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 gegrüsset, Jesu gütig (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 Götterstreit.
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). Orgelbüchlein (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 Cöthen, 1717-23, from his thirty-third to his thirty-ninth year.
Vocal:—
Secular Cantata: Durchlaucht’ster Leopold (1717). Do. Mit Gnaden bekröne der Himmel die Zeiten (?1721). Do. Weichetnur, betrübte Schatten (?1717-23).(332)
Clavier:—
Clavier-Büchlein vor Wilhelm Friedemann Bach (1720). Chromatic Fantasia and Fugue (bk. 207 p. 4) (c. 1720-23). Clavier-Büchlein 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. fürchte 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 Töne 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. Vergnügte Pleissenstadt (1728; music lost). Do. Von der Vergnügsamkeit, _or_ Ich bin in mir vergnügt (c. 1730). Do. Weichet nur, betrübte 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. Tönet, ihr Pauken! Erschallet, Trompeten (1733). Do. Preise dein Glücke, gesegnetes Sachsen (1734). Do. Schleicht, spielende Wellen (1734). Do. Thomana sass annoch betrübt (1734; music lost). Graduation Cantata: Siehe, der Hüter Israels (music lost).
Clavier:—
Notenbuch vor Anna Magdalena Bach (bk. 1959) (1725). Clavierübung, 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 Götter 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:—
Clavierübung, 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). Clavierübung, Part III. containing the four Duetti (bk. 208) (1739). Clavierübung, 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 Clavierübung, 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 Schübler 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 Lüneburg 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 Mühlhausen.(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 Mühlhausen 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 Mühlhausen. He was, moreover, an aggressive foe of Pietism, of which Mühlhausen 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 Mühlhausen, 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 Mühlhausen 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 Mühlhausen.(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 Mühlhausen 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 Mühlhausen 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 Cöthen 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 Cöthen 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 Cöthen, 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 Cöthen. 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-Cöthen, 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 “Bückeburg 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 (†) include, in addtion, simple four-part Chorals: the rest contain concerted Choruses.
(1) COMPOSED AT ARNSTADT (see also Nos. 150, 189.)
(2) COMPOSED AT MÜLHAUSEN (see also Nos. 150, 189.)
(3) COMPOSED AT WEIMAR. (See also Nos. 12, 72, 80, 164, 168, 186.)
(4) COMPOSED AT CÖTHEN. (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 Dörffel (1876-98), six by Paul Graf Waldersee (1881-94), five by Ernst Naumann (1886-94), two by Franz Wüllner (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 schön 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 Thränen. No. 14. War’ Gott nicht mit uns diese Zeit. No. 15. Denn du wirst meine Seele nicht in der Hölle 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) Clavierübung, Part I.:—
## Partiten 1-6 (P. bka. 205, 206).
(3) Clavierübung, Part II.:—
Concerto, in F major, in the Italian style (P bk. 207).
## Partita (Overture) in B minor (P. bk. 208).
(4) Clavierübung, 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) Clavierübung, 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 Matthäus. Ed. Julius Rietz. V(1). 1855. Kirchencantaten. Dritter Band. Ed. Wilhelm Rust.
*21. Ich hatte viel Bekümmerniss. 22. Jesus nahm zu sich die Zwölfe. *23. Du wahrer Gott und Davids Sohn. 24. Ein ungefärbt Gemüthe. *25. Es ist nichts Gesundes an meinem Leibe. 26. Ach wie flüchtig, 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, erlöste 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. Fünfter 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 erhöhet, der soll emiedriget werden 48. Ich elender Mensch, wer wird mich erlösen? 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 für Gesang. Erster Band. Ed. Wilhelm Rust.
Secular Cantata: *Phoebus und Pan. Secular Cantata: Weichet nur, betrübte Schatten. Secular Cantata: Amore traditore. Secular Cantata: Von der Vergnügsamkeit, or, Ich bin in mir vergnügt. Secular Cantata: Der zufriedengestellte Aeolus, or, Zer reisset, zersprenget, zertrümmert 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, gewünschte Stunde. *54. Widerstehe doch der Sünde. 55. Ich armer Mensch, ich Sündenknecht. *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, ätzet 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 Küonig. 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 schläft, was soll ich hoffen? *82. Ich habe genug. 83. Erf route Zeit im neuen Bunde. 84. Ich bin vergnügt mit meinem Glücke. 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 für 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. Fünfter 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 lässt 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, höre. 105. Herr, gehe nicht in’s Gericht. *106. Gottes Zeit ist die allerbeste Zeit (Actus tragicus). 107. Was willst du dich betrüben. 108. Es ist euch gut, dass ich hingehe. 109. Ich glaube, lieber Herre. 110. Unser Mund sei voll Lachens.
XXIV. 1874 [1876]. Kirchencantaten. Zwölfter Band. Ed. Alfred Dörffel.
No. 111. Was mein Gott will, das g’scheh’ allzeit. *112. Der Herr ist mein getreuer Hirt. 113. Herr Jesu Christ, du höchstes Gut. 114. Ach, lieben Christen, seid getrost. *115. Mache dich, mem Geist, bereit. *116. Du Friedefürst, Herr Jesu Christ. 117. Sei Lob und Ehr’ dem höchsten 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) Orgelbüchlein (N. bk. 15), containing Preludes on the following melodies:(496)
_ Advent—_
1. Nun komm der Heiden Heiland. 2. Gott, durch deine Güte, or, Gottes Sohn ist kommen. 3. Herr Christ, der ein’ge Gottes-Sohn, or, Herr Gott, nun sei gepreiset. 4. Lob sei dem allmächtigen 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 Güte 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’ Sünde 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, Schöpfer, 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 höchsten Nothen sein. 44. Wer nur den lieben Gott lässt walten.
_ Death and the Grave—_
45. Alle Menschen müssen sterben.
_ The Life Eternal—_
46. Ach wie nichtig, ach wie flüchtig.
(2) Six Chorals (Schübler) (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 lässt 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 Wasserflüssen Babylon. 4. Schmücke 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 Höh’ sei Ehr’ (three settings). 15, 16. Jesus Christus, unser Heiland, der von uns (two settings). 17. Komm, Gott, Schöpfer, heiliger Geist. 18. Vor deinen Thron tret’ ich, or, Wenn wir in höchsten Nöthen sein.
(4) Older texts of the “Orgelbülein” and “Eighteen” Chorals:
1. Christus, der uns selig macht (Orgelbülein No. 22) (P. bk. 244 p. 108). 2. Komm, Gott, Schöpfer, heiliger Geist (Orgelbülein 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 Wasserflüssen 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 Höh’ sei Ehr’ (Eighteen No. 13) (P. bk. 245 p. 100). 16. Allein Gott in der Hö’ 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 Dörffel.
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 Dörffel.
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 Dörffel.
[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 mächtigen Küonig. 138. Warum betrübst 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 für 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, erwünschte Zeit (Wedding). Church Cantata No. 194: Hochsterwünschtes Freudenfest. Secular Cantata: Schweigt stille, plaudert nicht. Secular Cantata: Mer hahn en neue Oberkeet. Secular Cantata: Mit Gnaden bekröne der Himmel die Zeiten. Secular Cantata: O angenehme Melodei. Instrumental Piece for Violin, Flute, and Continuo. (Not in P.).
XXX. 1880 [1884]. Kirchencantaten. Fünfzehnter 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 müssen durch viel Trübsal 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 Dörffel. (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 Dörffel.
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. Süsser 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 Erlöser lebt.
XXXIII. 1883 [1887]. Kirchencantaten. Siebzehnter Band: Ed. Franz Wülner.
161. Komm, du süsse 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, rühmet Gottes Liebe. 168. Thue Rechnung! Donnerwort. 169. Gott soll allein mein Herze haben. 170. Vergnügte Ruh’, beliebte Seelenlust.
XXXIV. 1884 [1887]. Kammermusik für 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: Tönet, ihr Pauken! Erschallet, Trompeten. Secular Cantata: Preise dein Glücke, gesegnetes Sachsen. Secular Cantata: Angenehmes Wiederau. Secular Cantata: Auf, schmetternde Töne der muntern Trompeten.(504)
XXXV. 1885 [1888]. Kirchencantaten. Achtzehnter Band. Ed. Alfred Dörffel.
171. Gott, wie dein Name, so ist auch dein Ruhm. 172. Erschallet, ihr Lieder. 173. Erhötes Fleisch und Blut. 174. Ich liebe den Höchsten von ganzem Gemüthe. 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 hält. 179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei. *180. Schmücke 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 Dörffel.
181. Leichtgesinnte Flattergeister. 182. Himmelskönig, sei willkommen. 183. Sie werden euch in den Bann thun (?1735). 184. Erwünschtes 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 rühmt 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, Choräle und Lieder. Ed. Franz Wüllner.
(1) Motets:
Motet: *Singet dem Herrn ein neues Lied. Motet: *Der Geist hilft unsrer Schwachheit auf.(518) Motet: *Jesu, meine Freude. Motet: *Fürchte 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, erhör’ 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 hält). 5 (388). Wär’ Gott nicht mit uns diese Zeit (Wo Gott der Herr nicht bei uns hält).(520) 6 (383). Wo Gott der Herr nicht bei uns hält. 7(10). Ach, was soll ich Sünder machen. 8 (12). Allein Gott in der Höh’ sei Ehr. 9 (15). Allein zu dir, Herr Jesu Christ. 10 (17). Alle Menschen müssen sterben. 11 (19). Alles ist an Gottes Segen. 12(20). Als der gütige Gott. 13 (21). Als Jesus Christus in der Nacht. 14 (22). Als vierzig Tag’ nach Ostern war’n. 15 (23). An Wassernüssen 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 Höhe. 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 schönes Weltgebäude. 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 genädig sein. 59 (96). Ditto. 60 (106). Für 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 gnädig und barmherzig. 71 (121). Meine Seele erhebet den Herrn. 72 (123a). Heilig, Heilig, Heilig! 73 (129). Herr Gott, dich loben alle wir. 74 (132). Für 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 höchstes 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, für 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 Gemüthe). 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 Lüfte. 114 (211). In allen meinen Thaten. 115 (215). In dulci jubilo. 116 (217). Keinen hat Gott verlassen. 117 (218). Komm, Gott, Schöpfer, 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 Güt.’ 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 Wälder (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 Sünde 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 Sünder. 155 (303). Schaut, ihr Sünder. 156(306). Seelenbräutigam, Jesu, Gottes Lamm. 157 (307). Sei gegrüsset, Jesu gütig. 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 betrübst du dich, mein Herz. 168 (332). Ditto. 169 (334). Warum sollt’ ich mich denn grämen. 170 (336). Was betrübst du dich, mein Herze (Bach’s melody). 171 (337). Was bist du doch, 0 Seele, so betrübet. 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 Stündlein vorhanden ist. 176 (354). Ditto. 177 (355). Ditto. 178 (358). Wenn wir in höchsten Nöthen sein. 179 (359). Ditto. 180 (366). Wer Gott vertraut, hat wohlgebaut. 181 (367). Wer nur den lieben Gott lässt walten. 182 (374). Wie bist du, Seele, in mir so gar betrübt. 183 (375). Wie schön leuchtet der Morgenstern. 184 (382). Wir glauben all’ an einen Gott, Schöpfer. 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). Beglückter Stand getreuer Seelen. *5 (S). Beschränkt, ihr Weisen dieser Welt. 6 (S). Brich entzwei, mein armes Herze. 7 (S). Brunnquell aller Güter. 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 höchster 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). Erwürgtes Lamm, das die verwahrten Siegel. 18 (S). Es glänzet 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 Güte. 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 schönste Licht. 39 (8). Jesus, unser Trost und Leben. 40 (8). Ihr Gestirn’, ihr hohlen Lüfte. 41 (8). Kein Stündlein geht dahin. *42 (8). Komm, süsser 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 für 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 süss, 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). Seelenbräutigam, Jesu, Gottes Lamm. 63 (8). Seelenweide, meine Freude. 64 (S). Selig, wer an Jesum denkt. 66 (8). Sei gegrüsset, Jesu gütig. 66 (8). So gehest du nun, mein Jesu, hin. 67 (8). So giebst du nun, mein Jesu, gute Nacht. 68 (8). So wünsch’ 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 betrübst du dich und beugest. 73 (S). Was bist du doch, 0 Seele, so betrübet. *74. Wie wohl ist mir, 0 Freund der Seelen. 75 (S). Wo ist mein Schäflein, 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, zurücke. 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 lässt 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 fürcht’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 allmächtigen 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 Höh’ 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 Höh’ sei Ehr’ (N. bk. 18 p. 4). 3. Ditto. (Fuga) (N. bk. 18 p. 7). 4. Ditto. (N. bk. 18 p. 11). 5. An Wasserflüssen 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 schön 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 gegrüsset, Jesu gütig (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 schön 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, allmächtiger Gott (not in N. or P.). 8. Schmücke 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. Böhm). 10. Ditto. 11. Wir glauben all’ an einen Gott, Schöpfer (P. bk. 2067 p. 40).(530) 12. Variations on Ach, was soll ich Sünder machen (not in N. or P.). 13. Variations on Allein Gott in der Höh’ sei Ehr’ (not in N. or P.).
(6) Addendum to B.G. III.:
Allein Gott in der Höh’ sei Ehr’ (an early version of N. bk. 16 p. 40*) (P. bk. 245 p. 96).
XLI. 1891 [1894]. Kirchenmusikwerke. Erganzungsband. Ed. Alfred Döffel.
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]. Musikstücke in den Notenbüchen 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 “Clavierübung,” 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 lässt 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 Möns. Böhm.” 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 betrübst 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 Döffel.(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-Büchlein” 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 lässt 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 Döffel.
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 Wüllner.
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. Orgelbüchlein. 46 kürzere Choralbearbeitungen für 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, höre. 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 für 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 für 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 für Sopran Ed. Eusebius Mandyczewski.
1. Auch mit gedämpften 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. Hört, ihr Augen, auf zu weinen (Cantata 98 : Oboe). 8. Ich bin vergnügt 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 Berück 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 für 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 müssen 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 für 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 Cöthen 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 über 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 Ratschlüger bezüglich der Aufführung Bachscher Kirchenkantaten. By Wilhelm Voigt. 2. Über die Schickssle der der Thomasschule zu Leipzig angehorenden Kantaten Joh. Seb. Bachs. By Bernhard Fr. Richter. 3. Die grosse A-moll Fuge für 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. Übersicht der Aufführungen 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 für Klavier zu vier Händen. 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. Über 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 über das Leben Georg Böhms mit spezieller Berücksichtigung seiner Beziehungen zur Bachschen Familie. By Richard Buchmayer. 6. Ein interessantes Beispiel Bachscher Textauffassung. By Alfred Heuss. 7. Edgar Tinel über Seb. Bach. 8. Notes.
X (I). 1910. Ausgewahlte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. IV Abteilung: Arien für 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 stören (Cantata 108 : Violin). 8. Seht, was die Liebe thut! (Cantata 85 : Violin or Viola). 9. Tausendfaches Unglück, Schrecken, Trübsal (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 Verhältnis 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-sätzen 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 Beschlüssen des Dessauer Kirchengesangver einstages. By Arnold Schering. 9. Notes.
X (5). 1910. Fünftes 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 für Bass, Ed. Eusebius Mandyczewski.
1. Achzen und erbärmlich Weinen (Cantata 13: Violin or Flute). 2. Die Welt mit allen Königreichen (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 lässest du deinen Diener (Cantata 83: Violin or Viola). 8. Hier, in meines Vatera Stätte (Cantata 32: Violin). 9. Komm, süsses 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 Hülf’ 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 über 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. Erfüllet, ihr bimmlischen, göttlichen Flammen (Cantata 1: Oboe da caccia). 4. Genügsamkeit ist ein Schatz in diesem Leben (Cantata 144: Oboe d’amore). 5. Hört, ihr Völker, 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 Sünder 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 Passionsaufführungen in Leipzig. By Bernhard Fr. Richter. 5. Tonartensymbolik zu Bachs Zeit. By Rudolf Wustmann. 6. Über 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 Fruhlingslüfte streichen (“Weichet nur betrübte Schatten”: Violin). 2. Sich üben im Lieben (“Weichet nur betrübte Schatten”: Oboe). 3. Des Reichtums Glanz (“Ich bin in mir vergnügt”: Violin).(547) 4. Meine Seele, sei vergnügt (“Ich bin in mir vergnügt”: Flauto). 5. Angenehmer Zephryus (“Der zufnedengestellte Aeolus”: Violin). 6. Schweigt, ihr Flöten (“O holder Tag”: Flauto). 7. Ei! wie schmeckt der Coffee süsse (“Schweigt stille, plaudert nicht”: Flauto). 8. Ruhig und in sich zufrieden (“Ich bin in mir vergnügt”: 2 Oboi). 9. Schafe können sicher weiden (“Was mir behagt”: 2 Flauti). 10. Ruhet hie, matte Töne (“O holder Tag”: Violin and Oboe d’amore). 11. Jagen ist die Lust der Götter (“Was mir behagt”: 2 Horns). 12. Hört doch! der sanften Flöten Chor (“Schleicht, spielende Wellen”: 3 Flauti).
XIII (2). 1913. Solo-Kantate für Sopran, “Mein Herze schwimmt im Blut,” ausgefunden und herausgegeben von C. A. Martiensen. Partitur. XIII (3). 1913. Solo-Kantate für 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-Anhängen.
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 Möllersche Handschrift. Ein unbekanntes Gegenstück zum Andreas-Bach-Buche (mit einem Notenanhange). By Werner Wolffheim. 4. Bachs Bearbeitungen und Umarbeitungen eigener und fremder Werke. By Karl Grunsky. 5. Über die Kirchenkantaten vorbachischer Thomaskantoren (mit einem Notenanhange). By Arnold Sobering. 6. Beiträge zur Bachkritik. By Arnold Sobering. 7. Aufführungen 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. Über Joh. Seb. Bachs Konzerte fur drei Klaviere. By Hans Boas. 3. Die Kantata Nr. 150, “Nach dir, Herr, verlanget mich.” By Arnold Sobering. 4. Über die C-dur-Fuge aus dem I. Theil des “Wohltemperierten Klaviers.” By Wanda Landowska. 5. Die Varianten der grossen G-moll-Fuge für Orgel [Novello bk. 8 p. 127]. By Hermann Keller. 6. Ein Bachkonzert in Kamenz. By Hermann Kretzschmar. 7. Breitkopfsche Textdrucke zu Leipziger Musikaufführungen 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. Ausgewählte Arien und Duette mit einem obligaten Instrument und Klavier- oder Orgelbegleitung. VIII Abteilung: Arien für Alt. 2 Heft. Ed. Eusebius Mandyczewski.
1. Bethörte Welt (Cantata 94: Flauto). 2. Ein ungefärbt Gemüte (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. Schäme 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 über das Bachbildnis der Thomasschule und andere Bildnisse Johann Sebastian Bachs. By Albrecht Kurzwelly. 2. Zur Geschichte der Bachbewegung. Bericht über eine bisher unbekannte frühe Aufführung der Matthaüuspassion. By Karl Anton. 3. Johann Christoph Friedrich Bach. By Georg Schünemann. 4. Die Wiederbelebung der Kurrende in Eisenach. By W. Nicolai. 5. Aufführungen von Joh. Seb. Bachs Kompositionen in der Zeit vom Oktober 1912 bis Juli 1914. By Th. Biebrich. 6. Bachaufführungen 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 Gedenkbüste 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 über die Kantata “Schleicht, spielende Wellen”). By Woldemar Voigt. 4. Eine alte, unbekannte Skizze von Sebastian Bachs Leben. By Arthur Prüfer. 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 über 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 Ausführung der Ornamente bei Bach. Zählzeit oder Notenwert? By Hans Joachim Moser. 3. Friedrich Bachs Briefwechsel mit Gerstenberg und Breitkopf. By Georg Schunemann. 4. Bachaufführurgen im dritten Jahre des deutschen Krieges. By Th. Biebrich. 5. Laterarische Beigabe: “Der Thomaskantor.” Ein Gemüth-erfreuend Spiel von deme Herren Cantori Sebastian Bachen, vorgestellt in zween Auffzügen durch Bernhard Christoph Breitkopfen seel. Erben: Breitkopf und Hartel 1917. By Arnold Schering.
XVIII (1). 1917. Konzert in D moll nach der ursprünglichen Fassung fur Violine wiederhergestellt von Robert Reitz. Partitur. [See B.G. XVII.] XVIII (2). 1917. Konzert in D moll nach der ursprünglichen Fassung für 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. Kühnau, _Die blinden Tonküstler._ 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 Choralgesängen._ Berlin. 1846. Johann Carl Schauer, _Johann Sebastian Bachs Lebensbild: Eine Denkschrift auf seinen 100jähringen 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, Händel, 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 für Cantoren, Organisten, und Schullehrer._ Bleichroder. 1865. Alfred Dörffel, _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 Brüder._ 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 Lüneburg._ Lüneburg. 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, _Händel 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 Söhne Seb. Bachs._ Leipzig. 1883. Jul. Schümann, _Joh. Seb. Bach, der Kantor der Thomas-schule zu Leipzig._ Leipzig. 1884. A. L. Gräbner, _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 über dessen Grabstätte, Gebeine und Antlitz._ Leipzig. 1895. Wilhelm His, _Anatomisches Forschungen über J. S. Bach’s Gebeine und Antlitz, nebst Bemerkungen über dessen Bilder._ Leipzig. 1895. Armin Stein, _J. S. Bach. Ein Küntstlerleben._ 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 über 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 für die Laute._ Berlin. 1901.] K. Söhle, _Sebastian Bach in Arnstadt_ Berlin. 1902. 2nd ed. 1904. Arthur Prüfer, _Sebastian Bach und die Tonkunst des XIX. Jahrhunderts._ Leipzig. 1902. H. Barth, _Joh. Sebastian Bach: Lebensbild._ Berlin. 1902. Gustav Höcker, _Johann Sebastian Bach._ Gotha. 1903. Paul von Bojanowski, _Das Weimar Johann Sebastian Bachs._ Weimar. 1903. Jul. Schumann, _Bach, Händel, 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 Sänger und Musiker des Evangeliums._ Wismar. 1909. Max Trümpelmann, _Joh. Sebastian Bach und seine Bedeutung für die Choralkomposition unserer Zeit._ Magdeburg. 1909. August Wildenhahn, _Joh. Sebastian Bach._ Eisenach. 1909. Philipp Wolfrum, _Johann Sebastian Bach._ 2 vols. Leipzig. 1910. André Pirro, _Johann Sebastian Bach. Sein Leben und seine Werke._ [Translated from the French by Bernhard Engelke.] Berlin. 1910. Johannes Schreyer, _Beiträge 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. Einführung in Stil und Technik von Bachs melodischer Polyphonie._ Bern. 1917.
II. France
Johann Nikolaus Forkel, _Vie, talents et travaux de Jean Sébastien Bach._ [Translated from the German by Felíx Grenier.] Paris. 1876. Ernest David, _La vie et les œuvres de J.-S. Bach, sa famille, ses élèves, ses contemporains._ [An abridged translation of Spitta.] Paris. 1882. William Cart, _Un maitre deux fois centenaire: étude sur J.-S. Bach, 1685-1750._ Paris. 1884. New ed. 1898. André Pirro, _L’Orgue de Jean-Sébastien Bach._ Paris. 1895. [G. Fink, _Étude biographique sur Jean-Sébastien Bach._ Angoulème. 1899.] [—. Daubresse, _Haendel et Bach._ Paris. 1901.] Albert Schweitzer, _J. S. Bach, le musicien-poète._ Leipzig. 1905. André Pirro, _J.-S. Bach._ Paris. 1906. 4th edition. 1913. André Pirro, _L’Esthétique de Jean-Sébastien 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
André 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 Maîtres classiques du dix-huitième 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. Orgelbüchlein (little Organ Book).
Page 3. Nun komm, der Heiden Heiland (P. bk. 244 p. 44). Page 5. Gott durch deine Güte, 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 allmächtigen 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 Güte 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’ Sünde 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, Schöpfer, 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 höchsten Nothen sein (ib. 55). Page 117. Wer nur den lieben Gott lässt walten (ib. 57). Page 119. Alle Menschen müssen sterben (ib. 2). Page 121. Ach wie nichtig, ach wie flüchtig (ib. 2).
Novello: Book XVI. The Six “Schübler Chorale Preludes” And The “Clavierübung,” Part III.
(a) The Schübler 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 lässt 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 “Clavierübung,” 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 Höh’ 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, Schöpfer (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 Wasserflüssen Babylon (P. bk. 245 p. 34). Page 22. Schmücke 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 Höh’ 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, Schöpfer, heiliger Geist (P. bk. 246 p. 2). Page 85. Wenn wir in höchsten Nöthen 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 Höh’ 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 Wasserflüssen 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 fürcht’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 allmächtigen 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 lässt walten (ib. 56). Page 22. Do. do. do. (ib. 56). Page 23. Wie schön 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 gegrüsset, Jesu gütig (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, Schöpfer, 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 _Neueröffneter 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 Kühnel 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 Kühnel, 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 Kühnel’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. Pölchau, 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. Pölchau 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, Nürnberg. 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, Lübeck, 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 Böhm, b. 1661; date of death uncertain (c. 1739); from 1698 Organist of the Johanniskirche, Lüneburg.
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, Lüneburg, 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 Böhm, who had relations with the Convent choir, inspired Bach to make the pilgrimage. Böhm, then at St. John’s, Lüneburg, 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 Lübeck, 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 Lübeck 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 Mühlhausen 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. Mühlhauson prided itself upon its musical traditions. Bach’s Cantata, No. 71, written in February 1708 for the inauguration of the Mühlhausen 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 Mühlhausen 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. Mühlhausen, 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 Mühlhausen.
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. Honoré, 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 Fétis (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 Cöthen and after he had left his service.
88 The reason for Bach’s migration from Weimar to Cöthen 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 Cöthen. 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 _Orgelbüchlein_ 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 Cöthen on August 1, 1717, and was inducted at Leipzig on May 31, 1723.
90 The date actually was November 1720. At Cöthen 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 Wasserflüssen 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 Cöthen 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 Hochfürstlich Weissenfelsische wirkliche Kapellmeister and retained it till his death. He retained also his Cöthen 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 Beyträge 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 höchsten Nöthen 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 Cöthen, 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 über 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 “Flügel,” 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 _Orgelbüchlein._
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…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 Cöthen 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 Choralgesänge_ 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 _Choralgesänge _ 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 _Orgelbüchlein_ 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 Schönen, höret 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 höchst nöthinge 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!…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 Müthel, 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-Wolfenbüttel, 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 Buttelstädt, 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 Gräbner, 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 £600 per annum, and though he was twice a bankrupt, left £20,000.
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 Nürnberg “vers 1746.”
223 The first of Bach’s works to be engraved was the Mühlhausen Cantata, _Gott ist mein König,_ (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 _Clavierübung_ (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 _Clavierübung_ (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 König_ had been published by the Town Council at Mühlhausen 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 Kühnel 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 Rüben 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 höchsten Nöthen 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 _Choralgesänge,_ 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 _Clavierbüchlein_ (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 Cöthen 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 Cöthen period. They are published in P. bks. 203, 204.
267 The French Suites undoubtedly date back to the Cöthen 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 _Clavierübung._ 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 gegrüsset, Jesu gütig.” 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 Lüneburg 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 _Clavierübung,_ the _Schübler 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 _Orgelbüchlein_; 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 Cöthen 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 Cöthen 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, betrübte 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 _Choralgesänge_, 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 _Clavierbüchlein._ 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” (Dörffel, 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 Cöthen 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 Cöthen 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 Hölle 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 Küonig._
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 rühmt 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 Fünffache 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 erhöhet._
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: _Erhötes 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 Höhe._
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 über 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 färet 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 “Orgelbüchlein,” 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 französischen 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 “Choralgesänge”; 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 Stück kann recht gut von Seb. Baoh herrühren.” 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. Böhm,” 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 Schätzbarkeit 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. (3).