." + By Alfred Heuss.(549) + 9. Johann Seb. Bachs und Christoph Graupners Kompositionen zur + Bewerbung um das Thomaskantorat in Leipzig 1722-23. By + Bernhard Fr. Richter. + 10. Register zu den ersten 10 Jahrgangen des Bach Jahrbuchs + 1904-13. By Arnold Schering. + + The frontispiece is a portrait of Bach, about thirty-five years old, + after the original in the Eisenach Museum by Job. Jak. Ihle. See + frontispiece of this volume. + +XIV (3). 1914. Fest- und Programmbuch zum 7 Deutschen Bachfest der Neuen + Bachgesellschaft. Wien. 9 bis 11 May 1914. + + The frontispiece is a picture of St. Thomas' Church and School in + 1723 (see p. 28 supra). + +XV (1). 1914. Ausgewaehlte Arien und Duette mit einem obligaten Instrument + und Klavier- oder Orgelbegleitung. VIII Abteilung: Arien fuer Alt. 2 + Heft. Ed. Eusebius Mandyczewski. + + 1. Bethoerte Welt (Cantata 94: Flauto). + 2. Ein ungefaerbt Gemuete (Cantata 24: Violin or Viola). + 3. Ermuntert euch (Cantata 176: Oboe). + 4. Gott ist unser Sonn' und Schild (Cantata 79: Oboe or Flauto). + 5. In Jesu Demuth (Cantata 151: Oboe d'amore or Violin). + 6. Jesus ist ein guter Hirt (Cantata 85: Violin or Violoncello). + 7. Kreuz und Krone (Cantata 12: Oboe). + 8. Schaeme dich, O Seele, nicht (Cantata 147: Oboe d'amore). + 9. Von der Welt verlang' ich nichts (Cantata 64: Oboe d'amore). + 10. Weh der Seele (Cantata 102 : Oboe). + 11. Willkommen! will ich sagen (Cantata 27: Cor Anglais). + 12. Zum reinen Wasser (Cantata 112: Oboe d'amore). + +XV (2). 1915. Bach-Jahrbuch. 11 Jahrgang 1914: Im Anftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit + einem Titelbilde und einer Bilderbeilage. + + The volume contains the following articles: + + 1. Neues ueber das Bachbildnis der Thomasschule und andere + Bildnisse Johann Sebastian Bachs. By Albrecht Kurzwelly. + 2. Zur Geschichte der Bachbewegung. Bericht ueber eine bisher + unbekannte fruehe Auffuehrung der Matthaueuspassion. By Karl + Anton. + 3. Johann Christoph Friedrich Bach. By Georg Schuenemann. + 4. Die Wiederbelebung der Kurrende in Eisenach. By W. Nicolai. + 5. Auffuehrungen von Joh. Seb. Bachs Kompositionen in der Zeit vom + Oktober 1912 bis Juli 1914. By Th. Biebrich. + 6. Bachauffuehrungen im ersten Jahre des deutschen Krieges. By Th. + Biebrich. + 7. Mitgliederversammlung der Neuen Bachgesellschaft. Montag, den + 11 Mai 1914. + 8. Reviews. + + The frontispiece is a picture of Bach by Daniel Greiner. + +XVI (1). 1916. Das Bachbildnis der Thomasschule zu Leipzig, nach seiner + Wiederherstellung im Jahre 1913. Gemalt von E. G. Haussmanu 1746. + + A print of the renovated picture is at p. 48 of this volume. + +XVI (2). 1916. Bach-Genealogie mit zwei Briefen von Carl Philipp Emanuel + Bach. Herausgegeben von Professor Max Schneider in Breslau.(550) +XVI (3). 1916. Bach-Jahrbuch. 12 Jahrgang 1915. Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Sobering (Leipzig). Mit + dem Bildnisse J. S. Bachs nach der Gedenkbueste in der Walhalla. + + The volume contains the following articles: + + 1. Johann Sebastian Bach im Gottesdienst der Thomaner. By + Bernhard Friedrich Richter. + 2. Karl Philipp Emanuel Bach und der Dresdner Kreuz kantor + Gottfried August Homilius im Musikleben ihrer Zeit. Ein + Beitrag zur Geschichte der Stilwandlung des 18 Jahrhunderts. + By Rudolf Steglich. + 3. Eine Umdichtung des "Zufriedengestellten Aeolus" (Mit einem + Anhang ueber die Kantata "Schleicht, spielende Wellen"). By + Woldemar Voigt. + 4. Eine alte, unbekannte Skizze von Sebastian Bachs Leben. By + Arthur Pruefer. + 5. Bachauffuhrungen im zweiten Jahre des deutschen Krieges. By + Th. Biebrich. + 6. Reviews. + + The frontispiece is a photograph of Professor F. Behn's bust of Bach + in the Walhalla. + +XVII (1). 1916. Motette "O Jesu Christ, mein's Lebens Licht." Nach Bachs + Handschrift zum ersten Male herausgegeben von Max Schneider. + Partitur, [See E.G. XXIV.] +XVII (2). 1916. Motette "O Jesu Christ, mein's Lebens Licht." + Klavierauszug mit Text von Max Schneider. [See B.G. XXIV.] +XVII (3). 1917. Bach-Urkunden. Ursprung der musikalisch-Bachischen + Familie. Nachrichten ueber Johann Sebastian Bach von Carl Philipp + Emanuel Bach. Herausgegeben von Max Schneider. + + The volume contains a facsimile of the Bach Genealogy compiled by + Joh. Seb. Bach and formerly in Carl Philipp Emanuel's possession, + and two letters from the latter to J. N. Forkel. + +XVII (4). 1917. Bach-Jahrbuch. 13 Jahrgang 1916. Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). + + The volume contains the following articles: + + 1. Die F.-Trompete im 2 Brandenburgischen Konzert von Joh. Seb. + Bach. By Richard Hofmann. + 2. Zur Frage der Ausfuehrung der Ornamente bei Bach. Zaehlzeit oder + Notenwert? By Hans Joachim Moser. + 3. Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf. By + Georg Schunemann. + 4. Bachauffuehrurgen im dritten Jahre des deutschen Krieges. By + Th. Biebrich. + 5. Laterarische Beigabe: "Der Thomaskantor." Ein Gemueth-erfreuend + Spiel von deme Herren Cantori Sebastian Bachen, vorgestellt in + zween Auffzuegen durch Bernhard Christoph Breitkopfen seel. + Erben: Breitkopf und Hartel 1917. By Arnold Schering. + +XVIII (1). 1917. Konzert in D moll nach der urspruenglichen Fassung fur + Violine wiederhergestellt von Robert Reitz. Partitur. [See B.G. + XVII.] +XVIII (2). 1917. Konzert in D moll nach der urspruenglichen Fassung fuer + Violine wiederhergestellt von Robert Reitz. Ausgabe fur Violine und + Klavier. [See B.G. XVII.] +XVIII (3). 1918. Bach-Jahrbuch. 14 Jahrgang 1917: Im Auftrage der Neuen + Bachgesellschaft herausgegeben von Arnold Schering (Leipzig). Mit + einem Eildnis. + + The volume contains the following articles : + + 1. Gustav Schreck [d. 22 Jan. 1918]. + 2. Das dritte kleine Bachfest zu Eisenach: + + I. Der Festgottesdienst in der St. Georgenkirche zu + Eisenach am 30 September 1917. + II. Vortrage und Verhandlungen der Mitgliederversammlung des + dritten kleinen Bachfestes in Eisenach am 29 September + 1917. + + 3. Seb. Bachs Stellung zur Choralrhythmik der Lutherzeit. By Hans + Joachim Moser. + 4. Zur Motivbildung Bachs. Kin Beitrag zur Stilpsychologie. By + Ernst Kurth. + 5. Ein Programmtrio Karl Philipp Emanuel Bachs. By Hans Mersmann. + 6. Hermann Kretzschmar [b. 19 Jan. 1848]. + 7. Review. + + The frontispiece is a copy of the oil portrait of Bach after + Haussmann, copied by J. M. David in 1746. + + + + + +APPENDIX IV. BIBLIOGRAPHY OF BACH LITERATURE + + +The following list does not include magazine articles or technical works. +A comprehensive bibliography, compiled by Max Schneider, will be found in +the Bach-Jahrbuch for 1905 and 1910. Shorter lists are in C. F. Abdy +Williams' _Bach_ (1900) and Andre Pirro's _J.-S. Bach_ (1906). Titles +within square brackets in the following list are inserted upon the +authority of the _Bach-Jahrbuch,_ but are not discoverable in the annual +Book Catalogues. Since the absence of an Italian section may be remarked, +it should be said that the _Catalogo generate della Libreria Italiana, +1847-1899_ (published in 1910) contains no reference to Bach. Nor does +the Supplement of 1912. + + + + + I. Germany + + + Johann Christoph W. Kuehnau, _Die blinden Tonkuestler._ Berlin. 1810. + J. E. Grosser, _Lebensbeschreibung des Kapellmeisters Johann + Sebastian Bach._ Breslau. 1834. + Albert Schiffner, _Sebastian Bachs geistige Nachkommenschaft._ + Leipzig. 1840. + Johann T. Mosewius, _Johann Sebastian Bach in seinen Kirch-Kantaten + und Choralgesaengen._ Berlin. 1846. + Johann Carl Schauer, _Johann Sebastian Bachs Lebensbild: Eine + Denkschrift auf seinen 100jaehringen Todestag._ Jena. 1850. + C. L. Hilgenfeldt, _Johann Sebastian Bachs Leben, Wirken und Werke._ + Leipzig. 1850. + [W. Naumann, _Johann Sebastian Bach. Eine Biographie._ Cassell. + 1855.] + [Anon., _Biographien und Charakteristiken der grossen Meister: Bach, + Haendel, Gluck, Haydn, Mozart, Beethoven, mit Portrats._ 2nd ed. + Leipzig. 1860.] + C. H. Bitter, _Johann Sebastian Bach._ 2 vols. Berlin. 1865. 2nd ed. + 1880. + C. Albert Ludwig, _Johann Sebastian Bach in seiner Bedeutung fuer + Cantoren, Organisten, und Schullehrer._ Bleichroder. 1865. + Alfred Doerffel, _Thematisches Verzeichniss der Instrumentalwerke von + Joh. Seb. Bach._ Auf Grund der Gesammtausgabe von C. P. Peters. + Leipzig. 1867. 2nd ed. 1882. + Carl Tamme, _Thematisches Verzeichniss der Vocalwerke von Joh. Seb. + Bach. Auf Grund der Gesammtausgaben von F. Peters und der + Bach-Gesellschaft._ Leipzig, n.d. + C. H. Bitter, _C. P. E. und W. F. Bach und deren Brueder._ 2 vols. + Berlin. 1868. New ed. 1880. + [Anon., _J. S. Bach. Biographie._ Leipzig. 1869.] + L. Ramann, _Bach und Handel._ Leipzig. 1869. + W. Junghans, _Johann Sebastian Bach als Schuler der Partikularschule + zu St. Michaelis in Lueneburg._ Lueneburg. 1870. + Emil Naumann, _Deutsche Tondichter von Sebastian Bach bis auf die + Gegenwart._ Berlin. 1871. 5th ed. 1882. + M. Schick, _J. S. Bach: ein musikalisches Lebensbild._ Reutlingen. + 1873. + Philipp Spitta, _Johann Sebastian Bach._ 2 vols. Leipzig. 1873-1880. + E. Frommel, _Haendel und Bach._ Berlin. 1878. + Elise Polko, _Unsere Musikklassiker. Sechs biographische + Lebensbilder_ [Bach, etc.]. Leipzig. 1880. + [Anon., _J. S. Bach. Biographie._ [In _Meister der Tonkunst,_ no. + 2.] Leipzig. 1880.] + August Reissmann, _Johann Sebastian Bach. Sein Leben und seine + Werke._ Berlin and Leipzig. 1881. + Otto Gumprecht, _Warum treiben wir Musik?_ [Bach and others.] + Leipzig. 1883. + C. H. Bitter, _Die Soehne Seb. Bachs._ Leipzig. 1883. + Jul. Schuemann, _Joh. Seb. Bach, der Kantor der Thomas-schule zu + Leipzig._ Leipzig. 1884. + A. L. Graebner, _Johann Sebastian Bach._ Dresden. 1885. + Fr. Spitta, _Haendel und Bach. Zwei Festreden._ Bonn. 1884. + E. Heinrich, _Johann Sebastian Bach. Ein kurzes Lebensbild._ Berlin. + 1885. + E. Naumann, _Deutsche Tondichter von J. S. Bach bis Richard Wagner._ + Leipzig. 1886. 6th ed. 1896. + Paul Meyer, _Joh. Seb. Bach. Vortrag._ Basel. 1887. + Ludwig Ziemssen, _Johann Sebastian Bach. Lebensbild._ Glogau. 1889. + Richard Batka, _J. S. Bach._ Leipzig. 1893. + Wilhelm His, _Johann Sebastian Bach. Forschungen ueber dessen + Grabstaette, Gebeine und Antlitz._ Leipzig. 1895. + Wilhelm His, _Anatomisches Forschungen ueber J. S. Bach's Gebeine und + Antlitz, nebst Bemerkungen ueber dessen Bilder._ Leipzig. 1895. + Armin Stein, _J. S. Bach. Ein Kuentstlerleben._ Halle. 1896. + Hans von Wolzogen, _Bach_ [In _Grossmeister deutscher Musik_]. + Berlin. 1897. + [W. Kleefeld, _Bach und Graupner._ Leipzig. 1898.] + [Fr. Thomas, _Der Stammbaum des Ohrdruffer Zweigs der Familie von J. + S. Bach._ Ohrdruf. 1899.] + [Fr. Thomas, _Einige Ergebnisse ueber J. S. Bachs Ohrdruffer + Schulzeit._ Ohrdruf. 1900.] + B. Stein, _Johann Sebastian Bach und die Familie der _"Bache." + Bielefeld. 1900. + Fr. von Hausegger, _Unsere deutschen Meister_ [Bach and others]. + Munich. 1901. + Arnold Sobering, _Bachs Textbehandlung._ Leipzig. 1901. + [W. Tappert, _Sebastian Bachs Kompositionen fuer die Laute._ Berlin. + 1901.] + K. Soehle, _Sebastian Bach in Arnstadt_ Berlin. 1902. 2nd ed. 1904. + Arthur Pruefer, _Sebastian Bach und die Tonkunst des XIX. + Jahrhunderts._ Leipzig. 1902. + H. Barth, _Joh. Sebastian Bach: Lebensbild._ Berlin. 1902. + Gustav Hoecker, _Johann Sebastian Bach._ Gotha. 1903. + Paul von Bojanowski, _Das Weimar Johann Sebastian Bachs._ Weimar. + 1903. + Jul. Schumann, _Bach, Haendel, Mendelssohn. Die protestantische + Kirchenmusik in Lebensbildern._ Calw and Stuttgart. 1903. + [--. Weissgerber, _J. S. Bach in Arnstadt._ Arnstadt. 1904.] + [K. Storck, _J. S. Bach: Charakter und Lebensgang._ Berlin. 1905.] + [A. Pischinger, _J. S. Bach._ Munich. 1905.] + Philipp Wolfrum, _Joh. Seb. Bach._ Berlin. 1906. + Albert Schweitzer, _J. S. Bach._ Berlin. 1908. + Friedrich Hashagen, _Joh. Sebastian Bach als Saenger und Musiker des + Evangeliums._ Wismar. 1909. + Max Truempelmann, _Joh. Sebastian Bach und seine Bedeutung fuer die + Choralkomposition unserer Zeit._ Magdeburg. 1909. + August Wildenhahn, _Joh. Sebastian Bach._ Eisenach. 1909. + Philipp Wolfrum, _Johann Sebastian Bach._ 2 vols. Leipzig. 1910. + Andre Pirro, _Johann Sebastian Bach. Sein Leben und seine Werke._ + [Translated from the French by Bernhard Engelke.] Berlin. 1910. + Johannes Schreyer, _Beitraege zur Bach-Kritik._ Leipzig. 1911. + Martin Falck, _Wilhelm Friedemann Bach. Sein Leben und seine Werke, + mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern._ + Leipzig, c. 1911-14. + K. Glebe, _Johann Sebastian Bach._ Halle. 1912. + La Mara, _Johann Sebastian Bach._ 5th edition. Leipzig. 1912. + H. Reimann, _Johann Sebastian Bach._ 1912. + Armin Stein, _Johann Sebastian Bach._ Halle. 1912. + Rudolf Wustmann, _Joh. Seb. Bachs Kantatentexte._ Leipzig. 1914. + Max Bitter, _Der Stil Joh. Seb. Bachs in seinem Choralsatze._ + Bremen. 1913. + Ernst Kurth, _Grundlagen des linearen Kontrapunkts. Einfuehrung in + Stil und Technik von Bachs melodischer Polyphonie._ Bern. 1917. + + + + + II. France + + + Johann Nikolaus Forkel, _Vie, talents et travaux de Jean Sebastien + Bach._ [Translated from the German by Felix Grenier.] Paris. 1876. + Ernest David, _La vie et les oeuvres de J.-S. Bach, sa famille, ses + eleves, ses contemporains._ [An abridged translation of Spitta.] + Paris. 1882. + William Cart, _Un maitre deux fois centenaire: etude sur J.-S. Bach, + 1685-1750._ Paris. 1884. New ed. 1898. + Andre Pirro, _L'Orgue de Jean-Sebastien Bach._ Paris. 1895. + [G. Fink, _Etude biographique sur Jean-Sebastien Bach._ Angouleme. + 1899.] + [--. Daubresse, _Haendel et Bach._ Paris. 1901.] + Albert Schweitzer, _J. S. Bach, le musicien-poete._ Leipzig. 1905. + Andre Pirro, _J.-S. Bach._ Paris. 1906. 4th edition. 1913. + Andre Pirro, _L'Esthetique de Jean-Sebastien Bach._ Paris. 1907. + + + + + III. Great Britain + + + Johann Nikolaus Forkel, _Life of John Sebastian Bach. Translated + from the German_ [by -- Stephenson]. London. 1820. + C. H. Bitter, _The Life of J. Sebastian Bach. An abridged + translation from the German._ [By Janet Elizabeth Kay Shuttleworth.] + London. 1873. + R. Lane Poole, _Sebastian Bach._ London. 1881. + Sedley Taylor, _The Life of J. S. Bach in relation to his work as a + Church musician and composer._ Cambridge. 1897. + Philipp Spitta, _Johann Sebastian Bach: His work and influence on + the music of Germany, 1685-1750._ Translated from the German by + Clara Bell and J. A. Fuller Maitland. 3 vols. London. 1899. + C. F. Abdy Williams, _Bach._ London. 1900. + A. Maczewski and F. G. Edwards, art. _Bach_ in _Grove's + Dictionary,_ vol. i. 1904. + E. H. Thome, _Bach._ London. 1904. + C. H. H. Parry, _Johann Sebastian Bach._ London and New York. 1909. + Donald F. Tovey, art. _J. S. Bach,_ in _Encyclopaedia Britannica._ + Vol. iii. 1910. + Albert Schweitzer, _J. S. Bach. With a Preface by C. M. Widor. + English translation by Ernest Newman._ 2 vols. London. 1911. + C. Sanford Terry, _Bach's Chorals._ 3 vols. Cambridge. 1915, 1917, + 1920. + W. G. Whittaker, _Fugitive Notes on certain Cantatas and Motets by + J. S. Bach._ London. 1920. + + + + + IV. United States Of America + + + Andre Pirro, _Johann Sebastian Bach, the Organist, and his works._ + [Translated from the French by Wallace Goodrich.] New York. 1902. + Elbert Hubbard, _Little voyages to the homes of great musicians._ + New York. 1902. + Ludwig Ziemssen, _Johann Sebastian Bach._ [Translated from the + German by G. Putnam Upton.] Chicago. 1905. + Rutland Boughton, _Bach._ New York. 1907. + + + + + V. Holland + + + A. M. Oordt, _Een koort woord over Bach._ Leiden. 1873. + + + + + VI. Belgium + + + Charles Martens, _Un livre nouveau sur J.-S. Bach._ Brussels. 1905. + Victor Hallut, _Les Maitres classiques du dix-huitieme siecle._ + [Bach and others.] Brussels. 1909. + + + + + VII. Russia + + + [Kuschenaw Dmitrevsky, _Das lyrische Museum_ (no. 25)]. [The oldest + Russian biography of Bach.] Petrograd. 1831]. + [W. Th. Odoewsky, _Sebastian Bach._ Petrograd. 1890.] + [G. M. Bazunow, _J. S. Bach._ Petrograd. 1894.] + [S. M. Haljutin, _J. S. Bach._ Minsk. 1894.] + [Adolf Chybinski, _J. S. Bach._ Warsaw. 1910.] + + + + + +APPENDIX V. A COLLATION OF THE NOVELLO AND PETERS EDITIONS OF THE ORGAN +WORKS + + + Novello: Book I. Eight Short Preludes And Fugues. + + Page 2. Prelude and Fugue in C major (P. bk. 247 p. 48). + Page 5. Do. do. D minor (ib. 51). + Page 8. Do. do. E minor (ib. 54). + Page 11. Do. do. F major (ib. 57). + Page 14. Do. do. Q major (ib. 60). + Page 17. Do. do. G minor (ib. 63). + Page 20. Do. do. A minor (ib. 66). + Page 23. Do. do. B flat major (ib. 69). + + Novello: Book II. Preludes, Fugues, And Trio. + + Page 26. Allabreve in D major (P. bk. 247 p. 72). + Page 30. Prelude in G major (ib. 82). + Page 34. Canzona in D minor (P. bk. 243 p. 54). + Page 38. Fugue (The Giant) in D minor (P. bk. 246 p. 78). + Page 41. Fugue in G minor (P. bk. 247 p. 85). + Page 44. Prelude and Fugue (the Short) in E minor (P. bk. 242 + p. 88). + Page 48. Prelude and Fugue in C minor (P. bk. 243 p. 32). + Page 54. Trio in D minor (ib. 72). + + Novello: Book III. Fantasias, Preludes, And Fugues. + + Page 57. Fantasia in C minor (5 parts) (P. bk. 243 p. 66). + Page 60. Fugue in B minor (on a theme by Corelli) (ib. 46). + Page 64. Prelude and Fugue in A major (P. bk. 241 p. 14) + Page 70. Do. do. C major (ib. p. 2). + Page 76. Fantasia and Fugue in C minor (P. bk. 242 p. 55). + Page 84. Fugue (the Short) in G minor (P. bk. 243 p. 42). + + Novello: Book IV. Sonatas Or Trios For Two Manuals And Pedal. + + Page 88. Sonata in E flat major (P. bk. 240 p. 2). + Page 97. Do. C minor (ib. 11). + Page 110. Do. D minor (ib. 24). + + Novello: Book V. Sonatas Or Trios For Two Manuals And Pedal + (IV.-VI.). + + Page 124. Sonata in E minor (P. bk. 240 p. 36). + Page 134. Do. C major (ib. 46). + Page 151. Do. G major (ib. 63). + + Novello: Book VI. Toccata, Preludes, And Fugues. + + Page 2. Toccata and Fugue in D minor (P. bk. 243 p. 24). + Page 10. Prelude and Fugue in D major (ib. p. 14). + Page 21. Do. do. F minor (P. bk. 241 p. 29). + Page 28. Do. do. E flat major (P. bk. 242 p. 2). + + Novello: Book VII. Preludes And Fugues. + + Page 42. Prelude and Fugue (the Great) in A minor (P. bk. 241 + p. 54). + Page 52. Do. do. B minor (ib. 78). + Page 64. Do. do. C minor (ib. 36). + Page 74. Prelude and Fugue in C major (P. bk. 243 p. 2). + Page 80. Do. do. G major (ib. 8). + + Novello: Book VIII. Preludes And Fugues. + + Page 88. Prelude and Fugue in C major (P. bk. 242 p. 62). + Page 98. Do. (the Great) in E minor (P. bk. 241 p. 64). + Page 112. Do. do. G major (ib p. 7). + Page 120. Do. in G minor (P. bk. 242 p. 48). + Page 127. Fantasia and Fugue (the Great) in G minor (P. bk. + 241 p. 20). + + Novello: Book IX. Preludes And Fugues. + + Page 137. Toccata and Fugue (the Great) in C major (P. bk. 242 + p. 72). + Page 150. Prelude and Fugue in D minor (ib. 42). + Page 156. Do. (the Great) in C major (P. bk. 241 p. 46). + Page 168. Fantasia in G major (P. bk. 243 p. 58). + Page 176. Toccata and Fugue (the Great) in F major (P. bk. 242 + p. 16). + + Novello: Book X. Toccata, Preludes, And Fugues. + + Page Page 196. Toccata and Fugue (the Dorian) in D minor (P. + bk. 242 p. 30.) + Page 208. Prelude and Fugue (the Short) in A minor (ib. 84). + Page 214. Passacaglia in C minor (P. bk. 240 p. 75). + Page 230. Fugue in C minor (P. bk. 243 p. 36). + Page 238. Prelude in A minor (ib. 68). + + Novello: Book XI. Four Concertos [after Antonio Vivaldi]. + + Page 1. Concerto in G major (P. bk. 247 p. 2). + Page 10. Do. A minor (ib. 10). + Page 24. Do. C major (ib. 22). + Page 49. Do. C major (ib. 44). + + Novello: Book XII. Preludes, Fantasias, Fugues, Trios, Etc. + + Page 55. Fugue in G major (P. bk. 2067 p. 18). + Page 60. Fantasia and Fugue in A minor (ib. 3). + Page 71. Fantasia with Imitation in B minor (P. bk. 215 p. + 41). + Page 75. Fantasia in G major (P. bk. 2067 p. 25). + Page 83. Fugue in D major (P. bk. 2067 p. 22). + Page 86. Do. G major (ib. 12). + Page 91. Prelude in C major (P. bk. 247 p. 77). + Page 92. Fantasia in C major (ib. 78). + Page 94. Prelude in C major (ib. 76). + Page 95. Fugue in C minor (P. bk. 243 p. 50). + Page 100. Fugue in C major (P. bk. 247 p. 80). + Page 102. Pastorale in F major (P. bk. 240 p. 86). + Page 108. Trio in C minor (P. bk. 2067 p. 30). + Page 112. Aria in F major (ib. 34). + + [Novello's Books XIII. and XIV. (Choral Preludes and Variations) are + superseded by Books XV.-XIX.] + Novello: Book XV. Orgelbuechlein (little Organ Book). + + Page 3. Nun komm, der Heiden Heiland (P. bk. 244 p. 44). + Page 5. Gott durch deine Guete, or, Gottes Sohn ist Kommen (ib. + 20). + Page 9. Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott, + nun sei gepreiset (ib. 24). + Page 11. Lob sei dem allmaechtigen Gott (ib. 40). + Page 13. Puer natus in Bethlehem (ib. 50). + Page 15. Gelobet seist du, Jesu Christ (ib. 19). + Page 18. Der Tag, der ist so freudenreich (ib. 13). + Page 21. Vom Himmel hoch, da komm ich her (ib. 53). + Page 23. Vom Himmel kam der Engel Schaar (ib. 54). + Page 26. In dulci jubilo (ib. 38). + Page 29. Lobt Gott, ihr Christen, allzugleich (ib. 42). + Page 31. Jesu, meine Freude (ib. 34). + Page 33. Christum wir sollen loben schon (ib. 8). + Page 36. Wir Christenleut' (ib. 58). + Page 39. Helft mir Gottes Guete preisen (ib. 23). + Page 43. Das alte Jahr vergangen ist (ib. 12). + Page 45. In dir ist Freude (ib. 36). + Page 50. Mit Fried' und Freud' ich fahr' dahin (ib. 42). + Page 53. Herr Gott, nun schleuss den Himmel auf (ib. 26). + Page 58. O Lamm Gottes unschuldig (ib. 46). + Page 61. Christe, du Lamm Gottes (ib. 3). + Page 64. Christus, der uns selig macht (ib. 10). + Page 67. Da Jesus an dem Kreuze stund (ib. 11). + Page 69. O Mensch, bewein' dein' Suende gross (ib. 48). + Page 73. Wir danken dir, Herr Jesu Christ (ib. 59). + Page 76. Hilf Gott, dass mir's gelinge (ib. 32). + Page 79. Christ lag in Todesbanden (ib. 7). 81. Jesus + Christus, unser Heiland (ib. 34). + Page 83. Christ ist eratanden (ib. 4). + Page 89. Erstanden ist der heil'ge Christ (P. bk. 244 p. 16). + Page 91. Erschienen ist der herrliche Tag (ib. 17). + Page 94. Heut' triumphiret Gottes Sohn (ib. 30). + Page 97. Komm, Gott, Schoepfer, heiliger Geist (P. bk. 246 p. + 86). + Page 99. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p. + 28). + Page 101. Liebster Jesu, wir sind hier (ib. 40). + Page 103. Dies sind die heil'gen zehn Gebot' (ib. 14). + Page 105. Vater unser im Himmelreich (ib. 52). + Page 107. Durch Adams Fall ist ganz verderbt (ib. 15). + Page 109. Es ist das Heil uns kommen her (ib. 18). + Page 111. Ich ruf' zu dir, Herr Jesu Christ (ib. 33). + Page 113. In dich hab' ich gehoffet, Herr (ib. 35). + Page 115. Wenn wir in hoechsten Nothen sein (ib. 55). + Page 117. Wer nur den lieben Gott laesst walten (ib. 57). + Page 119. Alle Menschen muessen sterben (ib. 2). + Page 121. Ach wie nichtig, ach wie fluechtig (ib. 2). + + Novello: Book XVI. The Six "Schuebler Chorale Preludes" And The + "Clavieruebung," Part III. + + (a) The Schuebler Preludes. + + Page 1. Wachet auf, ruft uns die Stimme (P. bk. 246p. + 72). + Page 4. Wo soll ich fliehen hin, or, Auf meinen lieben + Gott (ib. 84). + Page 6. Wer nur den lieben Gott laesst walten (ib. 76). + Page 8. Meine Seele erhebt den Herren (Hi. 33). + Page 10. Ach bleib bei uns, Herr Jesu Christ (P. bk. 245 + p. 4). + Page 14. Kommst du nun, Jesu, vom Himmel herunter (P. + bk. 246 p. 16). + (b) The "Clavieruebung," Part III. + Page 19. Prelude in E flat major (P. bk. 242 p. 2). + Page 28. Kyrie, Gott Vater in Ewigkeit (P. 246 p. 18). + Page 30. Christe, aller Welt Trost (ib. 20). + Page 33. Kyrie, Gott heiliger Geist (ib. 23). + Page 36. Kyrie, Gott Vater in Ewigkeit (ib. 26). + Page 37. Christe, aller Welt Trost (ib. 27). + Page 38. Kyrie, Gott heiliger Geist (P. 246 p. 28). + Page 39. Allein Gott in der Hoeh' sei Ehr' (Pk. b. 245 p. + 10). + Page 40. Do. do. do (ib. 12). + Page 41. Do. do. do. (ib. 29). + Page 42. Dies sind die heil'gen zehn Gebot' (ib. 50). + Page 47. Do. do. do (ib. 54). + Page 49. Wir glauben all' an einen Gott, Schoepfer (P. + bk. 246 p. 78). + Page 52. Do. do. do. (ib. 81). + Page 53. Vater unser im Himmelreich (ib. 60). + Page 61. Do. do. (P. bk. 244 p. 51). + Page 62. Christ, unser Herr, zum Jordan kam (P. bk. 245 + p. 46). + Page 67. Do. do. do. (ib. 49). + Page 68. Aus tiefer Noth schrei' ich zu dir (ib. 36). + Page 72. Do. do. do. (ib. 38). + Page 74. Jesus Christus unser Heiland (ib. 82). + Page 80. Do. do. (ib. 92). + Page 83. Fugue in E flat major (P. bk. 242 p. 10). + + Novello: Book XVII. The Eighteen Chorale Preludes. + + Page 1. Komm, heiliger Geist, Herre Gott (P. bk. 246 p.4). + Page 10. Do. do. do. (ib. 10). + Page 18. An Wasserfluessen Babylon (P. bk. 245 p. 34). + Page 22. Schmuecke dich, O liebe Seele (P. bk. 246 p. 50). + Page 26. Herr Jesu Christ, dich zu uns wend' (P. bk. 245 p. + 70). + Page 32. O Lamm Gottes unschuldig (P. bk. 246 p. 45). + Page 40. Nun danket alle Gott (ib. 34). + Page 43. Von Gott will ich nicht lassen (ib. 70). + Page 46. Nun komm, der Heiden Heiland (ib. 38). + Page 49. Do. do. do. (ib. 40). + Page 52. Do. do. do. (ib. 42). + Page 56. Allein Gott in der Hoeh' sei Ehr' (P. bk. 245 p. 26). + Page 60. Do. do. do (ib. 22). + Page 66. Do. do. do. (ib. 17). + Page 74. Jesus Christus, unser Heiland, der von uns (ib. 87). + Page 79. Do. do. do. (ib. 90). + Page 82. Komm, Gott, Schoepfer, heiliger Geist (P. bk. 246 p. + 2). + Page 85. Wenn wir in hoechsten Noethen sein, or, Vor deinen + Thron tret' ich allhier (ib. 74). + + Novello: Book XVIII. Miscellaneous Chorale Preludes (Part I.). + + Page 1. Ach Gott und Herr (P. bk. 2067 p. 38). + Page 2. Do. do. (P. bk. 245 p. 3). + Page 3. Do. do. (P. bk. 2067 p. 39). + Page 4. Allein Gott in der Hoeh' sei Ehr' (not in P.). + Page 5. Do. do. do. (P. bk. 245 p. 6) + Page 7. Do. do. do. (ib. 30). + Page 11. Do. do. do. (ib. 8). + Page 13. An Wasserfluessen Babylon (ib. 32). + Page 16. Christ lag in Todesbanden (ib. 43). + Page 19. Do. do. (ib. 40). + Page 23. Christum wir sollen loben schon, or, Was fuercht'st + du, Feind Herodes, sehr (P. bk. 244 p. 9). + Page 24. Das Jesulein soll doch mein Trost (P. bk. 2067 p. + 47). + Page 26. Der Tag der ist so freudenreich (not in P.). + Page 28. Durch Adams Fall ist ganz verderbt (P. bk. 245 p. + 66). + Page 30. Ein' feste Burg ist unser Gott (ib. 68). + Page 35. Erbarm' dich mein, O Herre Gott (not in P.). + Page 37. Gelobet seist du, Jesu Christ (P. bk. 244 p. 102). + Page 38. Do. do. do. (ib. 20). + Page 39. Do. do. do. (P. bk. 245 p. 61). + Page 41. Gottes Sohn ist kommen (P. bk. 244 p. 22). + Page 42. Do. do. (P. bk. 245 p. 64). + Page 43. Herr Christ, der ein'ge Gottes-Sohn (P. bk. 244 p. + 25). + Page 44. Herr Gott, dich loben wir (Te Deum Laudamus) (P. bk. + 245 p. 65). + Page 60. Herr Jesu Christ, dich zu uns wend' (P. bk. 244 p. + 28). + Page 52. Do. do. do. (not in P.). + Page 53. Herzlich thut mich verlangen (P. bk. 244 p. 30). + Page 54. Ich hab' mein' Sach Gott heimgestellt (P. bk. 245 p. + 74). + Page 58. Do. do. do. (not in P.). + Page 59. In dich hab' ich gehoffet, Herr (P. bk. 245 p. 94). + Page 61. In dulci jubilo (P. bk. 244 p. 103). + Page 64. Jesu, meine Freude (P. bk. 245 p. 78). + Page 69. Jesus, meine Zuversicht (P. bk. 244 p. 103). + Page 70. Liebster Jesu, wir sind hier (ib. 105). + Page 71. Do. do. (ib. 105). + Page 72. Do. do. (ib. 39). + Page 73. Lob sei dem allmaechtigen Gott (ib. 41). + Page 74. Lobt Gott, ihr Christen, allzugleich (ib. 106). + Page 75. Meine Seele erhebt den Herren (Magnificat) (P. bk. + 246 p. 29). + Page 80. Nun freut euch, lieben Christen g'mein, or, Es ist + gewisslich an der Zeit (ib. 36). + Page 83. Nun komm, der Heiden Heiland (P. bk. 244 p. 45). + + Novello: Book XIX. Miscellaneous Chorale Preludes (part II.) And + Variations. + + (a) Preludes. + + Page 2. Valet will ich dir geben (P. bk. 246 p. 53). + Page 7. Do. do. (ib. 56). + Page 12. Vater unser im Himmelreich (ib. 66). + Page 14. Vom Himmel hoch, da komm ich her (ib. 67). + Page 16. Do. do. do. (ib 68). + Page 19. Do. do. do. (P. bk. 244 p. 106). + Page 21. Wer nur den lieben Gott laesst walten (ib. 56). + Page 22. Do. do. do. (ib. 56). + Page 23. Wie schoen leuchtet der Morgenstern (not in P.). + Page 28. Wir Christenleut' (P. bk. 2067 p. 52). + Page 30. Wir glauben all' an einen Gott, Vater (P. bk. 246 p. + 82). + Page 32. Wo soll ich fliehen hin (P. bk. 2067 p. 48). (6) + Variations. + Page 36. Christ, der du bist der helle Tag (P. bk. 244 p. 60). + Page 44. O Gott, du frommer Gott (P. bk. 244 p. 68). + Page 55. Sei gegruesset, Jesu guetig (ib. 76). + Page 73. Vom Himmel hoch, da komm ich her (ib. 92). + +The Peters volumes 244, 245, 246, 2067 contain movements excluded from the +Novello edition, viz.:-- + + Book 244: the figured Choral (Herr Christ, der ein'ge Gottes-Sohn) + on p. 107, and the Variant texts on pp. 108-112. + Book 245: the Variant texts on pp. 96-113. + Book 246: the Variant texts on pp. 86-103 (excepting the B version + of "Komm, Gott, Schoepfer, heiliger Geist"). + Book 2067: the Choral Preludes on pp. 39 (Auf meinen lichen Gott), + 40 (Wir glauben all' an einen Gott), 42 (Jesu Leiden, Pein und Tod), + 44 (Ach Gott, vom Himmel sieh darein), 54 (Aus der Tiefe ruf ich), + 56 (Christ lag in Todesbanden), and the "Kleines harmonisches + Labyrinth" on p. 16. + + + + + +APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH + + + [Genealogy Table, p. 303] + [Genealogy Table, p. 304] + [Genealogy Table, p. 305] + [Genealogy Table, p. 306] + [Genealogy Table, p. 307] + [Genealogy Table, p. 308] + [Genealogy Table, p. 309] + [Genealogy Table, p. 310] + + + + + +FOOTNOTES + + + 1 "Seiner Excellenz dem Freyheren van Swieten ehrerbietigst gewidmet + von dem Verfasser." + + 2 So far the New Bachgesellschaft has published only a single Cantata + overlooked by the old Society. See infra, p. 280. + + 3 In _The News_ of January 4, 1829, he is described as the second son + of the late John Stephenson of Great Ormonde Street, Queen Square, + whom he had succeeded in the partnership of the firm. His wife was + dead, and of his eight children the eldest was also in the Bank. + + 4 Carl Philipp Emmanuel Bach, third son of Johann Sebastian Bach, b. + 1714; Kammermusikus to Frederick the Great of Prussia (1746), + Kapellmeister at Hamburg (1768); d. 1788. + + 5 Johann Friedrich Agricola, of Dobitsch, b. 1720; studied composition + with Bach at Leipzig; Court Composer (1751) and, after Carl Heinrich + Graun's death (1759), Kapellmeister to Frederick the Great of + Prussia; d. 1774. See Spitta, _Johann Sebastian Bach,_ iii. 243 ff. + + 6 Lorenz Christoph Mizler (1711-78), a pupil of Bach, founded at + Leipzig in 1738 the "Sozietat der musikalischen Wissenschaften," of + which Bach and Handel were members. Mizler's journal, the + _Neueroeffneter Musikalischer Bibliothek,_ was its organ. It + appeared from 1736 to 1754. In Part I. of vol. iv. (1754) C. P. E. + Bach and Agricola collaborated in the obituary notice, or + "Nekrolog," which is almost the earliest literary authority for + Bach's life. It covered less than twenty pages. (See Schweitzer, + _J. S. Bach_ (trans. Ernest Newman), i. 189 ff. and Spitta, i. + Pref.) Agricola's association with Bach's son in the preparation of + the obituary notice is explained by the fact that for the last ten + years of Sebastian's life Agricola was in closer relations with him + than Carl Philipp Emmanuel, who no longer was resident in Leipzig. + + 7 Forkel's _Allgemeine Geschichte der Musik_ (2 vols. 1788-1801) had + only come down to the sixteenth century when its author diverted his + pen to a biography of Bach. + + 8 The firm of Hoffmeister and Kuehnel was founded at Leipzig in 1800 by + Franz Anton Hoffmeister, who started, in 1801, a subscription for + the publication of Bach's works, to which Forkel alludes. The + scheme failed to mature, and its accomplishment was reserved to C. + F. Peters, who purchased Hoffmeister's "Bureau de Musique" in 1814. + See articles on Hoffmeister and Peters in Grove's _Dictionary._ + + 9 Though Bach never ventured upon such tours as Mozart or Berlioz, for + instance, undertook, he loved travelling, and his artistic journeys + made him famous throughout Germany, at least as an organist. Forkel + himself describes (infra, pp. 19, 23) his notable visits to the + Courts of Berlin and Dresden. + + 10 In 1802, it must be remembered, not a note of Bach's concerted + Church music was in print except the tunes he wrote for Schemelli's + Hymn-book (1736) and the vocal parts of an early Cantata (No. 71). + Of his instrumental works engraved by 1802 Forkel gives a list + infra, p. 137. It was hardly until the foundation of the + Bachgesellschaft in 1850, to celebrate the centenary of Bach's + death, that the systematic publication of his concerted Church music + began. Before that date, however, Peters of Leipzig had taken in + hand the abandoned scheme of Hoffmeister and Kuehnel, to which Forkel + alludes, and in which he participated. + + 11 It is notable that Forkel makes no mention of Haydn, Mozart, or + Handel, whose English domicile had divorced him from Germany's + service. Forkel's pessimism is the more curious, seeing that + Beethoven was already thirty years old, and that Mozart in 1786, + after giving him a subject to extemporise upon, had remarked, + "Listen to that young man; he will some day make a noise in the + world" (Holmes, _Life of Mozart,_ Dent's ed., p. 223). Forkel, in + fact, appreciated neither Mozart nor Beethoven and thoroughly + detested Gluck. + + 12 As has been pointed out in the Introduction, Forkel stood almost + alone in 1802 in his opinion of Bach's pre-eminence. Even Beethoven + placed Bach after Handel and Mozart, but knew little of his music on + which to found a decision. + + 13 The anonymous article in the _Allgemeine deutsche Bibliothek,_ to + which Forkel alludes, deals with Bach's Clavier and Organ works and + upon them asserts Bach's superiority over Handel. The judgment was + unusual. Bach's fame was gravely prejudiced by German + Handel-worship, which the first performance of the _Messiah_ at + Leipzig in 1786 stimulated. Johann Adam Hiller, Bach's third + successor in the Cantorate of St. Thomas', was largely responsible. + He neglected, and even belittled, the treasures of Bach's art which + the library of St. Thomas' contained. See Schweitzer, i. 231. + + 14 The _Nekrolog._ See supra, p. xxiv. + + 15 Carl Philipp Emmanuel and Wilhelm Friedemann. The latter was born + in 1710, and after holding Organistships at Halle and Dresden, died + at Berlin in 1784, leaving his widow and daughter in great poverty. + The former received a grant from the receipts of the _Messiah_ + performance alluded to in note 1, supra. A man of brilliant musical + attainments, Wilhelm Friedemann's character was dissolute and + unsteady. See Schweitzer, i. 146 ff. + + 16 Two letters written by C. P. E. Bach to Forkel in 1775, conveying a + good deal of information reproduced by Forkel in this monograph, are + printed in facsimile by Dr. Max Schneider in his _Bach-Urkunden_ + (N.B.G., XVII. (3)). + + 17 Forkel's statement is entitled to respect. On the other hand there + is nothing in the recorded careers of either of Bach's sons that + bears him out on this point. Schweitzer (i. 229) endorses Elinor's + judgment: "Bach's sons were the children of their epoch, and never + understood their father; it was only from piety that they looked at + him with childlike admiration." Dr. Charles Burney spent several + days with Carl Philipp Emmanuel at Hamburg in 1772, but during the + whole time the son never played to him a note of his father's music. + + 18 i.e. Hoffmeister and Kuehnel's project. + + 19 The accuracy of this statement is apparent from the Genealogy + appended to this volume. Bach's sons represented the sixth + generation from Veit Bach, the sixteenth century ancestor of the + family. Veit himself was not a professional musician; one of his + sons was a Spielmann; thereafter for the next 150 years all but + seven of his descendants, whose professions are known, were + Organists or Cantors or Town Musicians. Many of them, moreover, + were men of the highest attainments in their profession. + + 20 He took his name from St. Vitus (Guy), patron saint of the church of + Wechmar, a fact which sufficiently disproves Forkel's statement that + his original domicile was in Hungary. The Bachs were settled in + Wechmar as early as circ. 1520. Veit migrated thence to Hungary, + though there is no adequate foundation for the statement that he + settled at Pressburg. He returned to Wechmar during the beginning + of the Counter-Reformation under the Emperor Rudolph II. (1576- + 1612), and died at Wechmar, March 8, 1619. See Spitta, i. 4. + + Apart from church and town registers, laboriously consulted by + Spitta in tracing the Bach genealogy, we owe our knowledge of it to + an MS. drawn up by Bach in 1735 which is now in the Berlin Royal + Library after being successively in the possession of Carl Philipp + Emmanuel, Forkel, and G. Poelchau, the Hamburg teacher of music. + + The original entries in it are stated by Carl P. Emmanuel to be by + his father. Forkel also owned a Bach genealogical tree, given him by + Carl Philipp Emmanuel; it has disappeared. Traces of it exist in a + work published at Pressburg by Johann Matthias Korabinsky in 1784, + its insertion being due to the assumption that the Bachs were a + Hungarian family. Forkel shared that error. See Spitta's Preface + on the whole question. The MS. genealogy of 1735 is published by + the New Bachgesellschaft (XVIII. 3) in facsimile. + + 21 Veit, in fact, returned to his native village. His name, as has been + pointed out, implies a connection with Wechmar that must have dated + from infancy. Moreover, there was living there in 1561 one Hans + Bach, an official of the municipality, who may be regarded + confidently as Veit's father. + + 22 It has been suggested that the name Bach is the sole authority for + the statement that Veit was a baker. But Spitta points out that the + vowel in the name is pronounced long and was frequently written + BAACH in the seventeenth century, a fact which makes it difficult to + associate the word with "Backer" (Baker). + + 23 In the Genealogy Johann Sebastian calls the instrument a Cythringen. + + 24 Hans Bach (d. Dec. 26, 1626) and (?) Lips Bach (d. Oct. 10, 1620). + See infra, Genealogical Tables I. and II. and note to the latter. + + 25 The "Stadt Pfeiferei," or official town musical establishment, + descended from the musicians' guilds of the Middle Ages and was + presided over by the Stadt Musiker, who enjoyed certain ancient + privileges and the monopoly of providing the music at open-air + festivities. Johann Jakob Brahms, the father of Johannes, was a + member of such a corporation at Hamburg, after having served his + apprenticeship for five years elsewhere. See Florence May, + _Johannes Brahms,_ vol. i. pp. 48 ff. + + 26 See Genealogical Table II. The three young Bachs were the sons of + Lips Bach and, presumably, nephews of Hans the "Spielmann." The + youngest of them was named Jonas; the name of another was certainly + Wendel. It is remarkable, in a period in which Italy was regarded + as the Mecca of musicians, that exceedingly few of the Bach family + found their way thither. Besides the three sons of Lips Bach, only + Johann Nikolaus, 1669-1753 (see Table VI.), Johann Sebastian Bach's + son Johann Christian, 1735-82 (see Table VIII.), and Carl P. E. + Bach's son Sebastian (see Table VII.) seem to have visited Italy. + + 27 i.e. from Veit Bach. Of the three names Forkel mentions the first + two were a generation before Johann Sebastian; the third, Johann + Bombard, was of the same generation as Johann Sebastian; none of the + three belonged to Johann Sebastian's branch. + + 28 Eldest son of Heinrich Bach (see Table VI.). Whether he was Court + as well as Town Organist at Eisenach cannot be stated positively. + + 29 The _Alt-Bachische Archive_ is a collection of the compositions of + various members of the family, before and after Johann Sebastian, + formed largely by the latter. From C. P. E. Bach it passed to G. + Poelchau and from him to the Berlin Royal Library. + + 30 Johann Christoph composed several Motets (see them discussed in + Spitta, i. 75 ff.). The daring work to which Forkel alludes was + written about 1680 and is lost. Though the augmented sixth was then + and remained unusual, Johann Christoph's is not the earliest use of + it. Spitta finds it in Giacomo Carissimi (1604-74). + + 31 The Cantata ("And there was war in heaven") is analysed by Spitta + (i. 44). The score is unusually full: two five-part choirs; Vn. 1 + and 2, 4 Violas, Contrabasso, Fagotto, 4 Trombe, Timpani, Organ. In + 1726 Johann Sebastian Bach wrote a Cantata for Michaelmas on the + same text (Rev. xii. 7). + + 32 Spitta (i. 101 n.) characterises the statement as "a mythical + exaggeration." In a chapter devoted to the instrumental works of + Johann Christoph and his brother he instances a collection of + forty-four Organ Chorals by the former, not one of which is in five + parts. + + 33 In the Bach genealogy already referred to C. P. E. Bach designates + Johann Christoph a "great and impressive composer." + + 34 A _Lamento_ published under Johann Christoph's name seems actually + to have been composed by his father Heinrich (see Pirro, _J.-S. + Bach,_ 9 n.). Johann Christoph, however, is the composer of the + Motet _Ich lasse dich nicht,_ so often attributed to Johann + Sebastian. + + 35 See Table VI. He was the father of Johann Sebastian's first wife. + + 36 See note, p. 4 supra. + + 37 Spitta (i. 59 ff.) mentions twelve Motets by Michael Bach. Several + of them are for eight voices. Forkel probably refers to the most + remarkable of Michael's Motets, in which he detects the romantic + spirit of Johann Sebastian. It is set to the words _Unser Leben ist + ein Schatten,_ (_Life on earth is but a shadow_). The first choir + consists of 2 S., A., 2 T., B., and the second choir of A. T. B. + only. Spitta analyses the work closely (i. 70-72). Novello publishes + his five- part Motet _Christ is risen_ with an English text. + + 38 He succeeded his cousin Johann Christoph at Eisenach in 1703. + + 39 Spitta (i. 24 ff.) mentions four Suites, or Overtures, Clavier + pieces, and Organ Chorals as being by him. That Johann Sebastian + Bach highly esteemed the Suites is proved by the fact that he copied + the parts of three of them with his own hand at Leipzig. + + 40 It is a curious fact that, prior to the career of Johann Sebastian + Bach, the composers of the Bach family occur invariably in other + branches than his. With two exceptions, the gift of composition + appears to have been possessed, or exercised, solely by Heinrich + Bach (see Table VI.), his two sons Johann Christoph and Johann + Michael, already discussed, and his grandson, Johann Nikolaus (son + of Johann Christoph). Heinrich Bach was a very productive composer + in all forms of musical art employed at that time in church (Sp. i. + 36). His grandson, Johann Nikolaus, composed a Mass and a comic + operetta (ib., 132 ff.). The only other Bach composer known to + Spitta is Georg Christoph, founder of the Franconian Bachs (see + Table IV.) and Cantor at Themar and Schweinfurt (ib. 155). The other + Bach composer outside Heinrich Bach's branch is Johann Bornhard, + already mentioned by Forkel. + + 41 In the Quodlibet different voices sang different well-known + melodies, sacred and profane, and sought to combine them to form a + harmonious whole. For an example see Variation 30 of the _Aria mit + 30 Veranderungen_ (Peters' ed., bk. 209 p. 83). In it Bach combines + two popular songs of his period. + + 42 See article "Quodlibet" in Grove. + + 43 The date is conjectural, and is deduced from the fact that the + infant was baptized on March 23. The Gregorian Calendar was not + adopted in Germany until 1701. Had it been in use in 1685 Bach's + birthday would be March 31. + + 44 Johann Ambrosius' Court appointment is to be inferred from the fact + that in 1684 the Duke refused him permission to return to Erfurt. + + 45 See Table IV. + + 46 Johann Ambrosius survived his brother by nearly eighteen months. + + 47 His mother died in May 1694, and his father in January 1695. At the + latter date Johann Sebastian was three months short of his tenth + year. + + 48 Excepting Johann Jakob, a lad of thirteen years, Johann Christoph + was Bach's only surviving brother, and the only one of the family in + a position to look after him. Johann Jakob accompanied Sebastian to + Ohrdruf (Pirro, p. 13) and afterwards apprenticed himself to his + father's successor as Town Musician at Eisenach. One of the + daughters was already married. What became of the other is not + stated. See Table V. + + 49 It is difficult to believe this statement. That the boy was + destined for a musical career by his father hardly can be doubted. + That he was of unusual precocity, the story told by Forkel in the + text proves. His father's asserted neglect to instruct him is + therefore hardly credible. + + 50 Johann Jakob Froberger, born at Halle (date unknown); Court Organist + at Vienna, 1637-57; d. 1667. + + 51 Johann Caspar Ferdinand Fischer, c. 1660-1738 (actual dates of his + birth and death unknown); Kapellmeister to Markgraf Ludwig of Baden + at Schloss Schlackenwerth in Bohemia. His _Ariadne Musica + Neo-Organoedum_ (1702) was the precursor of Bach's _Das + wohltemperirte Clavier._ + + 52 Johann Caspar Kerl, b. 1628; Kapellmeister in Munich, 1656-74; Court + Organist at Vienna, 1677-92; d. 1693. + + 53 Johann Pachelbel, b. 1653, d. 1706. In 1695 he was Organist of St. + Sebald's Church, Nuernberg. His influence upon the organ playing of + his generation was enormous. Bach's brother, Johann Christoph, was + his pupil. + + 54 Dietrich Buxtehude, b. 1637, d. 1707; Organist (1668) of the + Marienkirche, Luebeck, and the chief musical influence in North + Germany. + + 55 Nikolaus Bruhns, b. circ. 1665, d. 1697; a. pupil of Buxtehude; + Organist at Husum; the greatest organist of his time after + Buxtehude. + + 56 Georg Boehm, b. 1661; date of death uncertain (c. 1739); from 1698 + Organist of the Johanniskirche, Lueneburg. + + 57 In fact, Johann Christoph did not die until 1721, more than twenty + years after Sebastian ceased to be under his roof. + + 58 The fact that Johann Christoph survived till 1721 disproves Forkel's + statement. The youthful Bach, aged fifteen in 1700, no doubt seized + the earliest opportunity to relieve his brother of the charge of + him. Moreover, Johann Christoph's family was increasing (see Table + V.). In spite of the story of Bach's midnight copying, it cannot be + questioned that he owed a good deal to his brother, who not only + taught him but, presumably, maintained him at the Ohrdruf Lyceum, + where Bach acquired a sound education and a considerable knowledge + of Latin. See Pirro, pp. 14-16, on Bach's education at Ohrdruf. He + left the Lyceum in March 1700. + + 59 Georg Erdmann, Bach's fellow-pupil at the Lyceum. + + 60 Bach's entry into the choir of St. Michael's Convent, Lueneburg, took + place about Easter 1700. The step was taken upon the advice of + Elias Herda, Cantor at the Ohrdruf Lyceum, himself a former member + of St. Michael's. Bach remained at St. Michael's for three years, + till 1703. The choir library was particularly rich in the best + church music of the period, both German and Italian. Spitta is of + opinion that Bach's talents as a violinist and Clavier player were + also laid under contribution. His voice, as Forkel states, soon + ceased to be serviceable. His maximum pay was one thaler (three + shillings) a month and free commons. + + 61 Probably Georg Boehm, who had relations with the Convent choir, + inspired Bach to make the pilgrimage. Boehm, then at St. John's, + Lueneburg, was a pupil of Reinken of Hamburg. Spitta (i. 196) + suggests that Bach's cousin, Johann Ernst (see Table IV.), was at + this time completing his musical education at Hamburg, a fact which + may have contributed to draw Bach thither. He made more than one + visit, on foot, to Hamburg. F. W. Marpurg published, in 1786, the + story, which he received from Bach himself, that on one of his + journeys from Hamburg, Bach sat down outside an inn and hungrily + sniffed the savours from its kitchen. His pockets were empty and + there seemed little prospect of a meal, when a window was opened and + two herring heads were thrown out. Bach picked them up eagerly, and + found in each of them a Danish ducat. Who was his benefactor he + never discovered; the gift enabled him to satisfy his hunger and pay + another visit to Hamburg. + + 62 Johann Adam Reinken, b. 1623, became Organist of St. Catherine's + Church, Hamburg, in 1664, and held the post until his death in 1722. + + 63 His introduction to French music marked another step in Bach's + progressive education. The reigning Duke of Celle (father-in-law of + George I. of Great Britain and Ireland) had married a Frenchwoman. + See Pirro, _J. S. Bach,_ pp. 24-27. + + 64 He entered the Weimar service on April 8, 1703 (Pirro, p. 29). + + 65 Bach's engagement was in the private band of the younger brother of + the Duke. He remained in his new post only a few months. He was + engaged as a Violin player, and since his interests were towards the + Organ and Clavier, it is clear that he accepted the engagement as a + temporary means of livelihood. + + 66 He is, however, described in July 1703 as Court Organist (Pirro, p. + 30). Bach was drawn to Arnstadt chiefly by the fact that the New + Church recently had been equipped with a particularly fine Organ + (specification in Spitta, i. 224), which existed until 1863. Bach + inaugurated it on July 13, 1703, and entered on his duties as + Organist of the church in the following month (Pirro, p. 30). + + 67 His earliest Church Cantata (No. 15) was composed here in 1704. To + the Arnstadt period (1703-7) also must be attributed the Capriccio + written on the departure of his brother, Johann Jakob (Peters bk. + 208 p. 62), the Capriccio in honour of his Ohrdruf brother, Johann + Christoph (Peters bk. 215, p. 34), the Sonata in D major (Peters bk. + 215, p. 44), the Organ Prelude and Fugue in C minor (Novello bk. 2 + p. 48), and the Organ Fugue in C minor (Novello bk. 12 p. 95). + + 68 In the _Nekrolog_ C. P. E. Bach and Agricola remark of the Arnstadt + period, that Bach then "really showed the first-fruits of his + industry in the art of Organ-playing and composition, which he had + in great measure learnt only from the study of the works of the most + famous composers of the time, and from his own reflections on them" + (quoted in Spitta, i. 235). + + 69 Bach's stipend at Arnstadt was not inconsiderable, and his duties + engaged him only at stated hours on Sundays, Mondays, and Thursdays. + He, therefore, had leisure and the means to employ it. In October + 1705 he obtained four weeks' leave of absence and set off on foot to + Luebeck, after leaving an efficient deputy behind him. He stayed + away until February 1706. On his return the Consistory demanded an + explanation of his absence, and took the opportunity to remonstrate + with him on other matters. They charged him "with having been + hitherto in the habit of making surprising variationes in the + Chorals, and intermixing divers strange sounds, so that thereby the + congregation were confounded." They charged him with playing too + long preludes, and after this was notified to him, of making them + too short. They reproached him "with having gone to a wineshop last + Sunday during sermon," and cautioned him that, "for the future he + must behave quite differently and much better than he has done + hitherto" (see the whole charge in Spitta, i. 315 ff.). Bach also + was on bad terms with the choir, whose members had got out of hand + and discipline. Before his Luebeck visit he engaged in a street + brawl with one of the scholars. Then, as later, he was a choleric + gentleman. In November 1706 he got into further trouble for having + "made music" in the church with a "stranger maiden," presumably his + cousin Maria Barbara Bach, then on a visit to Arnstadt; he married + her a year later. Clearly the relations between the Consistory and + the brilliant young Organist were becoming difficult, and Bach's + migration to Muehlhausen no doubt was grateful to both. His + resignation was made formally on June 29, 1707. + + 70 Bach was appointed on June 15, 1707, to succeed Johann Georg Able. + Muehlhauson prided itself upon its musical traditions. Bach's + Cantata, No. 71, written in February 1708 for the inauguration of + the Muehlhausen Town Council, was engraved (the parts only), the only + one of the 206 Cantatas which have come down to us which was printed + during Bach's lifetime. He also composed Cantatas 131 and 196 at + Muhlhausen, and perhaps three others. See infra, p. 188. + + 71 Bach's petition to the Muehlhausen Consistory for permission to + resign his post is dated June 25, 1708, and is printed in full by + Spitta, i. 373. Bach mentions the Weimar post as having been + offered to him, but bases his desire to resign the organ of St. + Blasius, partly on the ground that his income was inadequate, partly + because, though he had succeeded in improving the organ and the + conditions of music generally, he saw "not the slightest appearance + that things will be altered" for the better. Muehlhausen, in fact, + was a stronghold of Pietism and unsympathetic to Bach's musical + ideals. + + 72 He was Court Organist and Kammermusikus. In the latter post Bach + was of use as a Violinist and Clavier player. The Court band, or + Kapelle, on special occasions appeared in Hungarian costume, which + Bach presumably donned. His income began at a sum nearly double + that he had received at Arnstadt and Muehlhausen. + + 73 The character of his employer, Duke Wilhelm Ernst of Saxe-Weimar, + must be reckoned a factor in the development of the youthful Bach. + The Duke was not only a cultured artist, but was also a man of + genuine piety. + + 74 Though Bach retouched them in later years and wrote others, it may + be stated in general terms that his Organ works were the fruit of + the Weimar period, which lasted from 1708 till 1717. + + 75 Bach's promotion to the position of Concertmeister had taken place + certainly before March 19, 1714, on which date Spitta (i. 517) + prints a letter in which Bach gives himself the title. The increase + in his income early in 1714 also supports the conclusion, while a + letter of January 14, 1714, written by Bach, is not signed by him as + Concertmeister. It would seem that his promotion took place in the + interval between the two letters. As Concertmeister it was part of + his duty to provide Cantatas for the church services. Twenty-two + were written by him at Weimar. See infra, p. 188, for a list of + them. + + 76 Friedrich Wilhelm Zachau died on August 7 or 14, 1712. + + 77 Spitta (i. 513) infers that, in the later years of the Weimar + period, Bach spent part of the autumn of every year in visits to the + Courts and larger towns of Germany in order to give Organ recitals + and to conduct performances of his Cantatas. Besides the visit to + Halle, in 1713, to which Forkel alludes, Bach performed at Cassel in + 1713 or 1714 before the future Frederick I. of Sweden, who presented + him with a ring which he drew from his finger. Bach's feet, an + admirer recorded, "flew over the pedal-board as if they had wings." + In December 1714 he visited Leipzig and performed Cantata No. 61, + _Nun komm, der Heiden Heiland._ In 1716 he was again invited to + Halle, and at about the same time performed at Meiningen. Forkel + records the famous contest with Marchand, the French Organist, at + Dresden in 1717. + + 78 Forkel's brief account follows the _Nekrolog._ Bach was in Halle in + the autumn of 1713, a year after Zachau's death. The latter's post + was still vacant and a new and particularly large Organ (sixty-three + speaking stops) was being erected. The authorities pressed Bach to + submit himself to the prescribed tests, and he complied so far as to + compose a Cantata and to conduct a performance of it. On his return + to Weimar he received a formal invitation to accept the post. After + some correspondence Bach refused it, partly, perhaps chiefly, on the + ground that the income was inadequate. The refusal was answered by + the groundless accusation that he had merely entertained the Halle + proposal in order to bring pressure upon Weimar for a rise of + salary. The misunderstanding was cleared away by 1716, when Bach + visited Halle again. In the interval Zachau's post had been given + to his pupil, Gottfried Kirchhoff. The whole matter is discussed at + length in Spitta, i. 515 ff. + + 79 Frederick Augustus I. of Saxony was elected, as Augustus II., to the + throne of Poland in 1697. He died In 1733. + + 80 Louis Marchand, b. 1669, d. 1732; Organist to the French Court and + later of the Church of St. Honore, Paris. His arrival in Dresden + was due to his being in disgrace at Versailles. Whether or not he + was offered a permanent engagement at the Saxon Court, he was + regarded as the champion of the French style, and as such the + challenge was issued to him by Bach. + + 81 Francois Couperin, b. 1668, d. 1733; Organist of St. Gervais, Paris. + Forkel's judgment upon his art is not supported by modern criticism. + + 82 Bach, however, admired Marchand's compositions sufficiently to give + them to his pupils. See Pirro, p. 52. + + 83 Jean-Baptiste Volumier, an acquaintance of Bach, according to Spitta + (i. 583). Eitner, _Quellen Lexikon._ says that he was born in Spain + and educated in France. Grove's _Dictionary_ declares him a + Belgian. In 1709 he was appointed Concertmeister to the Saxon + Court. He died at Dresden in 1728. + + 84 It is more probable that Bach was at Dresden either expressly to + hear Marchand or upon one of his autumn tours. + + 85 Some years earlier Flemming had witnessed Handel's triumphant + descent on the Saxon Court, but had failed to establish friendly + relations with him. See Streatfield's _Handel_, p. 87. + + 86 The article on Marchand in Grove gives a different version of the + affair, based upon Joseph Fetis (1784-1871). According to this + story of the event, Bach, summoned from Weimar, attended Marchand's + concert incognito, and after hearing Marchand perform, was invited + by Volumier to take his seat at the Clavier. Bach thereupon + repeated from memory Marchand's theme and variations, and added + others of his own. Having ended, he handed Marchand a theme for + treatment on the Organ and challenged him to a contest. Marchand + accepted it, but left Dresden before the appointed hour. + + 87 The Prince was brother-in-law of Duke Ernst August of Saxe-Weimar. + Bach was, therefore, already known to him and showed the greatest + regard for him both at Coethen and after he had left his service. + + 88 The reason for Bach's migration from Weimar to Coethen was his + failure to obtain the post of Kapellmeister at the former Court upon + the death of Johann Samuel Drese in 1716. The post was given to + Drese's son. On August 1, 1717, just before or after his Marchand + triumph, Bach was appointed Kapellmeister to the Court of Coethen. + Duke Wilhelm Ernst refused to release him from his engagement, and + Bach endured imprisonment from November 6 to December 2, 1717, for + demanding instant permission to take up his new post. Probably his + last work at Weimar was to put the _Orgelbuechlein_ into the form in + which it has come down to us (see articles by the present writer in + _The Musical Times_ for January-March 1917). + + With his departure from Weimar in 1718 Bach left behind him the + distinctively Organ period of his musical fertility. Though his + compositions were still by no means generally known, as a player he + held an unchallenged pre-eminence. + + 89 He was appointed to Coethen on August 1, 1717, and was inducted at + Leipzig on May 31, 1723. + + 90 The date actually was November 1720. At Coethen Bach had an inferior + Organ and little scope for his attainments; his chief duties were in + connection with the Prince's band. The yearning to get back to the + Organ, which eventually took him to Leipzig in 1723, shows itself in + his readiness to entertain an invitation to Hamburg in 1720. + + 91 Three Organ movements by Bach upon Wolfgang Dachstein's melody, _An + Wasserfluessen Babylon,_ are extant. See notes upon them and their + relation to the Hamburg extemporisation in Terry, _Bach's Chorals,_ + Part III. + + 92 As at Halle in 1713, Bach does not appear to have gone to Hamburg + specially to compete for the post of Organist to the Church of St. + James, vacant by the death of Heinrich Friese in September 1720. He + was not able to stay to take part in the final tests, nor was he + asked to submit to them, since his visit to Hamburg had given him an + opportunity to display his gifts. In the result the post was given + to Johann Joachim Heitmann, who acknowledged his appointment by + forthwith paying 4000 marks to the treasury of the Church. See + Spitta, ii. 17 ff. + + 93 Johann Kuhnau died on June 25, 1722. + + 94 On the title-pages of his published works Bach describes himself as + "Capellm. und Direct. Chor. Mus. Lips." + + 95 Forkel has practically nothing to say regarding the Leipzig period + of Bach's musical life. That a professed historian of music, + setting before the public for the first time the life of one whom he + so greatly extolled, and with every inducement to present as + complete a picture of him as was possible, should have taken no + trouble to carry his investigations beyond the point C. P. E. Bach + and Agricola had reached in the _Nekrolog_ of 1754 is almost + incredible. The only reason that can be adduced, apart from the + lack of a really scientific impulse, is that Forkel was almost + entirely ignorant of the flood of concerted church music which + poured from Leipzig from 1723 to 1744. His criticism of Bach as a + composer is restricted practically to Bach's Organ and Clavier + works. + + 96 On November 19, 1728. Latterly his interest in music had waned. + The fact, along with Bach's concern for the education of his sons + and his desire to return to the Organ, explains his abandonment of + the more dignified Coethen appointment. + + 97 The score of this work was in Forkel's possession, but was missing + from his library in 1818 and was assumed to be lost until, in 1873, + Rust was able to show that Bach used for the occasion certain + choruses and Arias from the _St. Matthew Passion,_ which he was then + writing, with the first chorus of the _Trauer-Ode_ as an opening of + the extemporised work. See Spitta, ii. 618; Schweitzer, ii. 208. + + 98 In 1723 he received the title Hochfuerstlich Weissenfelsische + wirkliche Kapellmeister and retained it till his death. He retained + also his Coethen appointment. + + 99 Augustus III. Bach had petitioned for the appointment in a letter + dated July 27, 1733 (Spitta, iii. 38), forwarding a copy of the + newly-written Kyrie and Gloria of the B minor Mass. + + 100 There does not appear to be any ground for the suggestion that the + post of Hofcomponist to the Dresden Court was attached ex officio to + the St. Thomas' Cantorate. Bach applied for it in 1733, taking + advantage of the recent accession of the new sovereign, Augustus + III., in February 1733. + + 101 Friedemann was then at Halle. + + 102 May 7, 1747, according to Spitta, quoting Friedrich Wilhelm + Marpurg's _Historisch-kritische Beytraege zur Aufnahme der Musik,_ + which appeared in 5 vols. between 1754-1778. On the other hand, + Spener, who first records the event, states briefly: "May 11,1747. + His Majesty was informed that Kapellmeister Bach had arrived in + Potsdam, and that he was in the King's ante-chamber, waiting His + Majesty's gracious permission to enter, and hear the music. His + Majesty at once commanded that he should be admitted" (Spitta, iii. + 231 n.). If the Marpurg and Spener dates are reliable, it looks as + though Friedemann's story of his father, travel-stained and weary, + being hurried incontinent into the presence of the King is a piece + of picturesque embroidery. + + 103 Clearly this was a story that Wilhelm Friedemann prided himself on + the telling, and Forkel's remark suggests the need for caution in + accepting all its details. Frederick's courtesy to Bach, however, + tends to discredit the story that ten years earlier (1737) Handel + deliberately refused to meet the King at Aix-la-Chapelle owing to + the peremptoriness of his summons. Mr. Streatfleld (p. 145) also + shows that Frederick was not at Aix until 1741, when Handel was + writing the _Messiah_ in London. + + 104 Gottfried Silbermann, a pioneer of the modern pianoforte. Bach was + already familiar with his Claviers with hammer action, and indeed + had offered useful criticism of which Silbermann had taken + advantage. See Spitta, ii. 46. + + 105 * The pianofortes manufactured by Silbermann, of Freiberg, pleased + the King so much, that he resolved to buy them all. He collected + fifteen. I hear that they all now stand, unfit for use, in various + corners of the Royal Palace. [Robert Eitner, in 1873, found one of + the pianos in Frederick the Great's room at Potsdam.] + + 106 According to another account, which Spitta (iii. 232) follows, Bach + played before a large congregation in the Church of the Holy Spirit, + Potsdam. The King does not appear to have been present. The + extemporisation of the six-part Fugue took place in Frederick's + presence on the evening of that day. + + 107 Bach's letter to Frederick accompanying the gift is dated 7th July + 1747. He calls it "a musical offering, of which the noblest portion + is the work of Your Majesty's illustrious hand." In addition to + Forkel's analysis it contains a Sonata for Flute, Violin, and + Clavier, and a canon perpetuus for the same three instruments. + + 108 John Taylor (1703-72), oculist to George II. The operation took + place in the winter of 1749-50. Taylor is said to have operated on + Handel in 1751 (see the article on him in the _Dict. Nat. + Biography._). Streatfield (_Handel,_ p. 212), however, does not + mention Taylor, and his account suggests that Samuel Sharp, of Guy's + Hospital, was the operator in Handel's case. + + 109 The actual date was July 28, at 8.45 P.M. Bach was working to the + very moment of his collapse on July 18. Probably his last work was + the Choral Prelude (Novello bk. xvii. 85) on the melody _Wenn wir in + hoechsten Noethen sein._ Facing eternity, he bade his son-in-law, + Altnikol, inscribe the movement with the title of the Hymn, _Vor + deinen Thron tret ich hiemit,_ whose first stanza filled his mind: + + Before Thy throne, my God, I stand, + Myself, my all, are in Thy hand. + + An addendum to the Genealogy, in C. P. E. Bach's hand, gives July 30 + as the date of his father's death. + + 110 July 18. + + 111 See Genealogical Tables VII. and VIII. + + 112 The statement is misleading. Of the five sons of the first + marriage, two were famous, two died in infancy, and the fifth + abandoned a promising musical career for the law. Of the six sons of + the second marriage, one was imbecile, three died in infancy, two + were famous. + + 113 See Introduction, p. XXI, supra. + + 114 In view of Bach's memorial of August 23, 1730 (infra), this seems to + be the meaning of the resolution. + +_ 115 Steigt freudig in die Luft,_ first performed at Coethen, set to a + new text, _Schwingt freudig euch empor._ + + 116 The well-known portrait by C. F. Rr. Liszewski in the Joachimsthal + Gymnasium, Berlin, was painted in 1772, twenty-two years after + Bach's death. It represents him at a table with music-paper before + him and an adjacent Clavier. Pirro uses for his frontispiece a + portrait by Geber, which bears no resemblance whatever to the + Haussmann or Volbach pictures. Mention must also be made of a + singularly engaging picture of Bach at the age of thirty-five. It + hangs in the Eisenach Bach Museum and is by Johann Jak. Ihle. It is + reproduced as the frontispiece of this volume. + + 117 His _Versuch ueber die wahre Art des Klavier zu spielen_ was + published (Part I.) in 1753. + + 118 Forkel's meaning can be made clear in the following manner: place + the thumb and fingers of either hand upon the notes C D E F G of the + pianoforte so that the three middle fingers lie more or less flat + upon the keys; then draw back the three middle fingers until they + form an arch having their tips approximately in a straight line with + the tips of the thumb and little finger upon the keys. + + 119 It must be remembered that Forkel is speaking of the Clavier and not + of the Pianoforte. + + 120 The Harpsichord, as its name implies, was an instrument whose + strings were plucked by a plectrum. Bach preferred the older + Clavier, or Clavichord, which could be regulated, as the other could + not, by nicety of touch. See note, p. 68, infra. + + 121 Schweitzer (i. 208) points out that Bach's touch was modern, in that + he realised that "singing tone" depends not only upon the manner in + which the keys are struck, but, to a great extent, on the regulation + of their ascent. + + Of Handel's touch, Burney writes (quoted by Rockstro, p. 349): "His + touch was so smooth, and the tone of the instrument so much + cherished, that his fingers seemed to grow to the keys. They were + so curved and compact when he played, that no motion, and scarcely + the fingers themselves, could be discovered." + + 122 At the beginning of the seventeenth century, as Spitta points out + (ii. 34), the art of fingering had not developed. Speaking + generally, neither thumb nor little finger was employed. It was not + until the beginning of the eighteenth century that a scientific + method emerged, a development rendered necessary by the advance in + the modes of musical expression. C. P. E. Bach, quoted by + Schweitzer (i. 206), puts this concisely: "My late father told me + that in his youth he had heard great men who never used the thumb + except when it was necessary to make big stretches. But he lived in + an epoch when there came about gradually a most remarkable change in + musical taste, and therefore found it necessary to work out for + himself a much more thorough use of the fingers, and especially of + the thumb, which, besides performing other good services, is quite + indispensable in the difficult keys, where it must be used as nature + intends." + + 123 According to Mr. Arnold Dolmetsch, Clavichords with special strings + for each note (bundfrei) were known in Bach's time. + + 124 In the _Essay_ already referred to. For a discussion of Couperin's + method see Spitta, ii. 37 ff. + + 125 For instance, the Rondeau in B flat in Anna Magdalena's _Noten- + buch_ (No. 6) (1725) is by Couperin. + + 126 No doubt the friend who prepared this trap for Bach was Johann + Gottfried Walther. His compositions frequently were characterised + by intricacy. + + 127 Mozart had the same gift. When visiting St. Thomas' School in 1789, + he heard with astonishment a performance of Bach's Motet, _ Singet + dem Herrn ein neues Lied._ "At the conclusion he expressed his + delight, and said, 'Now that is something from which a man may + learn.' On being informed that Bach was Cantor to this school, and + that his Motets were venerated there as reliques, he was eager to + see them. No score being to be obtained, they handed him the + separate parts, and it was interesting to observe his manner of + reading them, holding some in his hands, some on his knees, placing + some on chairs around him; seeming thoroughly lost to everything, + and not rising till he had thoroughly satisfied his curiosity" + (Holmes, _Life of Mozart,_ ed. Dent, p. 251). + + 128 There were in Bach's time three "Clavier" instruments in use. The + oldest, the Clavichord, as a rule, had two strings to every note, + set in motion by a "tangent" striking them from below. Its + advantage was that it permitted the tone to be regulated by the + touch. For that reason, though its tone was weak, Bach preferred + it. The Clavicembalo, or Harpsichord, as it is called in the text, + was in general known as the "Fluegel," the strings being plucked, or + flipped by a quill or metal pin, after the manner of the modern + mandoline. The third instrument was the "piano e forte," or + Hammerclavier. The Clavicembalo was also built with two keyboards, + like an Organ, and a pedal-board provided with strings. It was for + this instrument that the so-called Organ Sonatas of Bach were + written. He possessed five Clavicembali, but not a single + Clavichord at the time of his death. For that reason it has been + questioned whether Forkel is accurate in stating that Bach preferred + the latter instrument. See Schweitzer, i. 200 ff. + + 129 Peters bk. 207 p. 4. + + 130 The truth of this remark is very evident in the _Orgelbuechlein._ + + 131 Forkel writes as though he were in a position by personal knowledge + to compare the gifts of Bach and his son. In fact he was born in + 1749 and was less than two years old when Bach died. + + 132 On Bach's use of the stops see Spitta, i. 394 ff., and Pirro's + _L'Orgue de J.-S. Bach._ + + 133 Johann Joachim Quantz, b. 1697; flute player and composer; taught + Frederick the Great the flute; settled at Berlin as Kammer-musikus + and Court Composer; d. 1773. + + 134 The _Nekrolog_ sums up more briefly than Forkel, in a judgment + which, without doubt, is the very truth: "Bach was the greatest + Organ player that had yet been known." + + 135 Johann Adolph Scheibe, a native of Leipzig, was an unsuccessful + candidate for the Organistship of St. Thomas' Church in 1729. Bach + was one of the judges. In 1737 Scheibe published in the "Kritische + Musikus" a criticism of Bach which, while doing justice to his + powers as an organist, characterised his compositions as "turgid and + confused in character." Bach was incensed by the criticism and + asked his friend, Professor Birnbaum of Leipzig, to answer it. + Scheibe replied in 1739, with a wholly unjustified challenge of + Bach's general education and culture. In his "Phoebus and Pan," + performed in 1731, Bach had already had the satisfaction of + representing Scheibe as "Midas" and calling him an ass. On the + whole matter see Schweitzer, i. 178 ff. and Spitta, iii. 252. + Scheibe conducted the Court orchestra at Copenhagen from 1742-49 and + died there in 1776. + + 136 Georg Andreas Sorge, "Court and Town Organist to the Count of Reuss + and Plau at Lobenstein," in his dedication thus commended Bach: "The + great musical virtue that Your Excellency possesses is embellished + with the excellent virtue of affability and unfeigned love of your + neighbour." See Schweitzer, i. 155. + + 137 The following passage from the Autobiography of Hector Berlioz (ed. + Dent, p. 11) is relevant: "My father would never let me learn the + piano; if he had, no doubt I should have joined the noble army of + piano thumpers{~HORIZONTAL ELLIPSIS~}Sometimes I regret my ignorance, yet, when I think of + the ghastly heap of platitudes for which that unfortunate piano is + made the daily excuse--insipid, shameless productions, that would be + impossible if their perpetrators had to rely, as they ought, on + pencil and paper alone--then I thank the fates for having forced me + to compose silently and freely by saving me from the tyranny of + finger-work, that grave of original thought." + + 138 Antonio Vivaldi, A. 1743; a master of form. That fact turned the + attention of German composers to him; while the popularity of his + Violin Concertos also attracted musicians, like Bach, whose work at + Coethen was in close association with the Court Kapelle or band. + + 139 Bach re-wrote sixteen Vivaldi Violin Concertos for the Clavier, four + of them for the Organ, and developed one into a Concerto for four + Claviers and a quartet of strings which Forkel enumerates ( infra, + p. 132) as a composition of Bach's (Peters bk. 260). Bach learnt + from Vivaldi "clearness and plasticity of musical structure." See + article _Vivaldi_ in Grove; Spitta, i. 411 ff; Schweitzer, i. 192 + ff. The Vivaldi Clavier Concertos are in Peters bk. 217; the Organ + Concertos in Novello bk. 11. Not all these transcriptions are based + on Vivaldi. See Schweitzer, i. 193. + + 140 Girolamo Frescobaldi, b. 1583, d. 1644; Organist of St. Peter's, + Rome. + + 141 Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin's, + Brunswick; composed for the Organ. + + 142 Purcell should be added to those whom Forkel mentions as Bach's + models. See infra, p. 261. + + 143 * See Kirnberger's "Kunst des reinen Satzes," p. 157. [The work was + published in two volumes at Berlin in 1771, 1776.] + + 144 Transitus regularis= a passing note on the unaccented portions of + the bar; transitut irregularis=a passing note on the accented part + of the bar. + + 145 Spitta (iii. 315 ff. ) prints a treatise by Bach, _Rules and + Instructions for playing Thorough-bass or Accompaniment in Four + Parts,_ dated 1738. Rule 3 of chap. vi. states: "Two fifths or two + octaves must not occur next one another, for this is not only a + fault, but it sounds wrong. To avoid this there is an old rule, + that the hands must always go against one another, so that when the + left goes up the right must go down, and when the right goes up the + left must go down." + + 146 Actually the third beat of the fourth bar from the end. P. bk. 1 p. + 37 Fugue no. 9. + + 147 Forkel edited the _Wohltemperirte Clavier_ for Hoffmeister in 1801. + + 148 The rule is not in the _Rules and Instructions_ already referred to. + + 149 Suite No. 6, in D minor (P. bk. 204 p. 84). + + 150 * Many people hold the opinion that the best melody is one which the + largest number of persons can understand and sing. But this cannot + be admitted, for if it were true, popular airs which are sung up and + down the country by all classes, even the lowest, must be accounted + the finest and best. I should be inclined to state the proposition + conversely: a melody which attracts everybody is invariably of the + most ordinary kind. In that form the statement might, perhaps, pass + as a principle. + + 151 Forkel alludes to the _Goldberg Variations_ (P. bk. 209). + + 152 P. bks. 205, 206. + + 153 P. bks. 203, 204. + + 154 P. bk. 207. + + 155 Bach wrote three Suites (Partita) and three Sonatas for Solo Violin. + They date from about 1720 and are in the keys of G minor, B minor, A + minor, D minor, C major, and E major (P. bk. 228). The six + Violoncello Suites date from the same period and are in G major, D + minor, C major, E flat major, C minor, and D major (P. bks. 238a, + 238b). + + 156 Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig + Thomas-schule; settled at Hamburg, 1694; composed a number of + Operas, and for a time had a great vogue. + + 157 It was precisely his agreeable operatic Arias that expressed + Handel's genius in the eyes of his generation. With rare exceptions + that branch of his work is obsolete and his cult survives mainly in + the _Messiah,_ which supports his quite posthumous reputation as + "musician in ordinary to the Protestant religion." See Mr. R. A. + Streatfield's _Handel,_ Introduction. + + 158 Schweitzer advances the opinion, which may perhaps be challenged, + that inevitable and natural as Bach's melodies are, they do not give + the impression of "effortless invention." Bach, he holds, worked + like a mathematician, who sees the whole of a problem at once, and + has only to realise it in definite values. Hence, he agrees with + Spitta, Bach's way of working was quite different from Beethoven's. + With Beethoven the work developed by means of episodes that are + independent of the theme. With Bach everything springs with + mathematical certainty from the theme itself. See Schweitzer (i. + 211) on Bach's methods of working. + + 159 Johann Sebastian Bach's _Vierstimmige Choralgesaenge_ were published + in 1765 and 1769. C. P. E. Bach was concerned only with the first + volume. Forkel perhaps refers to an edition of the _Choralgesaenge _ + issued by Breitkopf in four parts at Leipzig in 1784, 1785, 1786, + and 1787, and edited by C. P. E. Bach. + + 160 Forkel indicates the period 1720-1750. But in 1720 Bach had already + completed the _Orgelbuechlein_ and the greater part of his Organ + works. + + 161 * There are people who conclude that Bach merely perfected harmony. + But if we realise what harmony is, a means to extend and emphasise + musical expression, we cannot imagine it apart from melody. And + when, as in Bach's case, harmony is actually an association of + melodies, such a view becomes the more ridiculous. It might perhaps + be reasonable to say of a composer that his influence was restricted + to the sphere of melody, because we may get melody without harmony. + But there cannot be real harmony without melody. Hence the composer + who has perfected harmony has influenced the whole, whereas the + melodist has left his mark only on a fraction of his art. + + 162 As has been pointed out already (supra, p. 14) Bach's earliest + church Cantatas date from the Arnstadt period. + + 163 The statement certainly needs a caveat. No composer of his period + studied his text more closely or reverently than Bach. No one, on + the other hand, was more readily fired by a particular word or image + in his text to give it sometimes irrelevant expression. + + 164 Of Bach's church Cantatas 206 have survived. In only 22 of them + does Bach fail to introduce movements based upon the Lutheran + Chorals. + + 165 We must attribute to Forkel's general ignorance of Bach's concerted + church music his failure to comment upon a much more remarkable + feature of the recitatives, namely, their unique treatment of the + human voice as a declamatory medium, a development as remarkable as + Wagner's innovations in operatic form a century later. + + 166 It was not the imperfections of the choir but the indifference of + Bach's successors at St. Thomas', Leipzig, that was chiefly + responsible for the neglect of his Cantatas in the latter half of + the eighteenth century. Johann Friedrich Doles (1716-89) was the + only Cantor who realised the greatness of his predecessor's + concerted church music. + + 167 The _Trauer-Ode_ was performed on October 17, 1727. Bach finished + the score two days before the performance! A parallel case is that + of Mozart, who finished the overture of _Don Giovanni_ on the + morning of the first performance of the Opera, and actually played + it unrehearsed that evening. + + 168 It has been pointed out already that Bach used the _St. Matthew + Passion_ music, set to other words, for the occasion. No. 26 ("I + would beside my Lord be watching") was sung to the words "Go, + Leopold, to thy rest"! + + 169 Of the 206 surviving Cantatas, 172 were written for the Leipzig + choir. + + 170 Forkel's knowledge is very incomplete. + + 171 Elsewhere Forkel mentions only one of the secular Cantatas. + + 172 There is a tradition that Bach wrote a comic song, _Ihr Schoenen, + hoeret an,_ which was widely current about the time of his death + (Spitta, iii. 181 n.). The Aria, _So oft ich meine Tabakspfeife,_ in + A. M. Bach's _Notenbuch_ of 1725, should be mentioned. See B. G. + xxxix. sec. 4. + + 173 Bach's method has come down to us in treatises by two of his pupils, + C. P. E. Bach's _Essay_ and Kirnberger's _Die Kunst des reinen + Satzes in der Musik,_ to which reference has been made already. + + 174 Supra, p. 60. + + 175 Bach wrote eighteen Preludes for Beginners. They are all in P. bk. + 200. + + 176 Most of these movements, which Bach called indifferently + "Inventions" (ideas) and "Praeambula" (Preludes), were written in + 1723. They are in P. bk. 201. + + 177 Heinrich Nikolaus Gerber, who was Bach's pupil from 1724 to 1727, + particularly emphasises this feature of Bach's teaching. + + 178 See on the whole matter Spitta, iii. 117 ff. Bach's method is + illustrated by his _Rules and Instructions_ (1738) printed by + Spitta, iii. 315 ff., and also by the _Einige hoechst noethinge + Regeln_ at the end of A. M. Bach's _Notenbuch_ (1725). + + 179 Mozart wrote as follows to a correspondent who asked him what his + method of composition was: "I can really say no more on this subject + than the following; for I myself know no more about it, and cannot + account for it. When I am, as it were, completely myself, entirely + alone, and of good cheer--say, travelling in a carriage, or walking + after a good meal, or during the night when I cannot sleep; it is on + such occasions that my ideas flow best and most abundantly. _Whence_ + and _how_ they come, I know not; nor can I force them. Those ideas + that please me I retain in memory, and am accustomed, as I have been + told, to hum them to myself. If I continue in this way, it soon + occurs to me how I may turn this or that morsel to account, so as to + make a good dish of it, that is to say, agreeably to the rules of + counterpoint, to the peculiarities of the various instruments, etc. + All this fires my soul, and, provided I am not disturbed, my subject + enlarges itself, becomes methodised and defined, and the whole, + though it be long, stands almost complete and finished in my mind, + so that I can survey it, like a fine picture or a beautiful statue, + at a glance. Nor do I hear in my imagination the parts + successively, but I hear them, as it were, all together. What a + delight this is I cannot tell!{~HORIZONTAL ELLIPSIS~}When I proceed to write down my + ideas, I take out of the bag of my memory, if I may use that phrase, + what has previously been collected into it in the way I have + mentioned. For this reason the committing to paper is done quickly + enough, for everything is, as I said before, already finished; and + it rarely differs on paper from what it was in my imagination" + (Life, ed. Dent, p. 255). + + Wagner, writing in 1851 to Uhlig, who could not understand how the + libretto of _Young Siegfried_ could be set to music, expresses the + same idea as Mozart: "What you cannot possibly imagine is a-making + of itself! I tell you, the musical phrases build themselves on + these verses and periods without my having to trouble at all; + everything springs as if wild from the ground" (Life, trans. Ellis, + iii. p. 243). + + Schumann writes in 1839: "I used to rack my brains for a long time, + but now I scarcely ever scratch out a note. It all comes from + within, and I often feel as if I could go on playing without ever + coming to an end" (Grove, vol. iv. p. 353). + + 180 Angela Berardi's _Documenti armonici. Nelli quali con varii + discorsi, regole, ed essempii si dimonstrano gli studii arteficiosi + della musica_ was published at Bologna in 1687. + + 181 Giovanni Maria Buononcini, b. c. 1640, d. 1678; Maestro di Capella + at Modena; published his _Musico prattico_ at Bologna in 1673, 1688. + + 182 Johann Joseph Fux, b. 1660, d. 1741; Kapellmeister at Vienna; + published his _Gradus ad Parnassum_ at Vienna in 1725. + + 183 See supra, p. 74. + + 184 * I speak here only of those pupils who made music their profession. + But, besides these, Bach had a great many other pupils. Every + dilettante in the neighbourhood desired to boast of the instruction + of so great and celebrated a man. Many gave themselves out to have + been his pupils who had never been taught by him. + + 185 See Spitta, i. 522; Schweitzer, i. 214 for farther details regarding + Vogler, who died circ. 1765. + + 186 Gottfried August Homilius, b. 1714, d. 1785; pupil of Bach, circ. + 1735. Cantor of the Kreuzschule, Dresden. + + 187 Christoph Transchel (1721-1800) taught music at Leipzig and Dresden; + Bach's pupil and friend, circ. 1742. See Spitta, iii. 245. + + 188 Johann Gottlieb (or Theophilus) Goldberg, clavicenist to Count + Kaiserling (infra, p. 119) for whom Bach wrote the so-called + _Goldberg Variations._ He was born circ. 1720 and was a pupil of + Bach from 1733-46. + + 189 Johann Ludwig Krebs, b. 1713, d. 1780; Bach's pupil, 1726-35. Bach + said of him that he was "the best crab (Krebs) in the brook (Bach)." + + 190 Johann Christoph Altnikol, d. 1759. + + 191 Johann Friedrich Agricola, b. 1720, d. 1774; pupil of Bach circ. + 1738-41; Director of the Royal Chapel, Berlin. + + 192 Pier Francesco Tosi, b. circ. 1650; singing master in London. His + _Opinioni de' canton antichi e moderni, o sieno osservazioni sopra + il canto figurato_ was published at Bologna in 1723. + + 193 Johann Gottfried Muethel, b. circ. 1720, d. circ. 1790; pupil of Bach + in 1750 and resident in his house at the time of his death; organist + of the Lutheran Church, Riga. + + 194 Johann Philipp Kirnberger, b. 1721, d. 1783; Bach's pupil, 1739-41. + + 195 Louisa Amalia, of Brunswick-Wolfenbuettel, wife of Frederick the + Great's brother, and mother of his successor, Frederick William II. + (1786-97). + + 196 The second work was published in 1773 at Berlin. For the first, see + supra, p. 74. + + 197 Johann Christian Kittel, b. 1732, d. 1809; one of Bach's latest + pupils; Organist of the Predigerkirche, Erfurt. He is said to have + possessed a portrait of his master and to have rewarded his pupils + for good playing by drawing the curtain which usually covered the + picture and permitting them to look upon it. It is, perhaps, the + portrait, recently discovered by Dr. Fritz Volbach, which is + reproduced at p. 92 of this volume. + + 198 Nothing seems to be known of him. + + 199 Johann Martin Schubart succeeded Bach at Weimar in 1717. He was + born in 1690 and died in 1721. See Spitta, i. 343. + + 200 In addition to those mentioned by Forkel, the following pupils of + Bach are known: Johann Gotthilf Ziegler, of St. Ulrich's Church, + Halle; J. Bernhard Bach, of Ohrdruf; Heinrich Nikolaus Gerber, + Organist at Sondershausen; Samuel Anton Bach, of Meiningen; Johann + Ernst Bach, of Saxe-Weimar; Johann Elias Bach, Cantor at + Schweinfurt; Johann Tobias Krebs, organist at Buttelstaedt, and his + sons, Johann Ludwig, Johann Tobias, and Johann Carl; Johann + Schneider, organist of St. Nicolas', Leipzig; Georg Friedrich + Einicke, Cantor at Frankenhausen; Johann Friedrich Doles, Bach's + second successor in the Cantorate of St. Thomas'; Rudolph Straube, + who afterwards settled in England; Christoph Nichelmann, cembalist + to Frederick the Great; Christian Graebner, and Carl Hartwig. + + For full information upon Bach's pupils see Spitta, i. 522 ff., ii. + 47 ff., iii. 116 ff., 239 ff., and the relative articles in Grove's + _Dictionary._ + + 201 Forkel does not do justice to his friend. C. P. E. Bach is + recognised as the immediate precursor of Haydn and as the link + between the latter and J. S. Bach. + + 202 Mozart had a very particular regard for him. See Schweitzer i. 220 + on his brothers' abilities as composers. + + 203 Spitta (iii. 262) quotes a characteristic anecdote. To some one who + praised his skill on the Organ Bach replied: "There is nothing + wonderful about it. You merely strike the right note at the right + moment and the Organ does the rest." + + 204 See supra, p. 19. Bach himself certainly was the challenger. + + 205 When Handel was at Venice in 1708, Domenico Scarlatti, hearing a + stranger touching the Harpsichord at a masquerade, exclaimed, "That + must either be the famous Saxon or the Devil" (Rockstro's _George + Frederick Handel,_ p. 48). Streatfield (p. 145) mentions a similar + event which took place in 1737. Hearing a stranger playing a Fugue + in one of the Flemish churches, the organist embraced him, saying, + "You can be no other but the great Handel." + + 206 Heinrich Lorenz Hurlebusch was organist of three churches in + Brunswick. His visit to Bach took place in 1730, seemingly. See + Schweitzer, i. 154. + + 207 Schweitzer prints an appreciation of Hurlebusch which suggests that + he was a man of distinct ability and "a paragon of politeness." + + 208 Antonio Caldara, b. circ. 1670; vice-Kapellmeister at Vienna, + 1716-36; d. 1736. + + 209 Johann Adolph Hasse, b. 1699, d. 1783; Kapellmeister and Director of + the Opera, Dresden. + + 210 Johann Gottlieb Graun, b. circ. 1698, d. 1771; conductor of the + royal Kapelle, Berlin. + + Carl Heinrich Graun, b. 1701, d. 1759; like his brother, in + Frederick the Great's service. + + 211 Georg Philipp Telemann, b. 1681, d. 1767; Cantor and Musik-direktor + in Hamburg. + + 212 Johann Dismas Zelenka, b. 1679 or 1681, d. 1745; Court Composer at + Dresden. + + 213 Franz Benda, b. 1709, d. 1786; Concertmeister to Frederick the Great + upon the death of J. G. Graun. + + 214 On Telemann's influence on Bach see Spitta, ii. 437. + + 215 Handel's second visit to Halle took place in June 1729. His + mother's illness detained him. See Streatfield, p. 110. + + 216 Handel's third visit took place in July-August 1760. He was laid up + by a severe accident in the course of it, and appears to have not + recovered from it at the time of Bach's death. + + 217 Faustina Bordoni, b. 1693, d. 1783; m. Hasse in 1730. She was one + of the most famous singers of the day. + + 218 The original has "Liederchen." + + 219 See supra, p. 37. Compare Handel's case. He received a royal + pension of L600 per annum, and though he was twice a bankrupt, left + L20,000. + + 220 The Duke was the nephew of, and succeeded, Duke Wilhelm Ernst in + 1728. + + 221 The Canonic Variations on the melody are published by Novello bk. + 19, p. 73. For the Mizler Society, see supra, p. xxiv. + + 222 Spitta (iii. 294) regards the statement as incorrect and holds that + the work was engraved before Bach joined Mizler's Society in June + 1747. Pirro (p. 215) supports Spitta and regards the Variations as + having been engraved at Nuernberg "vers 1746." + + 223 The first of Bach's works to be engraved was the Muehlhausen Cantata, + _Gott ist mein Koenig,_ (parts only). It was published in 1708, when + Bach was twenty-three years old. Forkel refers to Partita I. in the + first Part of the _Clavieruebung_ (P. bk. 205 p. 4). It was engraved + in 1726, when Bach was forty-one years old. In 1731 he republished + it, with five others that had appeared in the interval, in the first + Part of the _Clavieruebung_ (P. bks. 205, 206). + + 224 Forkel's rather casual critical axioms seem to be as follows: + "Publication postulates excellence"; "An amended MS. implies that + the original text was not a finished work of art." + + 225 It was the first work engraved by Bach himself, though the parts of + the Cantata _Gott ist mein Koenig_ had been published by the Town + Council at Muehlhausen in 1708. + + 226 The work was published at Leipzig "in Commission bey Boetii Seel, + hinderlassenen Tochter, unter den Rath-hause." The Suites, or + Partitas (P. bks. 205, 206), are in B flat major, C minor, A minor, + D major, G major, E minor. + + 227 In 1801 Hoffmeister and Kuehnel unsuccessfully attempted to publish + Bach's works by subscription. + + 228 The Partita in B minor (P. bk. 208 p. 20). + + 229 The work was published in 1735. The Italian Concerto in F major is + published by Novello and P. bk. 207. + + 230 The work appeared in 1739. It was intended to contain works for the + Organ only; the four Duetti are incongruous and seem to have crept + in by mistake. See the scheme of the work discussed in Terry, + _Bach's Chorals,_ Part III. The Choral Preludes are in Novello's + ed., bk. xvi. + + 231 The work was published circ. 1747-50. Five of the six movements + certainly, and the sixth with practical certainty, are adaptations + to the Organ of movements out of Bach's Church Cantatas. See Parry, + _Bach,_ p. 535. The Chorals are in Novello's ed., bk. xvi. + + 232 See supra, p. 65. + + 233 Thus the pedal sounds above the part given to the second manual and + is often the topmost part. See Novello's ed., bk. xvi. 4. + + 234 Published circ. 1742; the so-called "Goldberg Variations." They are + in P. bk. 209. + + 235 Variation No. 10 is a Fughetta in four parts. + + 236 Ten of the Variations are marked "a 2 Clav.," that is, for two + keyboards or manuals: Nos. 8, 11, 13, 14, 17, 20, 23, 25, 26, 28. + Nos. 5, 7, 29 are marked "a 1 ovvero 2 Clav." + + 237 The movement is constructed upon two merry folk-songs, _Kraut and + Rueben haben mich vertrieben,_ and _Ich bin so lang nicht bei dir + gewirt_. + + 238 See supra, p. 101. + + 239 In fact Bach wrote the early _Aria variata alla maniera Italiana_ + (Peters bk. 215, p. 12) for the Clavier. For the Organ he wrote + four sets of Variations upon as many Choral melodies (Novello bk. + xix.). But all except the Goldberg Variations are youthful works, + and in his maturity Bach clearly had no liking for the form. The + theme of the Goldberg Variations, moreover, is itself a youthful + idea; at least it dates back to as early as 1725, and is found in A. + M. Bach's _Notenbuch_ (No. 26, Aria in G major). + + 240 There is no reference to these corrigenda in the B. G. edition. + + 241 The work has been referred to already in connection with Bach's + membership of Mizler's Society (supra, p. 112). It was composed + presumably circ. 1746 and in point of technical skill is the most + brilliant of Bach's instrumental works. Forkel states that it was + engraved after June 1747, when Bach joined Mizler's Society. Spitta + (iii. 295) is of opinion that it was already engraved by then. It + is in bk. xix. of Novello's edition. + + 242 Supra, p. 25. + + 243 The presentation copy of the work, which Bach sent to Frederick + along with a dedicatory letter (July 7, 1747), is in the Berlin + Amalienbibliothek and proves that only the first third of the work, + as far as the "Ricercare a sei voci" (see B.G. XXXI. (2)) was sent + then. The latter and the remaining canons were dispatched + subsequently probably by the hand of C. P. E. Bach. The six-part + Ricercare was a particular compliment to the King. Frederick had + desired Bach on his visit to play a Fugue in six parts but left it + to the player to select his theme. Bach now employed the thema + regium for the purpose. The first reissue of the work was by + Breitkopf and Haertel in 1832. Peters (bk. 219) brought it out in + 1866. See Schweitzer, i. 417 IV. and Spitta, iii. 191 ff. and 292. + + 244 In C minor (P. bk. 237 p. 3). + + 245 The statement is inaccurate. The work was written for the most part + in 1749 and the greater part of it was prepared for engraving by + Bach himself during his last illness. None of his elder sons was + with him at his death, and the blunders that disfigure the engraved + copy show that they clumsily finished their father's work. It is in + P. bk. 218. + + 246 Friedrich Wilhelm Marpurg, b. 1718, d. 1795. + + 247 The work was published shortly after Bach's death, but had no sale. + C. P. E. Bach then commissioned Marpurg to write a preface, and the + new edition was published at the Leipzig Fair, Easter, 1762. In + four years only about thirty copies were sold. See Spitta, iii. 197 + ff. and Schweitzer, i. 423 ff. + + 248 In 1756. See C. P. E. Bach's advertisement in Felix Grenier, p. + 232. + + 249 The work contains six Fugues and four canons upon the same theme; an + unfinished Fugue "a tre soggetti," the first four notes of the third + of which spell B A C H; and the Choral Prelude "Wenn wir in hoechsten + Noethen sein." + + 250 Schweitzer explains: "His purpose in this work being a purely + theoretical one, Bach writes the Fugues out in score, and calls them + 'counterpoints' " + + [ 251 B A C H in German musical notation] + + 252 Supra, p. 27. The movement is in N. bk. 17 p. 85. It is not + certain that Bach intended the Prelude or the unfinished Fugue to be + included. + + 253 C. P. E. Bach was only concerned with the first volume. Erk, in his + edition of the _Choralgesaenge,_ conjectures that Kirnberger was + responsible for the second. + + 254 The four volumes were published at Leipzig between 1784-87. Spitta + states that C. P. E. Bach was the editor. Erk joins Kirnberger with + him in that position. As C. P. E. Bach died in 1788 Kirnberger's + association with the work is probable, especially if he had already + been responsible for the 1769 volume. + + 255 Bach's Clavier school consisted of eighteen Preludes for beginners + (all in B.G. XXXVI.); the two-part and three-part Inventions; and + the _Well-tempered Clavier._ The six Preludes mentioned by Forkel, + and which alone he knew, were published by him for the first time. + Seven more are found in Wilhelm Friedemann's _Clavierbuechlein_ (B.G. + XLV. (1)), and the remaining five have survived in texts handed down + by others of Bach's pupils. The eighteen are in P. bk. 200. + + 256 The Autograph was written at Coethen and is dated 1723. It also + contains the fifteen Symphonies, or three-part Inventions mentioned + in paragraph 3. Both Inventions and Symphonies are in F. bk. 201. + According to Spitta (ii. 57 n.) the Inventions were published at + Leipzig in 1763. See also Schweitzer, i. 328 ff. + + 257 See the previous note. + + 258 The second Part was compiled in 1744 and Bach's Autograph of it, + though not the earliest Autograph, is in the British Museum. See + Schweitzer, i. 331 ff. and Spitta, ii. 161 ff. The whole work is in + P. bks. 1, 2; or 1a, 1b; or 2790a, 2790b. + + 259 No. 20. Spitta (ii. 164) attributes it to the years 1707 or 1708. + Schweitzer (i. 332) also regards it as a youthful piece written, + moreover, for the pedal Clavicembalo. + + 260 Nos. 15 and 16. Spitta, admitting that the two do not rank with the + most interesting in the collection, finds no indication of their + being of different date from the best movements. + + 261 No. 1. Here Spitta (ii. 165 n.) challenges Forkel. + + 262 Nos. 11 and 12. In regard to No. 12 (F minor) Spitta holds Forkel + to be in error. As to No. 11, he expresses the same opinion as in + note 3, supra. + + 263 The date 1744 places the second Part among Bach's latest + compositions. On the other hand, like the first Part, it contained + work of earlier date. + + 264 Chromatic Fantasia and Fugue in D minor (P. bk. 207 p. 4). It + probably dates from circ. 1720-23. + + 265 The MS. was discovered in 1876 and is now at Dresden. It was written + circ. 1738 and disproves Forkel's conjecture that the fugue did not + belong to the Fantasia and is only partially by Bach. The Fugue + contains forty-seven bars. As the Autograph is a fair copy the + Fugue cannot be called unfinished. See Spitta, iii. 182. The + Fantasia is in P. bk. 207 p. 50; the Fugue in P. bk. 212 p. 88. See + B.C. xxxvi., xxxviii., and xlii. for other Clavier Fantasias. + + 266 The true explanation seems to be that the Prelude of the first Suite + (A major) is based upon a Gigue by Charles Dieupart (d. circ. 1740), + a popular teacher and composer in England. The words fait pour les + Anglois, which head the A major Suite in an early MS., have been + wrongly interpreted as applying to the whole set of six. They + merely indicate Dieupart's borrowed Gigue. See Grove, vol. i. 701, + and Parry, _J. S. Bach,_ p. 463. A copy of the work exists, of date + 1724-27, made by one of Bach's pupils. But the composition of the + Suites may certainly be assigned to the Coethen period. They are + published in P. bks. 203, 204. + + 267 The French Suites undoubtedly date back to the Coethen period, since + they figure, though incomplete, in the _Notenbuch_ of A. M. Bach + (1722). They are published in P. bk. 202. + + 268 Forkel's incomplete catalogue may be compared with the + Bachgesellschaft volumes III., XIV., XXV. (1), XXXI. (2), XXXVI., + XLIL, XLIII. (1 and 2), XLV. (1). See generally Schweitzer, ch. 15, + and Pirro, pp. 218 ff. + + 269 P. bks. 205, 206, 208, 212 (fragment in F minor), 214, 215, 1959. + + 270 P. bks. 200, 210, 211, 212, 214, 215, 1959. + + 271 For the most part these youthful works will be found in B.G. XXXVI. + + 272 P. bk. 207 p. 16. + + 273 In C minor (P. bk. 200 p. 10). + + 274 In P. bks. 232, 233. + + 275 Suite in A major (P. bk. 236), Sonata in E minor (P. bk. 236), Fugue + in G minor (P. bk. 236), four Inventions (P. bk. 2957), Sonata in G + minor (BG. ix. 274; not in P.), Sonata in C major for 2 Violins and + Clavier (P. bk. 237). + + 276 There are six Sonatas for Flute and Clavier, in B minor, E flat + major, A minor, C major, E minor, E major (P. bks. 234, 235). + + 277 There are three Sonatas for Clavier and Gamba, in G major, D major, + G minor (P. bk. 239). + + 278 Forkel omits two Sonatas for Violin, Flute, and Clavier, in G major + and C minor (both in P. bk. 237). + + 279 As Forkol mentions in secs. 4, 5, 6 the Concertos for two, three, + and four Claviers, perhaps he had in mind here seven Concertos for + Clavier and Orchestra (P. bks. 248-254). A Concerto for Clavier, + Violin, Flute, and Orchestra (P. bk. 255 p. 4) in A minor also + should be mentioned. Also an Overture, in G minor, for Clavier and + Strings (B.G. XLV. (1) p. 190; not in P.) + + 280 P. bk. 257 p. 4. + + 281 P. bk. 256 p. 4. + + 282 There are, in fact, three Concertos for two Claviers and Orchestra: + two in C minor and one in C major. Forkel refers to only one of the + former and regards it as antiquated by comparison with the one in C + major. Spitta (iii. 144) attributes the C major to 1730. Forkel's + C minor in its original form was a Concerto for two Violins, now + lost. The other C minor Concerto is identical with the Concerto in + D minor for two Violins and is in P. 257b. Spitta (iii. 138) dates + it 1736. See Schweitzer, i. 413. + + 283 In D minor and C major (P. bks. 258, 259). The tradition is that + Bach wrote these two Concertos in order to play them with his elder + sons. Spitta (iii. 144) finds the tradition trustworthy. Hence the + two works must have been written by c. 1733 at latest, before the + sons left home. See also Schweitzer, i. 414. + + 284 In A minor (P. bk. 260). This is not an original composition, but + is an arrangement by Bach of a Vivaldi Concerto for four Violins. + Spitta (iii. 149) assigns it to the same period as the Concertos for + three Claviers, c. 1733. See B.G. XLIII. (1) infra. + + 285 The pedal on the small German Organ had only the compass of an + octave. + + 286 The Great Preludes and Fugues are, with one exception, in B.G. XV. + The Prelude and Fugue in E flat was published by Bach in the third + Part of the _Clavieruebung._ Its Fugue is known as the "St. Anne's." + + 287 From the figures printed by Forkel the twelve can be identified as + follows (the references in parentheses are to the Novello edition of + Bach's Organ works): + + Prelude and Fugue in C minor, the "Great" (bk. vii. 64). + Prelude and Fugue in A minor, (bk. vii. 42). + Prelude and Fugue in G major, (bk. viii. 112). + Prelude and Fugue in E minor, (bk. viii. 98). + Prelude and Fugue in B minor, (vii. 52). + Prelude and Fugue in C major, (bk. ix. 156). + Prelude and Fugue in D minor, (bk. ix. 150). + Prelude and Fugue in C major (bk iii. 70). + Tocatta and Fugue in D minor (bk. x. 196). + Tocatta and Fugue in F major (bk. ix. 176). + Prelude and Fugue in G minor (bk. viii. 120). + Prelude and Fugue in E minor (bk. ii. 44). + + 288 The Passacaglia in C minor (Novello bk. 10 p. 214) was written + originally for the Clavicembalo and pedal. It belongs to the later + Weimar period, i.e. circ. 1715. See Spitta, i. 588 and Schweitzer, + i. 280. + + 289 They are all printed in Novello bk. 19, and are three in number, on + the melodies "Christ, der du bist der helle Tag", "O Gott, du + frommer Gott," and "Sei gegruesset, Jesu guetig." The pedal is only + required in one movement of the first, in none of the second, and + considerably in the third. Without question all three date from + Bach's earliest period, but whether they were written at Arnstadt or + Lueneburg cannot be stated. + + 290 The fullest collection of these miscellaneous Organ Choral Preludes + is in B.G. XL. Not counting variant readings they number fifty-two, + besides two fragments and thirteen of doubtful authenticity, of + which two are sets of Variations. The Novello edition contains + fifty-two in bks. 18 and 19. To these must be added the "Eighteen" + Preludes on Choral Melodies, which Forkel nowhere mentions, as well + as the third Part of the _Clavieruebung,_ the _Schuebler Chorals,_ and + the Variations on _Vom Himmel hoch,_ to which he has already made + reference in the first section of this chapter. As he does not + mention it specifically, it is to be inferred that Forkel was + ignorant of the existence of the _Orgelbuechlein_; otherwise he could + hardly have failed to introduce it in this section. All Bach's + Choral Preludes, miscellaneous and in collections made by himself, + are in Novello's edition, bks. 15-19. A useful key to their + melodies is provided by bk. 20. For more detailed information see + Terry, _Bach's Chorals,_ Part III. + + 291 The large number of MSS. of many of the miscellaneous Preludes is + made evident in the introduction to B.G. XL. + + 292 The Sonatas in E flat major, C minor, and D minor are in N. bk. 4; E + minor, C major, G major in N. bk. 5. + + 293 The so-called "Sonatas" were actually written for a Clavicembalo + with two manuals and a pedal. Bach's Autograph of them belonged to + his second son and an earlier copy of them to Wilhelm Friedemann. + Both are now in the Berlin Royal Library. Friedemann went to + Dresden as Organist in 1733 and Spitta is of opinion that the whole + of the six Sonatas were in existence by or soon after 1727. If so, + they must be regarded as the outcome of Bach's early years at + Leipzig. See Spitta, iii. 212 ff. and Schweitzer, i. 278. + + 294 None are extant. Spitta, iii. 213 n., conjectures that Forkel + refers to the Trios in D minor and C minor (N. bks. 2 p. 54, 12 p. + 108) and the Pastorale in F major (N. bk. 12 p. 102.) His incomplete + knowledge of the Organ works is revealed by Appendix V. infra. + + 295 This is a pure conjecture and Schweitzer scouts it (i. 416 n.). + + 296 The oldest copy of them dates from circ. 1720; they belong therefore + to the late Coethen period. The 1720 MS. is in A. M. Bach's + handwriting and was discovered in 1814 at Petrograd among old papers + about to be sent away to a butter dealer. The Sonatas are in P. bk. + 228. + + 297 They also date from the Coethen period and are in P. bk. 238a, 238b. + + 298 Forkel omits to mention the Brandenburg Concertos (P. bks. 261-266); + the Overtures in C major (P. bk. 267), B minor (P. bk. 268), D major + (P. bk. 269), D major (P. bk. 2068); and the Violin Concertos in A + minor (P. bk. 229), E major (P. bk. 230), and (for two Violins) in D + minor (P. bk. 231). In B.G. XXI. (1) is a Symphonic movement, in D + major, for Violin and orchestra. A Sinfonia in F major (B.G. XXXI. + 96) is another version of the first Brandenburg Concerto. The + Clavier Concertos have been mentioned supra. + + 299 The set of five is complete only for Christmas Day, Feast of the + Circumcision, Whitsunday (one of the five is of doubtful + authenticity), Purification of the B.V.M., and Feast of St. Michael + the Archangel. See Terry, _Bach's Chorals,_ Part II. 2 ff. + + 300 In giving the number of _Passions_ as five, Forkel repeats the + statement of the _Nekrolog._ The number corresponds with the five + sets of Church Cantatas which Bach is known to have written. It is, + however, exceedingly doubtful whether Bach wrote more than four + _Passions._ Only those according to St. Matthew and St. John have + come down to us from C. P. E. Bach, who was left the Autographs of + both by his father. The _St. John Passion_ was first performed in + 1724 and the _St. Matthew Passion_ in 1729. Picander, Bach's + librettist, certainly wrote two other Passion texts, one of which + was written for Good Friday 1725, and the second, based on St. + Mark's Gospel, was actually performed at St. Thomas', Leipzig, on + Good Friday 1731. Spitta (ii. 505) gives good reason to hold that + Bach's music for this Passion was adapted from the _Trauer-Ode,_ + which he had written in 1727 in memory of Queen Christiane + Eberhardine. But of the 1725 _Passion_ there is no trace. If it + ever existed, its loss probably may be assigned to Wilhelm + Friedemann's carelessness, to whom presumably it was assigned in the + division of Bach's property after his death. But even so, we have + no more than four _Passions._ There exists, however, a fifth + _Passion according to St. Luke,_ which is undoubtedly in Bach's + Autograph, and which Spitta is inclined to attribute to Bach + himself. It is published by Breitkopf and Haertel, but is generally + regarded as being by another composer than Bach, who probably copied + it for use at Leipzig. On the whole matter see Spitta, ii. 504 ff., + Schweitzer, chap. xxvi., and the Bach-Jahrbuch for 1911 + (Publications of the New Bachgesellschaft XII. (2)). + + 301 Other than the _Passions,_ the only Oratorios are the _Christmas + Oratorio_, (1734), the _Easter Oratorio_ (c. 1736), and _Ascension + Oratorio_ (c. 1735). + + 302 Besides the B minor Mass (1733-? 38) Bach wrote four miscalled + "short" Masses, in F major, A major, G minor, and G major. They all + belong to the Leipzig period (c. 1739). + + 303 Besides the setting of the Sanctus in the B minor Mass there are + four detached settings, in C major, D major, D minor, and G major. + Of these only that in D major is probably by Bach (c. 1723). + + 304 The music for Saints' Days is included in the church Cantatas. For + the Birthday Odes see supra, Chap. IIA. + + 305 Besides the _Trauer-Ode,_ three or four of the church Cantatas and + certainly three of the Motets were written for funerals. See Terry, + op. cit., pp. 24, 44. + + 306 Among the church Cantatas there are at least five for use at + weddings. Bach wrote also three secular wedding Cantatas: _Weichet + nur, betruebte Schatten_ (c. 1730); _O holder Tag_ (11749); the third + (1728) has disappeared. + + 307 Two Italian Cantatas--_Amore traditore_ and _Non sa che sia + dolore_--have come down to us. A third, _Andro dall colle al prato,_ + is lost. See B.G. XI. (ii.), XXIX. + + 308 Only six are genuine. See infra, p. 141. + + 309 Of the Motets that have come down to us as his, only six are Bach's. + Forkel mentions five of them in secs. 7 and 3 of the next paragraph; + he omits _Lobet den Herrn, alle Heiden._ In 1802-3 Breitkopf and + Haertel published six Motets--the five mentioned by Forkel and + another, _Ich lasse dich nicht,_ of which Bach made a copy, but + whose composer actually was Johann Christoph Bach. We know that + Bach composed at least one Latin Motet for double chorus, and + Friedemann's share of his father's autographs may have contained it + and others known to Forkel but no longer extant. + + 310 The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin, + contains one of the most important Bach collections, but it has long + been superseded by the Royal Library there as the chief repository + of Bach's Autographs. + + 311 The Amalienbibliothek has only one Autograph, namely, Cantata 34, _O + ewiges Feuer._ The rest are early copies. + + 312 Cantata 53. No Autograph of this Cantata exists, and the copies + from which the B.G. edition was printed are in the + Amalienbibliothek. + + 313 On the contrary, the Cantata belongs to the Leipzig period, 1723-34. + + 314 None of the four "short" Masses is in five parts. All have + instrumental accompaniments. The autograph scores of the Masses in + A major and G major are in Messrs. Breitkopf and Haertel's + possession. Copies of the other two scores, in Altnikol's + handwriting, are in the Berlin Royal Library. See Introduction to + B.G. VIII. + + 315 An eight-part Mass in G was performed at a Leipzig Gewandhaus + Concert on March 7, 1805, and was published later in the year by + Breitkopf and Haertel. The score is admittedly, for the greater + part of the work, in Bach's hand and is in the Berlin Royal Library. + The publication of the work was under consideration by the + Bachgesellschaft in 1858. That it is not by Bach is generally held. + It has been attributed to Johann Ludwig Bach (d. 1741). See + Genealogical Table II. + + 316 The _St. Matthew Passion._ + + 317 A nom de plume for Christian Friedrich Henrici (1700-64), who wrote + a large number of Bach's Leipzig texts. + + 318 Perhaps Forkel indicates the short _Sanctus_ in Richter's edition of + the _Choralgesaenge_, No. 123, or that in B.G. XLI. p. 177. + + 319 This is the first Chorus of Cantata No. 38. It is printed as a + separate Motet in Erk, No. 150. + + 320 Forkel's list is complete except for _Lobet den Herrn, alle Heiden._ + + 321 The opening Chorus of Cantata 144. + + 322 Forkel refers to the _Peasant Cantata,_ or _Mer hahn en neue + Oberkeet,_ performed on August 30, 1742. Forkel clearly was not + familiar with Bach's other secular Cantatas. See B.G. XI. (ii.), + XX. (ii.), XXIX. The Autograph score of the Peasant Cantata is in + the Berlin Royal Library. + + 323 Forkel's suggestion was carried out, with varying thoroughness, in + the Bachgesellschaft edition. + + 324 Forkel's judgment is at fault. See Schweitzer, i. 336. + + 325 Also in Wilhelm Friedemann's _Clavierbuechlein._ See Schweitzer, i. + 279; Spitta, ii. 166. + + 326 "Since you cannot please everybody by your actions and work, strive + at least to satisfy a few; popular appreciation encourages bad + art."--Schiller's _ Votiftafeln_ + + 327 The Cantatas are classified under Appendix II. + + 328 The references are to Peters' edition. Excepting bk. 1959, which + contains pieces of doubtful authenticity, every number printed by + Peters is entered in the Chronological Catalogue. + + 329 There are three other Sonatas, in A minor, C major, D minor, none of + which is an original composition. They are printed in P. bk. 213. + The first and second are adaptations of material in Reinken's + _Hortus Musicus._ The third is a transcription of the second Solo + Sonata for Violin. + + 330 The references are to Novello's twelve Books of Bach's Organ Works, + edited by J. F. Bridge and J. Higgs. The edition is complete, and + contains every movement included in Alfred Dorffel's "Thematisohos + Verzeichniss" (second edition, 1882) except his No. 24 on p. 72; + Nos. 6 and 8 on page 85; the "Kleines harmonisches Labyrinth" + (Doerffel, p. 88, tigs. 131-33), the genuineness of which is + questioned by Spitta (ii. 43); and figs. 136-37 on p. 88. The + Novello edition also follows Rust, against Spitta's judgment, in + printing the "Fantasia con Imitazione" (bk. 12 p. 71) as an Organ + instead of as a Clavier piece. Books 15-19 print the Choral + Preludes. See the Peters and Novello editions collated in Appendix + V. + + 331 Printed as a "Toccata" in E major in B.G. XV. p. 276. + + 332 Spitta (ii. 620, 718) mentions a Birthday Cantata written in + 1717-1721(?), the title of which is lost. + + 333 The references are to Peters' edition. + + 334 The D minor contains the famous Chaconne. + + 335 The references are to Peters' edition. In the B.G. edition the + Orchestral music is included in the Chamber Music volumes. + + 336 Pirro, p. 228, holds that the first two (C major and B minor) were + written at Coethen and the last two (D major and D major) at Leipzig. + Schweitzer (i. 402) regards it as not clear in which period the + Overtures were written. + + 337 In A minor, E major, G major. The G major figures as the fourth + Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk. + 248). The A minor and E major were also converted into Clavier + Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier + Concerto (bk. 264) preserves a lost Violin Concerto in the same key, + and the one in F minor (bk. 250) corresponds with a lost Violin + Concerto in G minor (bks. 3068, 3069). + + 338 Also arranged as a Concerto for two Claviers (C minor) in P. bk. + 257b. + + 339 Bach wrote another Magnificat, the music of which is lost. See + Spitta, ii. 374. + + 340 All except the Sanctus in D major are of doubtful authenticity. See + Schweitzer, ii. 328 and Spitta, iii. 41 n. + + 341 The Concerto in C minor (P. bk. 257) is an arrangement of one for + two Violins now lost. The third, also in C minor, is identical with + the D minor Concerto for two Violins and is published in that key in + the Peters edition. The remaining Concerto, in C major, is the only + one originally written for the Clavier. See Schweitzer, i. 413. + + 342 The work is an amplification of the Prelude and Fugue in A minor, + already catalogued among the Clavier works of the Coethen period. + Schweitzer (i. 340) concludes that it was rearranged as an + orchestral Concerto early in the thirties, when Bach needed + Concertos for the Telemann Society's Concerts. + + 343 The scheme of the G major and C major Preludes and Fugues dates back + to the Weimar period. See Spitta, iii. 208; Parry, p. 67. + + 344 These so-called "Organ" Sonatas were written for the Pedal + Clavicembalo. + + 345 The Clavier Suites in E minor, E major, and C minor are arrangements + of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344. + + 346 In Mizler's _Nekrolog._ + + 347 Supra, p. 138. + + 348 See the present writer's _Bach's Chorals,_ Part II. p. 1. + + 349 Ibid., p. 4. Four more Cantatas, of doubtful authenticity, are + published by the Bachgesellschaft, Jahrgang XLI. + + 350 See the Table of Cantatas set out in chronological order. + + 351 Nos. 18, 24, 28, 59, 61, 142, 160. + + 352 Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166, + 168, 185, 186 (part). + + 353 Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one + version), _Ehre sei Gott_ (incomplete). + + 354 Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183. + + 355 Nos. 47, 141. + + 356 Nos. 50, 191, 196. + + 357 Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192. + + 358 No. 15: _Denn du wirst meine Seele nichfc in der Hoelle lassen._ + + 359 The intimate personal note of the opening words of the + Recitative--"Mein Jesus ware tot"--reveals him. + + 360 Spitta, i. 231. + + 361 Schweitzer, i. 103. + + 362 No. 131: _Aus der Tiefe rufe ich, Herr, zu dir._ + + 363 No. 71: _Gott ist mein Kueonig._ + + 364 No. 196: _Dorr Herr denket an uns._ + + 365 See Spitta, i. 359 ff. + + 366 Ibid., i. 374. On the other hand, Baoh's art was visibly affected + by Pietistic influences, as Schweitzer, i. 169, shows. + + 367 Eilmar died in 1715 (Spitta, i. 361). + + 368 No. 189: _Meine Seele ruehmt und preist._ + + 369 No. 150: _Nach dir, Herr, verlanget mich._ + + 370 Vol. i. 456. + +_ 371 J.S. Bach,_ p. 87. + + 372 The conclusion is based on letters printed by Spitta, i. 517. + + 373 Nos. 18, 61, 142, 160, and 69. See Table. + + 374 He was born May 12, 1671 (Spitta, i. 470). + + 375 The volume is entitled _Erdmann Neumeisters Geistliche Cantaten + statt einer Kirchen-Musik. Die zweyte Auflage._ + + 376 Entitled _Herrn Erdmann Neumeisters Fuenffache Kirchen-Andachten,_ + Leipzig, 1716. + + 377 Spitta, i. 474. + + 378 Vol. i. 466 ff. + + 379 See the Aria (Duetto) of Cantata No. 28. + + 380 See particularly the Litanei in Cantata No. 18. + + 381 Telemann was Carl Philipp Emmanuel Bach's godfather (Spitta, i. + 486). + + 382 Nos. 24, 28, 69, 61. + + 383 No. 18. + + 384 Nos. 142, 160. + + 385 See Spitta, i. 630. + + 386 His influence is also detected in Nos. 27, 56, 199. + + 387 Telemann also set the libretti of Bach's Nos. 18 and 142. See + Spitta, i. 487. + + 388 Vol. i. 530. + + 389 Wustmann, _Joh. Seb. Bach's Kantaten-Texte_ (1913), p. xxii n. The + cycle is entitled _Evangelisches Andachts-Opffer._ + + 390 Only Nos. 70, 147, and 186 are taken from it. + + 391 Entitled _Evangelische Sonn- und Fest-Tages Andachten._ + + 392 Vol. ii. 131. + + 393 For instance, the Aria in Cantata No. 168, beginning: + + + Kapital und Interessen Meiner Schulden gross und klein, + Mussen einst verrechnet sein. + + + 394 Spitta, ii. 5; Schweitzer, i. 106. + + 395 Spitta, ii. 3. + + 396 The two Cantatas are Nos. 47 and 141. + + 397 Wustmann, p. xxiii. + + 398 Spitta, ii. 12 n. + + 399 The Choral is absent from No. 141. It should be "Christe, du Lamm + Gotten." + + 400 Schweitzer, ii. 147. The Cantata is No. 47, _Wer sich selbst + erhoehet._ + + 401 Vol. ii. 13. + + 402 Vol. ii. 147. + + 403 No. 141: _Das ist je gewisslich wahr._ + + 404 Vol. ii. 15. + + 405 Vol. ii. 148. + +_ 406 Johann Sebastian Bach,_ p. 108. + + 407 Op. cit., Note 195. + + 408 Spitta, ii. 147. + + 409 Nos. 134 and 173. + + 410 No. 134: _Ein Herz, das seinen Jesum lebend weiss._ + + 411 No. 173: _Erhoetes Fleisch und Blut._ + + 412 No. 75: _Die Elenden sollen essen,_ sung on May 30, the day + preceding Bach's formal induction. + + 413 For instance, Nos. 67 and 102. + + 414 Wustmann, by implication, only associates eight libretti (Cantatas + Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss. All of them + belong to the early years, 1723-27. + + 415 See Nos. 75 and 105. + + 416 See Nos. 25, 42, 77. As an extreme illustration, the first + Recitative of No. 25 begins with the words, _Die ganze Welt ist nur + ein Hospital._ + + 417 Vol. ii. 388. + + 418 Cantata No. 65: _Sie werden aus Saba Alle kommen._ + + 419 Vol. i. 361. + + 420 Wustmann, p. xxiv. + + 421 Ibid. + + 422 See the Table. + + 423 They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171, + 190,195, and the incomplete Cantata, _Ehre sei Gott in der Hoehe._ + + 424 Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194. See the Table. + + 425 No. 4: _Christ lag in Todesbanden._ + + 426 Vol. ii. 393. + + 427 See the Table: No. 112, _Derr herr ist mein getreuer Hirt._ + + 428 Nos. 8, 20, 93. + + 429 No. 148: _Bringet dem Herrn Ehre seines Namens._ + + 430 No. 8: _Liebster Gott, wann werd' ich sterben._ + + 431 No. 181: _Leichtgesinnte Flattergeister._ + + 432 Vol. ii. 340 ff. + + 433 The volume is entitled _Sammlung Erbaulicher Gedancken, Bey und ueber + gewohnlichen Sonn- und Festtags-Evangelien,_ Leipzig. + +_ 434 Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr,_ + Leipzig, 1728. He reprinted them in 1732 in his _Satyrische + Gedichte._ + + 435 But see Cantata No. 148 and Spitta, ii. 693. Also No. 19. + + 436 Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and + the Cantata _Ehre sei Gott._ + + 437 No. 157. + + 438 Nos. 19, 30, 36, 84, 148, 197. + + 439 Vol. ii. 346. + + 440 Nos. 32, 48, 67, 90, 144, 181. + + 441 Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154, + 194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144, + 145, 148, for Bach's collaboration with Picander. + + 442 Besides No. 80, a Choral Cantata. + + 443 Schweitzer, ii. 332 ff. + + 444 Entitled _Versuch in gebundener Schreibart._ + + 445 Vol. iii. 71. + + 446 Vol. ii. 331 n. + + 447 No. 85: _Ich bin ein guter Hirt._ + + 448 Note 60. + + 449 Vol. ii. 331 n. + + 450 No. 33: _Gott faeret auf mit Jauchzen._ + + 451 See Table. + + 452 No. 74. + + 453 Op. cit., p. 377. + + 454 See Table. + + 455 Nos. 100 and 107, both of them c. 1735. + + 456 No. 8, for the Sixteenth Sunday after Trinity. + + 457 No. 93, for the Fifth Sunday after Trinity (1728). + + 458 Nos. 9 (? 1731), 99 (c. 1733). + + 459 No. 122. + + 460 No. 80. + + 461 Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127, + 138, 140. + + 462 Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125, + 126, 130, 139, 178, 180. + + 463 Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192. + + 464 Nos. 3, 38, 123, 133, 135. + + 465 P. xxiv. + + 466 Nos. 3, 123, 133, 135. + + 467 See supra, p. 180. + + 468 Nos. 17, 34, 43, 151, 197, and _Herr Gott, Beherrsoher aller Dinge._ + + 469 Nos. 30, 32, 48, 57, 90. + + 470 Nos. 45, 79, 110, 143. + + 471 No. 28. + + 472 No. 50. + + 473 No. 118. + + 474 Nos. 6, 11, 13, 146, 193. + + 475 See _Bach's Chorals,_ Part II., Introduction. + + 476 The above article and the Table that follows were communicated + originally to the Musical Association on March 28, 1918. + + 477 General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6, + 1728. No Cantatas were sung in the period. + + 478 The Church Cantatas are published by Peters and also by Breitkopf + and Haertel. A prefixed asterisk indicates that an English edition + of the Cantata or Oratorio is published by Novello or Breitkopf and + Haertel. + + The Organ music is published by Novello, to whose edition references + are given (N.), Peters, and Breitkopf and Haertel. collation of + the Peters and Novello editions is given in Appendix V. + + The Clavier and Instrumental music is published by Peters, to whose + edition references are given (P.). + + 479 A Variant of the first Invention is on p. 342 of the volume. A + Variant of Sinfonia ix. is on p. vi. of the Nachtrag. + + 480 A Variant is in B.G. XI. + + 481 A Variant is in P. bk. 244 p. 109. + + 482 "If genuine, the Sonata is a youthful work," remarks Schweitzer, i. + 401 n. + + 483 Additional movements of the second, third, and fourth Suites are in + Appendix II. of B.G. XXXVI. + + 484 The volume contains an Appendix of Variants, etc. See also B.G. XLV. + (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix + I. of B.G. XXXVI. + + 485 See publications of the N.B.G. xiv. (2) no. 5. + + 486 See publications of the N.B.G. vii. (3) no. 3. + + 487 For this work, in its original form as a Violin Concerto, see N.B.G. + XVIII. (1 and 2). + + 488 The D major (No. 3) and G minor (No. 7) Concertos are identical with + the Violin Concertos in E major and A minor. See B.G. XXI. (1). No. + 6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G. + XIX. no. 4. + + 489 In a shortened form this work appears also as a Sinfonia in F major. + See B.G. XXXI. (1) no. 5, and N.B.G. X. (2). + + 490 Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7, + and also B.G. XLV. (1), Appendix, p. 233. + + 491 Identical with the D major Clavier Concerto. See B.G. XVII. no. 3, + and N.B.G. VIII. (1) + + 492 Identical with the Concerto for two Claviers in C minor. See B.G. + XXI. (2) no. 3. + + 493 The movement is described as being from "einer unbekannten + Kirchencantate" for four voices and Orchestra. The Autograph is + incomplete. The movement is not published elsewhere than in the B.G. + edition. + + 494 Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI. + (1) no. 3. Also pp. 131, 158, 160, supra. + + 495 Also in N.B.G. XVII. (1 and 2). + + 496 For an exposition of Bach's design in the "Orgelbuechlein," see the + present writer's articles in "The Musical Times" for January_March + 1917, and "Bach's Chorals," Part III. See N.B.G. II. (1) for an + arrangement of the Preludes for two pianofortes. + + 497 See B.G. XLII. for a Clavier version. + + 498 See B.G. XLII. for a Clavier version. + + 499 Boosey and Co. also publish an English edition. + + 500 This is a shortened form of the first Brandenberg Concerto (see B.G. + XIX. no. 1). It consists of the Allegro, Adagio, Minuet, Trio I. + and Trio II. of the latter, and omits its second Allegro and + Polacca. + + 501 The Appendix contains Joh. Philipp Kernberger's solutions of the + Canons and his expansion of the figured bass of the Clavier part of + the Sonata. + + 502 See publications of the N.B.G. XIV. (2) no. 2. + + 503 See publications of the N.B.G. XIV. (2) no. 2. + + 504 Text and music are identical with the version in B.G. XX. (2). + + 505 Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.). + + 506 The subject of the Fughetta is the same as that of Fugue No. 17 in + the second part of the "Well-tempered Clavier." + + 507 The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is + his No. 10. It is the same subject an that of Fugue 16 in the second + part of the "Well-tempered Clavier." An alternative Prelude (P. 214 + p. 78) is in the Appendix (p. 220). + + 508 They are described as "zur vierten franzoesischen Suite." The Prelude + is in P. bk. 1959 p. 67. + + 509 Written respectively for the second and third French Suites (not in + P.). + + 510 A fingered exercise. + + 511 The Appendices of the volume contain variant readings of movements + elsewhere contained in it, and of the first, third, and sixth + Preludes and Fugues in the second part of the "Well-tempered + Clavier." + + 512 See B.G. XLV. (1) Appendix. + + 513 Only nos. 2 and 3 are derived from Vivaldi. + + 514 A variant text is in B.G. XLII. 282. + + 515 Vivaldi's text of the first movement is in the Appendix (p. 229). + + 516 See B.G. XLIII. (2) sec. 1 no. 2. + + 517 The fugal subject is taken from the Allabreve. + + 518 Bach's instrumental accompaniments are in the Appendix (p. 143). + + 519 C. P. E. Bach's collection of his father's Choral settings was + published by Immanuel Breitkopf in four volumes between the years + 1784-87. They are all inoluded in Breitkopf and Haertel's edition + (1898) of Bach s "Choralgesaenge"; the numerals in brackets in the + above list indicate the position of each Choral in that collection. + The latter includes also the simple four-part Chorals from the + Oratorios and Cantatas; hence the numeration of that volume and B.G. + XXXIX. is not uniform. + + 520 The bracket states the title by which the tune is better known. + + 521 The Chorals are taken from two sources, Anna Magdalena Bach's + "Notenbuch" (1726; see B.G. XLIII. (2)), and Schemelli's + "Musicalisches Gesang-Buch" (1736), of which Bach was the musical + editor. The latter contains sixty-nine melodies (with figured + bass), the former seven: one melody (No. 14) is in both collections. + The Schemelli tunes are indicated by an S within a bracket after the + numeral. One melody (No. 71) is indubitably by Bach himself. It, + and others, which may be attributed to him on good evidence, are + marked by an asterisk. The seventy-five settings are published in + practicable form by the N.B.G. I. (1) and I. (2). + + 522 Nos. 22 and 23 are the same tune. + + 523 For a discussion of Bach's original hymn-tunes see the present + writer's "Bach's Chorals," Part II. Introduction, pp. 67 ff. Six + more of Bach's original hymn-tunes are printed there. + + 524 The first three Arias are published by Novello, and also by the + N.B.G. I. (1). + + 525 In the Royal Library, Berlin. Kirnberger was a pupil of Bach. See + section on Variants infra. + + 526 Novello omits the concluding four-part Choral. + + 527 The Prelude is also attributed to J. L. Krebs, a pupil of Bach. + + 528 See section on Variants infra.: + + 529 Variant, P. bk. 245 p. 106. + + 530 Ernst Naumann remarks, "Das Stueck kann recht gut von Seb. Baoh + herruehren." The text is complete, and the omission of the Prelude + from the Novello edition is to be regretted. + + 531 A transcription of the second Sonata for Solo Violin, in A minor, + See B.G. XXVII. (1). + + 532 A transcription of the third Partita, in E major, for Solo Violin. + See ibid. + + 533 From the third Sonata for Solo Violin, in C major. See ibid. + + 534 Both Sonatas are arrangements of instrumental Sonatas in J. A. + Reinken's "Hortus Musicus." See Spitta, i. 430. + + 535 Both Sonatas are arrangements of instrumental Sonatas in J. A. + Reinken's "Hortus Musicus." See Spitta, i. 430. + + 536 After a Sonata movement by J. A. Reinken. + + 537 After a Fugue by J. C. Erselius. The original is given in Anhang II. + of the volume. + + 538 Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others + are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of + Weimar (Nos. 11, 16, and perhaps 13). + + 539 The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857. + + 540 The volume also contains a Variant of the first Organ Concerto (B.G. + XXXVIII.). + + 541 The Concerto is an arrangement of one by Antonio Vivaldi for four + Violins, the original of which (in B minor) is given in the Appendix + to the volume. + + 542 Omitting the vocal numbers, movements printed elsewhere, and the + "Menuet fait par Mons. Boehm," Peters' Bk. 1959 contains the + remaining twenty numbers of the Notebook. They are indicated in the + above index by a P in a bracket. + + 543 A separate Preface to the reprinted Suites is by Ernst Naumann. It + is dated 1895. + + 544 Perhaps an arrangement of an orchestral piece. See Schweitzer, i. + 342 n. + + 545 The Appendix to the volume contains addenda to the Violin Concerto + in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.). + Also the Zurich and London texts of the "Welltempered Clavier" (B.G. + XIV.), with critical notes. + + 546 The Preface is dated 1899. The volume was issued in 1900. + + 547 The original words are "Die Schaetzbarkeit der weiten Erden." + + 548 The title-page is dated 1913 and the Preface "Im Advent auf 1914." + + 549 The Aria is no. 20 of A. M. Bach's "Notenbuch" for 1725. See E.G. + XLII. (2) no. 20. + + 550 This publication, announced for 1916, appears under a different + title as the third issue for 1917. See infra, XVII. 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