Bach as “Familien-Vater”--As a choirmaster--His eagerness to
learn all that was new and of value in music--He finds time to
conduct public concerts--His self-criticism--Bach was never a
poor man--His reputation was gained by his playing rather than
compositions--Portraits--Public monuments.
[Sidenote: _Bach as Familien-Vater_]
One often hears in Germany the expressions “Familien-Vater,”
“Haus-Vater,” applied as terms of special commendation to public men,
in the sense that their private life is of estimable character, that
they do their duty well by their families instead of spending their
whole energy in accumulating money or fame. To no artist could these
terms be more fittingly applied than to the subject of this memoir.
We have seen that he was unremitting in his efforts to give his sons
and pupils the best possible education, and helped them forward in
every way he could when they entered their professions, and how he
secretly obtained a post for his son-in-law, Johann Christoph Altnikol,
as a kind of wedding-present. Forkel says he was a “_vorzüglich
guter_ (particularly excellent) _Haus-Vater, Freund_ (Friend) _und
Staatsbürger_ (Citizen). His company was pleasant to everyone, whether
a stranger or an intimate, and anyone visiting him was sure of a
courteous reception, so that his house was seldom without guests.”
[Sidenote: _Choice of Sponsors_]
An interesting feature in his private life is his choice of persons to
act as god-parents to his children. They were seldom his own relations,
but persons of distinction, who might be able to help the children
on in their subsequent career. Among them were Bach’s great friend,
Prince Leopold of Cöthen, his brother Prince August Ludwig, his sister
Princess Elenore, Privy Councillor Von Zanthier, Dr Gilmar, one of the
chief men in the church at Mühlhausen; Gesner, rector of the Thomas
School. Though far from seeking wealth, Bach was sufficiently a man of
the world to see the value of ensuring a respectable position both for
himself and his sons by any legitimate means in his power.
[Sidenote: _Bach as choirmaster_]
As a choirmaster Bach seems to have been a failure. He was far too
irritable to be able to control boys, and the task was evidently
extremely distasteful to him. Though he was sympathetic in the extreme
with those who were in earnest in matters of art, it is very clear that
he had not the tact and patience required for elementary teaching. One
can well imagine how the stupidity and incompetence of many of the
boys who came under him must have galled his ardent nature; and he was
quite unfit to be a schoolmaster. Yet it is evident that he gained the
confidence of some boys from the fact of his having trained them to
assist him in the orchestra.
Of his own boyhood at Lüneburg a remarkable story is told to the effect
that when his voice broke he for some days spoke and sang in octaves.
It is of course quite conceivable on acoustical grounds that the
first harmonic may have been prominent enough to be heard with the
fundamental note; and that he, being a musician, observed a phenomenon
which would escape an ordinary boy.
[Sidenote: _Bach’s eagerness to know all that was new_]
Throughout his life he was ever eager to become acquainted with
everything new that was of any value. New organs, new compositions,
newly-invented instruments, were all a source of interest to him. Thus,
directly Silbermann of Freiburg had made a few of his “fortepianos” in
imitation of the new invention of Cristofori, Bach was eager to try
them. But the hammerlike blow required was quite foreign to Bach’s
method of playing, in which the fingers were always kept as close as
possible to the keys; and though he praised the tone, he rather freely
condemned the touch. Silbermann was exceedingly angry and would not
have anything to do with Bach for a long time; but he, nevertheless,
set to work to improve the touch, and after some fifteen years of
patient labour succeeded in producing the satisfactory instruments
which Bach played on at Potsdam shortly before his death. Hilgenfeldt
considers that the general use of the pianoforte took its origin from
these perfected instruments.
[Sidenote: _Public concerts_]
In the midst of all his occupations Bach found time to conduct public
concerts, of which Hilgenfeldt quotes the following advertisement:
“NOTICE OF THE MUSICAL CONCERTS AT LEIPSIC.”
“The two public musical concerts or assemblies, which are held here
every week, are still flourishing. One is directed by Herr John
Sebastian Bach, Capellmeister to the Grand-duke of Weissenfels,
Music director of the Churches of St Thomas and St Nicholas; and it
takes place in the Coffee-house of Zimmermann, in Catherine Street,
every Friday evening from 8 to 10 o’clock; but during the Fair
twice a week, namely, Tuesdays and Fridays. The members of these
musical concerts consist for the most part of students, and there
are always good musicians among them, so that often, as is known,
some of them become in time celebrated performers. Every musician
is allowed to perform publicly in these musical concerts, and there
are usually some among the audience who are able to judge the value
of a competent musician.”
[Sidenote: _Self-criticism_]
Bach was a severe critic of his own works. Hilgenfeldt tells us that
many of those which did not come up to his ideal of what they should
be were cast aside by him, and that such of his youthful works as he
considered worth keeping were constantly improved by him and brought to
a higher standard. Thus, the first movement of the third organ sonata,
which originally belonged to the _Wohltemperirte Clavier_, was altered
to the extent of having large portions cut out, and others essentially
changed and improved, so that phrases of small significance obtained an
importance of which no signs appeared in the earlier composition.
[Sidenote: _Teaching_]
He reserved his teaching for those who could really profit by it, and
if he found that a pupil had not sufficient talent, he would, with
every kindly courtesy, recommend him not to seek his living by music.
The result was that a strong feeling for the dignity and value of art
was spread by his pupils, who for the most part attained to important
positions in their profession. One of his pupils, Doles, whose name had
a place of honour in the old Gewandhaus at Leipsic, was Cantor of St
Thomas for thirty-four years (after the death of Harrer), and was held
in great esteem as a teacher and composer.
[Sidenote: _A good standing always maintained_]
Though at no time rich, Bach was never a poor man. The various payments
in kind, such as rent-free dwelling, garden produce, etc., were almost
sufficient to support him, and to make his salary available for
self-improvement, for journeys, and for the education of his children.
And that he was able to collect more than eighty theological works,
at a time when books were an expensive luxury, and that he could give
no less than three clavichords with pedals at once to his son, Joh.
Christian, shows that his position was one of comfort.
[Sidenote: _Recognition on his death_]
Though the Council and the _Leipsic Chronicle_ took little notice of
his death, it appears that the Society founded by Mizler caused a
funeral ode by the then rector, Dr Ventzky, to be set to music and
performed; and he seems to have been much mourned outside Leipsic, as
the chief support of serious German music.
Not as a composer, but as a performer, however, was he mourned. It was
reserved for later generations to fully appreciate what Hilgenfeldt
describes as the “spiritual and everlasting” side of his genius. In
those days the composer and performer were one and the same person.
No one was considered an artist who could only perform, however well,
if he could not also compose; and, especially on the organ, good
improvisation was considered the chief qualification of a musician. He
was expected to be in a position to extemporise at any time and under
any conditions a fugue, or a set of variations on any theme given to
him; and his ability in this respect was the criterion by which he was
judged. It was natural, therefore, that Bach’s fame during his lifetime
should rest more on his extempore performances than on his written
compositions, which, remaining in manuscript, would probably serve
chiefly as models for his pupils to work from.
[Sidenote: _Portraits and Statues_]
Four portraits of Bach are known to have been painted. One, which seems
to have been the first, is a half length picture showing him in a dress
coat of the fifth decade of the eighteenth century. It belonged to
Kittel, and was kept by him as a kind of sacred possession, only to be
shown on special occasions, or as a reward to a diligent pupil. It was
in a massive gold frame, and hung behind a curtain over the harpsichord
in Kittel’s study. On his death it came into the possession of the
church of which he was organist.
The second was also a half-length, and belonged to his son Carl Philip
Emanuel. It was painted by Hausmann.
The third, also by Hausmann, is shown in our frontispiece. It is
preserved in the Thomas School, and, according to Becker, was painted
on his becoming a member of the Leipsic Musical Society. A fourth,
preserved in the Joachimsthal Gymnasium at Berlin, was formerly in
the possession of Princess Amalie of Prussia, and seems to have been
painted by Geber.
A few good copper engravings were made from the various portraits,
and a number of bad lithographs from the engravings. Some successful
plaster busts have also been made from the pictures.
Germany is much given to honouring those of her sons who have
distinguished themselves in art by erecting memorials to them in public
places: but not till nearly one hundred years after his death was such
a monument thought of for Bach. In 1840, Mendelssohn gave an organ
recital in the Thomas Church, with the object of opening a fund for
this purpose with the proceeds, and on April 23, 1843, a medallion by
Knauer was solemnly unveiled on the walls of the Thomas Church. The
opportunity was taken of performing many of Bach’s compositions; and
amongst those present was the last descendant of the great man, with
his wife and two daughters. This was William Bach, then 81 years of
age, a son of the Bückeburger Bach.
In 1864 a large new organ was erected in the New Church at Arnstadt
“in honour of Johann Sebastian Bach,” containing his portrait over the
keyboards: and in 1884 a Bach festival was held at Eisenach on the
occasion of the unveiling of a fine bronze statue of the composer in
the Market-place.
Catalogue of Bach’s Vocal Works
_Matthew Passion._ First performed, 1729. English edition,
Novello.
_St John Passion._ Probably written at Cöthen, and much
altered before it received its present form. English edition,
published by Novello.
_St Luke Passion._ Of doubtful authenticity. English edition,
Novello.
_Mass in B minor._
„ _F._
„ _A._ Written in 1737. Partly borrowed from other works.
_Mass in G minor._}
_ „ G major._} Adapted from cantatas.
These four “Missæ breves” contain the Kyrie and Gloria, the only part
of the Mass retained in the Lutheran Service in Latin.
_Magnificat in D._ Written for the Christmas Festival at St
Thomas’ Church, and sung at vespers after the sermon. Edition with
English words, Novello. It is for five voices, three trumpets, two
flutes, two oboes, strings and organ.
_Sanctus in C._ } Sung after the morning sermon, as an
_ „ D._ } introduction to the Communion Service.
_ „ D minor._}
_ „ G._}
CHURCH CANTATAS
_The numbers refer to the Bachgesellschaft Edition._
2 _Ach Gott vom Himmel sieh darein._ Second Sunday
after Trinity. Chorale Cantata.
3 _Ach Gott, wie manches Herzeleid._ Second Sunday after
Epiphany. Chorale Cantata.
58 _Ach Gott, wie manches Herzeleid._ Second Sunday after
Christmas. Solo Cantata for soprano and bass.
135 _Ach Herr, mich armen Sünder._ Third Sunday after
Trinity. Chorale Cantata, Leipsic.
162 _Ach, ich sehe, itzt, da ich._ Twentieth Sunday after
Trinity.
114 _Ach, lieben Christen, seid getrost._ Seventeenth Sunday
after Trinity. Chorale Cantata.
26 _Ach wie flüchtig, ach wie nichtig!_ Twenty-fourth
Sunday after Trinity. Chorale Cantata.
33 _Allein zu dir, Herr Jesu Christ._ Thirteenth Sunday
after Trinity. Chorale Cantata.
72 _Alles nur nach Gottes Willen._ Third Sunday after
Epiphany.
68 _Also hat Gott die Welt geliebt._ Tuesday in Whitsun-week.
English edition, “God so loved the World,” Novello.
42 _Am Abend aber desselbigen Sabbaths._ First Sunday
after Easter (Quasimodogeniti).
186 _Arg’re dich, o Seele nicht._ Seventh Sunday after Trinity.
128 _Auf Christi Himmelfahrt allein._ Ascension Day.
131 _Aus der Tiefe rufe ich, Herr, zu dir._ Composed for Dr.
G. C. Gilmar, Pastor of Mühlhausen.
38 _Aus tiefer Noth schrei ich zu dir._ Twenty-first Sunday
after Trinity. Chorale Cantata.
131 _Aus tiefer Noth schrei ich zu dir._ Composed at Mühlhausen
about 1707.
185 _Barmherziges Herze, der._ Fourth Sunday after Trinity.
132 _Bereitet die Wege, bereitet._ For no special season.
Weimar, 1715. Words by Salomo Franck.
87 _Bisher habt ihr nichts gebeten in meinem Namen._ Fifth
Sunday after Easter.
6 _Bleib’ bei uns, denn es will Abend._ Tuesday in Easter
Week. English edition, “Bide with us,” Novello.
39 _Brich dem Hungrigen dein Brot!_ First Sunday after
Trinity.
148 _Bringet dem Herrn Ehre._ Seventeenth Sunday after
Trinity.
63 _Christen, ätzet diesen Tag._ Christmas.
4 _Christ lag in Todesbanden._ Easter Day.
121 _Christum wir sollen loben schon._ Christmas. Chorale
Cantata.
7 _Christ unser Herr zum Jordan kam._ St John’s Day.
Chorale Cantata.
95 _Christus, der ist mein Leben._ Sixteenth Sunday after
Trinity.
141 _Das ist je gewisslich wahr._ Third Sunday in Advent.
122 _Das neu gebor’ne Kindelein._ First Sunday after Christmas.
Chorale Cantata.
40 _Dazu ist erscheinen der Sohn._ Christmas.
195 _Dem Gerechten muss das Licht._ Wedding Cantata.
15 _Denn du wirst meine Seele nicht in Hölle lassen._ Monday
in Easter Week. Composed at Arnstadt, probably in
1704. See p. 27.
157 _Der Friede sei mit dir._ Purification; also for Easter.
196 _Der Herr denket an uns._ Wedding Cantata.
112 _Der Herr ist mein getreuer Hirt._ Second Sunday after
Easter (Misericordias).
31 _Der Himmel lacht, die Erde jubiliret._ Monday in Easter
Week. One of the few cantatas containing a chorus for five
voices. The instrumental introduction is called “Sonata.”
75 _Die Elenden sollen essen._ First Sunday after Trinity.
76 _Die Himmel erzählen die Ehre._ Second Sunday after Trinity.
116 _Du Friedensfürst, Herr Jesu Christ._ Twenty-fifth Sunday
after Trinity. Chorale Cantata.
104 _Du Hirte Israel, höre._ Second Sunday after Easter
(Misericordias). English edition, “Thou Guide of Israel,” Novello.
77 _Du sollst Gott, deinen Herren, lieben._ Thirteenth Sunday
after Trinity.
23 _Du wahrer Gott und Davids Sohn._ Quinquagesima (Estomihi).
_Ehre sei dir Gott gesungen._ Part V. of Christmas oratorio.
English edition, Novello.
_Ehre sei Gott in der Höhe._ Christmas. Incomplete.
80 _Ein feste Burg ist unser Gott._ Reformation Festival,
English edition, “A Stronghold Sure,” Novello. Composed 1717, when
Bach went to Cöthen. This was the first cantata published in the
nineteenth century. It was also arranged to Latin words, beginning,
“Gaudete, omnes populi.”
134 _Ein Herz, das Seinen._ Wednesday in Easter Week. Cöthen,
between 1717 and 1723.
24 _Ein ungefärbt Gemüthe._ Fourth Sunday after Trinity.
136 _Erforsche mich Gott, und erfahre._ Eighth Sunday after
Trinity. Leipsic, 1737 or 1738.
66 _Erfreut euch, ihr Herzen!_ Tuesday in Easter Week.
83 _Erfreute Zeit im neuen Bunde._ Purification.
126 _Erhalt’ uns, Herr, bei deinem Wort._ Sexagesima.
Chorale Cantata.
173 _Erhöhtes Fleisch und Blut._ Tuesday in Whitsun-week. The
music was originally written for a Serenade for the birthday of
Prince Leopold of Cöthen. The MS. Serenade is in the Royal Library at
Berlin.
175 _Er rufet seinen Schafen mit._ Wednesday in Whitsun-week.
Solo Cantata for tenor and bass.
172 _Erschallet,ihr Lieder._ Whitsunday.
184 _Erwünschtes Freudenlicht._ Wednesday in Whitsun-week.
19 _Es erbub sich ein Streit._ Michaelmas Day.
9 _Es ist das Heil uns kommen her._ Sixth Sunday after
Trinity.
45 _Es ist dir gesagt, Mensch, was gut ist._ Eighth Sunday
after Trinity.
176 _Es ist ein trotzig und verzagt Ding._ Trinity Sunday.
108 _Es ist euch gut, dass ich hingehe._ Fourth Sunday after
Easter (Cantata).
25 _Es ist nichts Gesundes an meinem Leibe._ Fourteenth
Sunday after Trinity. Edition with English words, “Lo, there is
no soundness within my body.” Rieter-Biedermann.
90 _Es reifet euch ein schrecklich._ Twenty-fifth Sunday
after Trinity.
187 _Es wartet Alles auf dich._ Seventh Sunday after
Trinity, 1737. Music is used for Mass in G minor.
_Fallt mit Danken._ Part IV. of Christmas oratorio. English edition,
Novello.
52 _Falsche Welt, dir trau._ Twenty-third Sunday after
Trinity. Solo Cantata for soprano.
30 _Freue dich, erlöste Schaar._ St John’s Day, originally a
“Dramma per Musica” in honour of the Saxon Minister, Von Hennicke.
Composed in 1737, and arranged as a church cantata, 1738, after Bach
had received the title of Court Composer. It is in the “Lombardic”
style introduced by Vivaldi, consisting of frequent syncopation.
35 _Geist und Seele wird._ Twelfth Sunday after Trinity.
129 _Gelobet sei der Herr, mein Gott._ Trinity Sunday.
91 _Gelobet seist du, Jesus Christ._ Christmas. Chorale
Cantata. Words by Martin Luther.
18 _Gleich wie der Regen und._ Sexagesima. The orchestration
is unusual, consisting of four violas, fagotto, violoncello and organ.
191 _Gloria in excelsis Deo._ Christmas. Rearranged from
the B minor Mass.
79 _Gott der Herr, ist Sonn’ und Schild._ Reformation Festival.
106 _Gottes Zeit ist die allerbeste Zeit._ For no special season.
English edition, “God’s time is the best,” Novello. Called “Actus
tragicus,” probably a funeral cantata. Mühlhausen about 1708.
43 _Gott fähret auf mit Jauchzen._ Ascension Day. English
version, “God goeth up with shouting,” Novello.
71 _Gott ist mein König._ Election of Town Council at
Mühlhausen, 1708. See p. 36.
191 _Gott ist uns’re Zuversicht._. Wedding Cantata.
28 _Gottlob! nun geht das Jahr._ First Sunday after Christmas.
120 _Gott, man lobet dich in der Stille._ Election of Town
Council at Leipsic. In the score the letters J.J. (Jesu juva)
frequently occur.
169 _Gott soll allein mein Herze._ Eighteenth Sunday after
Trinity. For alto solo.
171 _Gott, wie dein Name, so ist auch dein Ruhm._ Circumcision.
The first chorus occurs with modifications as part of the “Credo”
of the B minor Mass.
67 _Halt’ im Gedächtnis Jesum Christ._ First Sunday after
Easter (Quasimodogeniti). Edition with English words, “Hold in
remembrance Jesus Christ,” Rieter-Biedermann.
96 _Herr Christ, der ein’ge Gottes Sohn._ Eighteenth Sunday
after Trinity. Chorale Cantata. Words by Elizabeth Creutzinger.
102 _Herr, deine Augen sehen nach dem._ Tenth Sunday after
Trinity.
105 _Herr, gehe nicht in’s Gericht._ Ninth Sunday after
Trinity.
_Herr Gott, Beherrscher aller Dinge._ Wedding Cantata. Incomplete.
130 _Herr Gott, dich loben alle wir._ Michaelmas Day.
16 _Herr Gott, dich loben wir._ Circumcision. Chorale Cantata.
113 _Herr Jesu Christ, du höchstes Gut._ Eleventh Sunday after
Trinity. Chorale Cantata.
127 _Herr Jesu Christ, wahr’r Mensch und Gott._ Quinquagesima
(Estomihi). Chorale Cantata.
_Herrscher des Himmels._ Part III. of Christmas oratorio.
English edition, Novello.
_Herr, wenn die stolzen Feinde schnauben._ Part VI. of Christmas
oratorio. English edition, Novello.
73 _Herr, wie du willt, so schick’s mit mir!_ Third Sunday
after Epiphany.
147 _Herz und Mund und That und Leben._ The return of Mary
from Egypt.
182 _Himmelskönig, sei willkommen._ Annunciation. Originally
composed for Palm Sunday.
194 _Höchst erwünschtes Freudenfest._ Dedication of the
organ at Störmthal.
55 _Ich armer Mensch, ich Sündenknecht._ Twenty-second
Sunday after Trinity. For tenor solo.
85 _Ich bin ein guter Hirt._ Second Sunday after Easter
(Misericordias).
84 _Ich bin vergnügt mit meinem Glücke._ Septuagesima.
48 _Ich elender Mensch wer wird mich._ Nineteenth Sunday
after Trinity.
133 _Ich freue mich in dir._ Christmas. Chorale Cantata.
Leipsic, 1737.
49 _Ich geh’ und suche mit._ Twentieth Sunday after Trinity.
109 _Ich glaube lieber Herr, hilf meinem._ Twenty-first
Sunday after Trinity.
82 _Ich habe genug._ Purification.
188 _Ich habe meine Zuversicht._ Twenty-first Sunday after
Trinity. The copyist directs that the “organ concerto” of
“Wir müssen durch viel Trübsal” in D minor (arranged from
the Clavecin Concerto in that key) is to be used as an
“introduction.” Words by Picander.
92 _Ich hab’ in Gottes Herz und Sinn._ Septuagesima. Chorale
Cantata. Words by Paul Gerhardt.
21 _Ich hatte viel Bekümmernis._ “Per ogni tempi,” “For all
times.” English edition, “My spirit was in heaviness,” Novello.
Composed on his being made concert-meister at Weimar, and performed
there on the third Sunday after Trinity, 1714.
162 _Ich, ich sehe, jetzt da ich zur Hochzeit gehe._ Solo Cantata
for soprano, alto, tenor, bass.
158 _Ich lasse dich nicht, du segnest._ Purification. Solo
Cantata for tenor and bass. The violetta occurs in the score.
174 _Ich liebe den Höchsten von ganzem._ Whitsunday. Solo
Cantata for alto, tenor, bass.
177 _Ich ruf zu dir, Herr Jesu Christ._ Fourth Sunday after
Trinity. Chorale Cantata.
156 _Ich steh’ mit einem Fuss im Grabe._ Third Sunday after
Epiphany.
160 _Ich weiss, dass mein Erlöser._ Monday in Easter Week.
56 _Ich will den Kreuzstab gerne tragen._ Nineteenth Sunday
after Trinity. For bass solo.
164 _Ihr, die ihr euch von Christo._ Thirteenth Sunday after
Trinity. Solo Cantata for soprano, alto, tenor, bass.
167 _Ihr Menschen, rühmet Gottes._ St John’s Day. Solo
Cantata for soprano, alto, tenor and bass.
193 _Ihr Pforten zu Zion._ Election of Town Council.
103 _Ihr werdet weinen und heulen._ Third Sunday after
Easter (Jubilate).
97 _In allen meinen Thaten._ For no special season. Words
by Dr Paul Flemming.
_Jauchzet, frohlocket._ Christmas oratorio. Part I., English version,
Novello.
51 _Jauchzet Gott in allen Landen._ Fifteenth Sunday after
Trinity. Solo Cantata for soprano.
78 _Jesu, der du meine Seele._ Fourteenth Sunday after
Trinity. In this cantata the ground bass of the “Crucifixus”
of the B minor Mass is used. Edition with English words, “Jesu,
Saviour, who by dying,” Rieter-Biedermann.
41 _Jesu, nun sei gepreiset._ Circumcision. Chorale Cantata.
English edition, “Jesus, now will we praise Thee,”
Novello.
22 _Jesus nahm zu sich die Zwölfe._ Quinquagesima (Estomihi).
Bach’s test piece for the Leipsic post after the death of Kuhnau.
Performed there, February 7th, 1723.
81 _Jesus schläft, was soll ich hoffen?_ Fourth Sunday after
Epiphany.
161 _Komm du süsse Todesstunde!_ Purification; also for the
Sixteenth Sunday after Trinity.
_Kommt, eilet, lauft._ Easter oratorio.
181 _Leicht gesinnte Flattergeister._ Sexagesima.
8 _Liebster Gott, wann werd’ ich sterben._ Sixteenth Sunday
after Trinity.
123 _Liebster Immanuel, Herzog der Frommen._ Epiphany.
Chorale Cantata.
32 _Liebster Jesu, mein Verlangen._ First Sunday after
Epiphany. Called “Dialogue.” Solo Cantata for soprano and bass.
137 _Lobe den Herren, den Mächtigen._ Twelfth Sunday after
Trinity. Leipsic, between 1742 and 1747. Words by Joachim Neander.
69 _Lobe den Herrn meine Seele!_ Twelfth Sunday after
Trinity.
143 _Lobe den Herrn meine Seele._ New Year’s Day.
11 _Lobet Gott in seinen Reichen._ Ascension Day. Called
by Bach “oratorium festo ascensionis Christi.” Part of this
cantata is used in the B minor Mass.
115 _Mache dich, mein Geist, bereit._ Twenty-second Sunday
after Trinity. Chorale Cantata.
149 _Man singet mit Freuden vom Sieg._ Michaelmas Day.
124 _Meinen Jesum lass’ ich nicht._ First Sunday after Epiphany.
Chorale Cantata.
10 _Meine Seel’ erhebt den Herren._ Return of Mary from
Egypt. Chorale Cantata.
189 _Meine Seele rühmt und preist._ For no special season.
13 _Meine Seufzer meine Thränen._ Second Sunday after
Epiphany. Solo Cantata for soprano, alto, tenor and bass voices,
accompanied by wind instruments and organ, no strings being used.
155 _Mein Gott, wie lang’._ Second Sunday after Epiphany.
154 _Mein liebster Jesus ist verloren._ First Sunday after
Epiphany.
125 _Mit Fried’ und Freud’ ich fahr’ dahin._ Purification.
Chorale Cantata.
150 _Nach dir, Herr, verlanget mich._ For no special season.
101 _Nimm’ von uns Herr, du treuer Gott._ Tenth Sunday after
Trinity. Chorale Cantata.
144 _Nimm, was dein ist, und gehe hin!_ Septuagesima.
192 _Nun danket alle Gott._ For no special season.
50 _Nun ist das Heil und die Kraft._ For no special season.
61 _Nun komm, der Heiden Heiland._ First Sunday in Advent.
First composition in A minor. Inside the cover of this cantata
Bach has written the order of the service for the morning of
Advent Sunday, 1714, at Leipsic. See p. 44.
62 _Nun komm, der Heiden Heiland._ First Sunday in Advent.
Chorale Cantata. Second composition in B minor.
163 _Nur Jedem das Seine!_ Twenty-third Sunday after Trinity.
Solo Cantata for soprano, alto, tenor and bass.
34 _O ewiges Feuer, o Ursprung der Liebe._ Whitsunday.
English edition, “O Light Everlasting,” Novello.
_O ewiges Feuer._ Wedding Cantata. Incomplete.
20 _O Ewigkeit du Donnerwort._ First Sunday after Trinity.
60 _O Ewigkeit du Donnerwort._ Twenty-fourth Sunday after
Trinity. Solo Cantata for alto, tenor and bass.
165 _O heil’ges Geist- und Wasserbad._ Trinity Sunday. Solo
Cantata for soprano, alto, tenor, bass.
118 _O Jesu Christ mein’s Lebenslicht._ The accompaniment
is for two litui, cornet and three trombones; no strings or organ.
It was probably intended for the open air (perhaps for a funeral)
as it is the only cantata with no continuo part.
119 _Preise Jerusalem den Herrn._ Performed in the Nicolai
Church on August 30, 1723, at the election of Town Council. It was
also performed by Mendelssohn on the unveiling of the Bach Memorial
at Leipsic, April 23, 1843.
46 _Schauet doch und sehet._ Tenth Sunday after Trinity.
153 _Schau’ liebe Gott wie meine Feinde._ Second Sunday
after Christmas.
53 _Schlage doch! gewünschste Stunde._ Funeral Cantata
for alto solo.
180 _Schmücke dich o liebe Seele._ Twentieth Sunday after
Trinity. Chorale Cantata.
36 _Schwingt freudig euch empor._ First Sunday in Advent.
64 _Sehet welch’ eine Liebe._ Christmas.
159 _Sehet, wir geh’n hinauf._ Quinquagesima (Estomihi).
117 _Sei Lob und Ehr’ dem höchsten Gut._ For no special season.
57 _Selig ist der Mann._ Christmas. Solo Cantata for soprano and
bass.
88 _Siehe ich will viel Fischer._ Fifth Sunday after Trinity.
179 _Siehe zu dass deine Gottesfurcht nicht._ Eleventh Sunday
after Trinity.
65 _Sie werden aus Saba alle kommen._ Epiphany. Edition with
English words, “They all shall come from Saba,” Rieter-Biedermann.
44 _Sie werden Euch in den Bann thun._ Sunday after Ascension
Day (Exaudi).
183 _Sie werden Euch in den Bann thun._ Sunday after Ascension
Day (Exaudi).
190 _Singet dem Herrn ein neues Lied._ Circumcision. Incomplete.
Performed 25th of June 1730, at the second Jubilee celebration of
the Augsburg Confession.
145 _So du mit deinem Munde bekennest._ Easter Day, and Wednesday
in Easter Week.
151 _Süsser Trost, mein Jesus kömmt._ Christmas.
168 _Thue Rechnung Donnerwort._ Ninth Sunday after Trinity. Solo
Cantata for soprano, alto, tenor, bass.
152 _Tritt auf die Glauben’s Bahn._ First Sunday after Christmas.
_Und es waren Hirten auf dem Felde._ Part II. Christmas oratorio.
English edition, Novello.
110 _Unser Mund sei voll Lachens._ Christmas.
142 _Uns ist ein Kind geboren._ Christmas.
170 _Vergnügte Ruh’ beliebte._ Sixth Sunday after Trinity.
For alto solo.
140 _Wachet auf, ruft uns die Stimme._ Twenty-seventh Sunday
after Trinity. Leipsic, 1742. Words by P. Nicolai.
70 _Wachet, betet, seid bereit allezeit._ Twentieth Sunday
after Trinity.
86 _Warlich ich sage euch._ Rogation Sunday.
14 _Wär’ Gott nicht mit uns diese Zeit._ Fourth Sunday after
Epiphany.
138 _Warum betrübst du dich mein Herz._ Fifteenth Sunday
after Trinity. Leipsic, 1737. Words by Hans Sachs.
94 _Was frag’ ich nach der Welt!_ Ninth Sunday after Trinity.
Chorale Cantata.
98 _Was Gott thut das ist wohlgethan._ Twenty-first Sunday
after Trinity.
99 _Was Gott thut, das ist wohlgethan._ Fifteenth Sunday
after Trinity.
100 _Was Gott thut, das ist wohlgethan._ For no special
season. Words by S. Rudigast.
111 _Was mein Gott will das g’sche all’ zeit._ Third Sunday
after Epiphany. Chorale Cantata.
89 _Was soll ich aus dir machen._ Twenty-second Sunday
after Trinity.
107 _Was willst du dich betrüben._ Seventh Sunday after
Trinity.
12 _Weinen, klagen, sorgen, zagen._ Third Sunday after Easter
(Jubilate). The opening chorus is on the same ground bass as the
“Crucifixus” of the B minor Mass.
37 _Wer da glaubet und getauft wird._ Ascension Day.
17 _Wer Dank opfert der preiset mich._ Fourteenth Sunday
after Trinity. Edition with English words, “Whoso offereth praise,”
Reiter-Biedermann.
59 _Wer mich liebet der wird mein._ Whitsunday.
74 _Wer mich liebet der wird mein._ Whitsunday. Solo Cantata
for soprano and bass.
93 _Wer nur den lieben Gott lässt walten._ Fifth Sunday
after Trinity.
47 _Wer sich selbst erhöht der soll._ Seventeenth Sunday
after Trinity.
27 _Wer weiss wie nahe mir mein Ende._ Sixteenth Sunday
after Trinity. English edition, “When will God recall my spirit,”
Novello.
54 _Widerstehe doch der Sünde._ For no special season.
Alto solo.
1 _Wie Schön leuchtet der Morgenstern._ Annunciation.
Chorale Cantata.
29 _Wir danken dir, Gott, wir danken dir._ Election of Town
Council at Leipsic, 1737.
146 _Wir müssen durch viel Trübsal._ Third Sunday after
Easter (Jubilate).
166 _Wo gehest du hin?_ Fourth Sunday after Easter (Cantate).
Solo Cantata for alto, tenor, bass.
178 _Wo Gott der Herr nicht bei uns hält._ Eighth Sunday
after Trinity. Chorale Cantata.
139 _Wohl dem der sich auf seinen Gott._ Twenty-third Sunday
after Trinity. Chorale Cantata, Leipsic, between 1737 and 1744.
5 _Wo soll ich fliehen hin._ Nineteenth Sunday after Trinity.
Chorale Cantata.
FUNERAL ODE
_Lass, Fürstin, lass noch einen Strahl._ Called “Weeping
Leipsic.” Written for the death of Princess Christiane Eberhardine,
wife of Augustus the Strong.
MOTETS
_Jesu meine Freude._ Five voices. English edition, “Jesu,
priceless treasure,” Novello. A hymn by Franck in six stanzas.
_Der Geist hilft unsrer Schwachheit auf._ Eight voices. Written
for the funeral of the Rector Heinrich Ernesti, 1729. The composer
added a figured bass for the organ. English edition, “The Spirit
also helpeth us,” Novello.
_Furchte dich nicht._ Eight voices. English edition, “Be not
afraid,” Novello.
_Komm Jesu, komm._ Eight voices.
_Lob und Ehre und Weisheit und Dank._ Eight voices. English
edition, “Blessing, Glory and Wisdom,” Novello.
_Singet dem Herrn ein neues Lied._ Psalm 149, eight voices.
English edition, “Sing ye to the Lord,” Novello.
_Ich lasse dich nicht._ Eight voices. This motet is by some
attributed to Joh. Christoph Bach. English edition, “I wrestle and
pray,” Novello.
A Latin motet for two choruses heard by J. L. Gerber at Christmas,
1767, is lost.
_Lobet den Herrn, alle Heiden._ Psalm 117. Four voices.
SECULAR CANTATAS
_Drama: Geschwinde, ihr wirbelnden Winde._ The contest between
Phœbus and Pan.
_Weichet nur, betrübte Schatten._ For soprano voice.
_Amore traditore._ For bass voice, accompanied by cembalo
only.
_Drama: Zerreisset, zerspringet, Zertrümmert die Gruft._ For
the name-day of Dr A. F. Muller. Leipsic, Aug. 3, 1725.
_Drama: Schleicht, spielende Wellen._ For the birthday of
Augustus III.
_Drama: Vereinigte Zwietracht der wechselnden Saiten._ For
a University celebration, Leipsic, 1726.
_Was mir behagt, ist nur die muntre Jagd._
_Non sa che sia dolore._ For soprano solo.
_O holder Tag, erwünschte Zeit._ Wedding Cantata for soprano
solo.
_Schweigt stille, plaudert nicht._ In praise of coffee.
_Mer hahn en neue Oberkeet._ Complimentary Cantata to Carl
Heinrich von Dieskau.
_Mit Gnaden bekröne der Himmel die Zeiten._
_O angenehme Melodei._ Soprano solo.
_Durchlauchster Leopold._ Serenade for two solo voices and
orchestra.
_Schwingt freudig euch empor._ For the birthday of a teacher.
_Die Freude reget sich._ For the birthday of Professor Rivinus.
_Drama: Lasst uns sorgen, lasst uns wachen._ Complimentary
Cantata to a Saxon Princess. The opening chorus from
Christmas oratorio.
_Tönet ihr Pauken! erschallet Trompeten!_ For the birthday
of the Queen of Saxony, December 1733. See p. 145.
_Drama: Preise dein Glücke._ For the anniversary of the election
of Augustus III. as King of Poland, 1734.
_Drama: Angenehmes Wiederau._ Persons represented--Fate,
Happiness, Time, and the river Elster. The opening chorus from
the cantata “Freue dich erlöste Schaar.”
_Drama: Auf schmetternde Töne der muntern Trompeten._ For
the name-day of King Augustus III.
WORKS KNOWN TO BE LOST
Three Passions. It is known that Bach wrote five Passions,
from information given by his son C. P. Emanuel, and his pupil
Agricola in Mizler’s Necrology.
A great funeral ode on the death of Prince Leopold of Cöthen.
Several Cantatas.
Catalogue of Instrumental Works
ORGAN
_The numbers refer to the volumes in Peters’ edition in which each work
will be found._
_Six sonatas for two manuals and pedal (240)._ These sonatas
and the passacaglia were written for his young son, W. Friedemann,
to practise on the pedal clavichord. Many of the trills, which are
necessary on this instrument, are intended to be omitted when the
pieces are played on the organ. According to tradition the date is
1723. The first movement of the sonata in D minor appears in 1722,
as the prelude in that key in Part I. of the Forty-eight.
_Passacaglia in C minor (240)._
_Trio for two manuals (243) and pedal in D minor._ This trio
is overladen with grace notes in the fashion of the day. The
performer is recommended by Griepenkerl to exercise his taste as
to which he retains or omits.
_Pastorale in F (240)._ In four movements. Mostly copied
singly. Forkel possessed a copy in which all four movements were
combined in a whole.
_Preludes and Fugues (241)._
_In C._
_In G._ The subject of the fugue is the same as that of the
opening chorus in the cantata, “Ich hatte viel Bekümmernis.”
_In A._
_Fantasia and Fugue in G minor (241)._ Composed at Cöthen,
probably as an act of homage to Reinken. In one copy the fantasia
is called “prelude.” In another copy the fugue is in F minor with
a remark, “The very best pedal-piece by Herr Joh. Seb. Bach.”
_Prelude and Fugue in C (241)._
_A minor._
_E minor._
_B minor._ The Peters’ edition is from the original MS. in the
possession of Sir Herbert Oakeley.
_Prelude and Fugue (242) E flat._ From the “Clavierübung.”
The fugue, like those of Buxtehude, is in three movements.
_Toccata and Fugue (242) in F._ The compass of the pedals in
this toccata shows that it must have been written for the organ in
the Lutheran Church at Cöthen. (See Glossary “Orgel-büchlein.”) In
the Bachgesellschaft edition the toccata is called fantasia.
_In D minor._ Called Dorian from the flat being omitted from
the signature. The toccata is called “prelude” in some copies.
_Preludes and Fugue (242) in D minor._ The prelude has no
pedal part. The fugue is arranged from the earlier violin solo fugue
in G minor (228).
_In G minor._
_Fantasia and Fugue (242) in C minor._
_Prelude and Fugue in C (242)._ This was originally in E major.
The fugue is in two portions, divided by nine bars of florid passages.
It was transposed to C for some of the old organs which had only two
octaves of pedals. In Kirnberger’s MS. it is called “Preludio con
Fantasia con Pedal.”
_Toccata and Fugue in C (242)._ The toccata is separated from
the fugue by a very beautiful aria, in which a melody is accompanied
by chords and staccato bass, the only instance of the kind in Bach’s
organ works. In one MS. the toccata is called “Preludium.”
_Prelude and double Fugue (242) in A minor._
_Prelude and Fugue (242) in E minor._
_Prelude and Fugue (243) in C major._
_In G._
_In D._ The prelude is in two movements. The work, which
is very brilliant, is inscribed “Concertata” as if intended more for
concert than church use. In one copy the work is called simply
“Pièce d’orgue, von Joh. Seb. Bach.”
_Toccata and Fugue in D minor (243)._
_Prelude and Fugue in C minor (243)._ In some MSS. this is
in D minor.
_Fugues (243) in C minor._ On a theme by Legrenzi. A second
subject appears in the course of the fugue, which after being worked
independently is finally united to the first in a double fugue.
_In G minor._
_In B minor._ The subject is by Corelli.
_In C minor._ Probably written for pedal clavichord. Composed
at Arnstadt.
_Canzona in D minor (243)._ In two movements. It was popular, and
many copies appear to have existed.
_Fantasias (243) in G._ In three movements of which the tempi are
indicated by Bach. “Très Vitement,” “Grave,” “Lentement.” From the
number of copies which exist this fantasia, also called “Pièce
d’orgue,” appears to have been very popular.
_In C minor._ In five voices. In some MSS. called “Prelude.”
_Prelude in A minor (243)._
_Fifty-six short Chorale-preludes (244)._
_Three sets of Chorale Variations called “Partite” (244)._
_Some Canonic Variations on the Christmas hymn “Vom Himmel hoch da
komm ich her” (244)._
_Seven Chorale-preludes (244)._
_Sixty-three “Larger and more artistic Chorale-preludes” (245 and
246)._
_Four Concertos for two manuals and pedal (247)._ Arranged
from the Violin Concertos of Vivaldi. The originals were, like
Handel’s “Concerti grossi,” for four violins, one or two violas,
violoncello, bass and continuo.
_Eight small Preludes and Fugues (247)._ For the instruction
of his son Friedemann.
_Allabreve pro organo pleno (247)._ Organo pleno means a
complete organ, as opposed to a positiv, or one manual instrument.
It has the same kind of sense as our expression “Full orchestra,”
and does not mean that the full force is to be employed the whole
time.
_Prelude in C (247)._ Without pedal.
_In G “pro organo pleno” (247)._
_Fantasia in C (247)._ Without pedal.
_Fugue in C (247)._ The pedal only enters in the last five bars,
and is used in Buxtehude’s manner, merely to complete the harmony.
_Prelude in G (247)._ Composed at Weimar.
_Fugue in G minor (247)._
_Fantasia and Fugue in A minor (2067)._ An early work, in
some MS. called “Preludio e Fuga per il cembalo,” so that it
was probably intended for the pedal clavichord.
_Fugue in G (2067)._
_Little Harmonic Labyrinth (2067)._ Consisting of three movements
called “Introitus,” “Centrum,” “Exitus.” Starting in the key of C,
it perpetually modulates, chiefly by enharmonic changes, and finishes
by a return to C.
_Fugue in G (2067)._
_Fugue in D (2067)._
_Concerto in G (2067)._ Called also “Fantasia.”
_Trio for two manuals and pedal in C minor (2067)._
_Aria in F for two manuals and pedal (2067)._
_Eleven Chorale-preludes (2067)._
ORCHESTRA
_Concerto in F (261)._ For violins, piccolo, three oboes, and two
corni di caccia, with accompaniment for two violins, viola,
violoncello and bass.
_Concerto in F (262)._ For violin, flute, oboe, and trumpet
concertante, with accompaniment for two violins, viola, violoncello
and bass.
_Concerto in G (263)._ For three violins, three violas, three
violoncellos and one bass. Rearranged as the introductory “symphony”
to the cantata “Ich liebe den Höchsten.”
_Concerto in G (264)._ For violin and two flutes concertante,
with accompaniment for two violins, viola, violoncello and bass.
_Concerto in D (265)._ For clavecin, flute and violin concertante,
with accompaniment for one violin, viola, violoncello and bass.
_Concerto in B flat (266)._ For two violas, two violas da gamba,
with accompaniment for violoncello and bass.
_Overture or Suite in C major (267)._ For two violins, viola,
two oboes, bassoon, violoncello and bass.
_Overture or Suite in B minor (268)._ For two violins, viola,
violoncello, flute and bass.
_Overture or Suite in D major (269)._ For two violins, viola,
bass kettle-drums, two oboes, and three trumpets.
Works for Cembalo, Clavichord, Spinet, &c.
_The Forty-eight Preludes and Fugues. Part I. (1 and 1a).
Part II. (2 and 1b)._ For clavichord. See p. 131.
_Sonatas (213) in A minor._ From a sonata for two violins,
viola da gamba and bass in Reinken’s “Hortus Musicus.”
_In C major._ Arranged from Reinken’s “Hortus Musicus.”
_In D minor._ Arranged from the sonata in A minor for violin
alone (228).
_Prelude and Fugue in E flat (214)._
_Fugue in B minor (214)._
_Suites in A minor (214)._
_In E flat._
_In G._
_Preludio con Fughetta in F (214)._
_In G._
_Prelude in G (214)._
_The adagio of violin solo sonata in C arranged for clavier (214)._
_Chromatic Fantasia and Fugue in D minor (207)._
_Prelude and Fugue in A minor (207)._ Composed at Cöthen.
_Toccata and Fugue in E minor (210)._ The toccata is in three
movements.
_Toccata and Fugue in F sharp minor (210)._ Allegro moderato,
lento, fugue (for three voices) allegro moderato fugue (for four
voices).
_Toccata and Fugue in C minor (210)._ The toccata is in two
movements--allegro moderato and adagio.
_Fantasia and Fugue in A minor (208)._
_Fantasia and Fughetta in B flat (212)._ These are written on
one stave, with figures for the harmony.
_In D._
_Capriccio sopra la lontananza del suo fratello dilettissimo
(208)._ See p. 28.
_Toccata and Fugue in D minor (210)._ The toccata contains
three movements--allegro moderato, allegro, adagio.
_Four Duets (208)._ For right and left hand.
_A Prelude with Fugue on the notes B, A, C, H (212)._ Apocryphal.
_Six Partitas in B flat, C minor, A minor, D, G, E minor
(205)._ From the Clavierübung, Part I.
_Concerto “in the Italian style” (207)._ From the Clavierübung,
Part II.
_Suite in B minor (208) or Partita._ From the Clavierübung,
Part II. The work is entitled “an overture after French taste,
for a clavicymbal with two manuals.”
_Air with thirty variations for harpsichord with two manuals
(209)._ From the Clavierübung. The theme is in the bass.
The work was composed for his clever pupil, J. T. Goldberg,
at the request of Baron Kayserling, who presented Bach with
a snuff-box containing one hundred louis d’or in return for it.
_Six little Preludes (200)._
_Little two-part Fugue in C minor (200)._
_Fifteen two-part Inventions (201)._
_Fifteen three-part Inventions; also called Symphonies (202)._
_Six little Suites called the French Suites (202)._ From Anna
Magdalena’s first book.
_Six large Suites called the English Suites (203)._
_Toccata and Fugue in G minor (211)._ The toccata is in three
movements.
_Prelude and Fugue in A minor (211)._
_Fantasia and Fugue in D (211)._ The fantasia is in five
movements.
_Prelude and Fughetta in D minor (200)._
_ „ „ E minor (200)._
_Prelude and Fugue in A minor (200)._
_Two Fantasias in C minor (207, 212)._
_Two Fugues in C (200)._
_Two Fugues in D minor (212)._
_Fugues in A major (212)._
_ „ E minor._
_ „ A minor._
_Twelve little Preludes or exercises for beginners (200)._ No. 3
is also intended for the lute. Some of these are found in the
“Clavierbüchlein für W. F. Bach.”
_Part of a Suite in F minor (212)._
_Unfinished Fugue in C minor (212)._
_Sixteen Concertos arranged from the Violin Concertos
of Vivaldi (217)._
_Art of Fugue (218)._ See p. 134.
_The Musical Offering (219)._ See p. 135.
_Fantasia in A minor (215)._
_Air varied in G minor (215)._
_Toccata in G (215)._ In three movements.
_Overture in F._ Consisting of “Overture,” “Entrée,” “Minuet,”
“Trio,” “Bourrée,” “Gigue,” all in the same key.
_Fantasia in G minor (215)._
_Capriccio in E (215)._ “In honour of J. C. Bach of
Ohrdruf.”
_Fantasia con imitazione in B minor (216)._ It is doubtful
whether this is intended for organ or pedal harpsichord.
_Sonata in D (216)._ Modelled on Kuhnau.
_Two Fugues in A (216)._
_Three Minuets (216)._
_Minuet in G minor (1959)._
_Adagio and Presto in D minor (1959)._
_Prelude in E flat (1959)._
_Fugue in B flat (1959)._ From a fugue by J. C. Erselius.
_Sixty-nine Chorale Melodies with figured bass._ Published in
1736.
_Of doubtful authenticity (1959)_:
_Sarabande with 16 Partite._
_Passacaille in D minor._
_Suite in B flat._
_Allemande_ }
_Courante_ } _in A._
_Gigue_ }
_Fantasia._ Through all keys. Attributed to J. D. Heinichen.
_Fantasia in G minor._ In five movements.
_Fantasia and Fugue in D minor._
_Fugue in G minor._
_Scherzo in D minor._
_Andante in G minor._
_Fugue in B flat._ An extension of a sonata movement in
Reinken’s “Hortus Musicus.”
_Fugues_--
_In C._
_„ E minor._
_„ G._
_„ D._
_„ (a) E minor._
_„ (b) E minor._
_Chaconnes_--
_In A._
_„ G._
Of works not already mentioned, the “Bachgesellschaft” publishes in
vol. xlii., Part II., the following apparently authentic compositions:--
_Prelude and Fugue in A minor._
_Concerto and Fugue in C minor._
_Prelude in B minor._
_Of more doubtful authenticity_:
_Fantasia in C minor._ Molto allegro.
_Toccata quasi fantasia con fuga, A major._
_Partie, A major._
_Allemande in C minor._
_Gigue, F minor._
_Allemande and Courante, A major._
_Allemande in A minor._
_Two Fantasias and Fughettas._
_An Unfinished Fugue in E minor._
KEYED INSTRUMENTS WITH ACCOMPANIMENT.
_Concerto in F (248)._ For clavecin and two flutes concertante,
with accompaniment for two violins, viola and bass.
_Concerto in G minor (249)._ For clavecin, with accompaniment
for two violins, viola, violoncello and bass.
_Concerto in F minor (250)._ For clavecin, with accompaniment
for two violins, viola and bass.
_Concerto in D major (251)._ For clavecin, with accompaniment
for two violins, viola and bass.
_Concerto in A major (252)._ For clavecin, with accompaniment
for two violins, viola, violoncello and bass.
_Concerto in E major (253)._ For clavecin, with accompaniment
for two violins, viola and bass.
_Concerto in D minor (254)._ For clavecin, with accompaniment
for two violins, viola and bass. The first allegro is arranged as
the introductory symphony of the Cantata, “Wir müssen durch viel
Trübsal.”
_Concerto in A minor (255)._ For clavecin, flute and violin, with
accompaniment for two violins, viola, violoncello and bass.
_Concerto in C (256)._ For two clavecins, with two violins,
viola and bass.
_Concerto in C minor (257)._ For two clavecins, with two
violins, viola and bass.
_Concerto in C minor (257b)._ For two clavecins, with two
violins, viola and bass. Arranged from the concerto for two violins.
_Concerto in D minor (258)._ For three clavecins, with two
violins, viola and bass.
_Concerto in C (259)._ For three clavecins, with two violins,
viola and bass.
_Concerto in A minor, after a concerto for four violins by Vivaldi
(260)._ For four clavecins, with accompaniment for two violins,
viola and bass.
FOR OTHER INSTRUMENTS.
_Concerto in A minor (229[86])._ For violin, with accompaniment
for two violins, viola and bass. Also arranged for clavecin and
strings in G minor.
_Concerto in E (230[87])._ For violin, with accompaniment for
two violins, viola and bass.
_Concerto (231[87]) in D minor_. For two principal violins, with
accompaniment for two violins, viola and bass. Also arranged for two
clavecins and strings in C minor (_257b_).
_Three Sonatas and three Suites for violin, without accompaniment
(228)._ Composed at Cöthen. The fugue of the sonata in G minor
is also arranged for organ in D minor. The sonata in A minor is also
arranged for clavecin alone in D minor (213), and the suite in E major
in the same key for clavecin. The prelude in E forms the obbligato
organ part of the opening chorus of the cantata “Wir danken dir.”
_Six Sonatas for (232 and 233) Violin and Figured Bass._
_Six Sonatas for Flute or Violin and Clavier (234 and 235)._
_Suite in A for Violin and Clavier (236)._
_Sonata in E minor for Violin and Clavier (236)._
_Fugue in G minor for Violin and Clavier (236)._
_Sonata in C for two Violins and Clavier (237)._
_Sonata in G for Flute, Violin and Clavier (237)._
_Trio for Flute, Violin and Clavier (237)._ From the “Musical
Offering”; the clavier part supplied from the figured bass by
Kirnberger.
_Six Sonatas or Suites for the Violoncello (238)._
_Three Sonatas for the Viola da Gamba and Clavier (239)._
_Clavierbuch of Anna Magdalena Bach, 1725._ Contains twenty
easy pieces, consisting of minuets, polonaises, rondos, marches,
and one song.
_Principles of Thorough-bass for his pupils._ Dated 1738, and
preserved by J. P. Kellner. It is divided into two parts for
beginners and advanced pupils. The author says, “The ultimate
end and aim of thorough-bass should only be the glory of God
and recreation of the mind. Where these are not kept in view
there can be no real music, only an infernal jingling and
bellowing.” The complete work is quoted as an appendix in
Spitta, vol. iii.
FOOTNOTES:
[86] Pianoforte score.
[87] Pianoforte score.
Bibliography
~Adlung~ (J. A.). Musica mechanica organœdi, 1768, (notes in).
~Bach~ (J. S.). Eine Biographie, mit Portrait. Cassel, 1855.
~Bachgesellschaft.~ The complete works of Bach in 60 volumes, with
important introductory notices; published by the Bach Society of
Leipsic. Breitkopf & Härtel, 1851 to 1898.
~Bitter~ (C. H.). Joh. Seb. Bach. Berlin, 1865: 2 vols.; and 1880: 4
vols.
~----~ Die Söhne Sebastian Bachs. 1883. In Waldersee’s Sammlung
musikalische Vorträge, vol. v.
~Brockhaus.~ Conversationslexicon. Leipsic, 1833.
~Bruyck~ (C. D. van). Technische und æsthetische Analysen des Wohlt.
Clav. 1867.
~Conrad~ (E. F.). Echt oder unecht? Zur Lucas-Passion. Berlin.
~David~ (E.). La vie et les œuvres de J. S. Bach. In “Bibliothèque
Contemporaine.” Paris, 1882.
~Ersch und Gruber.~ Allgemeine Encyclopædie. Part VII. Leipsic, 1821.
(Article by C. M. von Weber.)
~Fétis.~ Biographie Universelle des Musiciens. 2nd edition. 1889.
~Forkel~ (J. N.). Über Johann Sebastian Bachs Leben. Kunst und
Kunstwerke. Leipzig, 1802.
~----~ An English translation of the above appeared in 1820, and a
French edition, with notes by F. Grenier, was published at Paris in
1876.
~Franz~ (R.). Über J. S. Bachs Magnificat. 1863.
~----~ Ueber Bearbeitungen älterer Tonwerke, namentlich Bach’scher und
Händel’scher Vocal-musik. 1871.
~Frommel~ (G.). Händel und Bach. 1878.
~Fuchs~ (H.). Le Bicentenaire de Bach. La Passion selon Saint Matthieu
a Bâle. 1885.
~Gerber~ (E. L.). Lexicon der Tonkünstler. Leipsic, 1790.
~----~ Lexicon der Tonkünstler. Leipsic, 1812.
~Grosser~ (P. E.). Lebensbeschreibung. Nebst einer Sammlung
interessante Anekdoten. Breslau, 1834.
~Hauptmann~ (M.). Erlauterungen zu J. S. Bach’s Kunst der Fuge. 1841.
~Hilgenfeldt~ (C. L.). Leben Wirken und Werke.
~Hiller~ (J. A.). Lebensbeschreibungen berühmter Musikgelehrten und
Tonkünstler. Part I. 1784.
~Hirschung.~ Historisch-literarisches Handbuch berühmter Personen. Vol.
i. 1794.
~His~ (W.). Johann Seb. Bach: Forschungen über dessen Grabstätte. 1895.
~Iliffe~ (F.). The Forty-eight Preludes and Fugues of J. S. Bach,
analysed 1897.
~Johnston~ (H. F. H.). Passion Music. 1858.
~Junghaus~ (W.). J. S. B. als Schüler der Partikularschule in Lüneburg.
~Kuhnau~ (J. C. W.). Die blinden Tonkünstler. 1810.
~Ludwig~ (C. A). J. S. B. in seiner Bedeutung für Cantoren.
~Mangold~ (C. A.). Bach’s Passion, Ein Beitrag zur Characteristik der
Bachschen Compositionsweise. 1860.
~Mendel.~ Musikalisches Conversations Lexicon. 2nd edition, 1881.
Berlin.
~Meyer~ (Dr P.). Joh. Seb. Bach. Vortrag in “Oeffentliche Vorträge
gehalten in der Schweiz.” 1871.
~Minerva.~ Zur Erinnerungsfeier an J. S. Bach’s Todestag. Jena, 1850.
~Mizler~ (L. C.). Musikalische Bibliothek, vol. iv., Part I., pp.
158-176. Leipsic, 1754. An article compiled by P. Emanuel Bach and J.
F. Agricola.
~Mosewius~ (J. T.). J. S. B. in seinen Kirchen-Cantaten und
Choralgesangen. 1845.
~----~ J. S. B.’s Matthäus-Passion Musikalisch-æsthetisch dargestellt.
1852.
~Oordt~ (A. M. van). Een Kort Woord over Bach. 1873.
~Polko~ (E.). Unsere Musikklassiker.
~Poole~ (R. L.). Life of Bach, in Hueffer’s “The Great Musicians.” 1881.
~Reissmann~ (A.). Leben Johann Sebastian Bach’s.
~Riemann~ (H.). Analysis of J. S. Bach’s Wohltemperirtes Clavier. 1893.
~Rochlitz~ (A. F.). Allg. Musik Zeitung, 1831, (article in).
~Schaeffer.~ J. Seb. Bach’s Cantata, “Sie werden aus Saba alle kommen”
in den Ausgaben von R. Franz und den leipziger Bach-Verein Kritisch
beleuchtet. 1877.
~Schauer~ (Dr J. K.). Lebensbild. Jena, 1850.
~Schick~ (M.). J. S. B. Lebensbild.
~Schiffner~ (A.). Sebastian Bach’s Nachkommenschaft. 1840.
~Schilling~ (Dr G.). Universallexicon der Tonkünst. Stuttgart, 1835.
(Article by A. B. Marx.)
~Shuttleworth~ (Miss Kay). “Life of Bach.”
~Siebigke.~ Museum berühmter Tonkünstler. 1801.
~Spitta~ (P.). John Sebastian Bach. 2 vols. 1873-80.
~----~ The above, translated by Clara Bell and J. A. Fuller Maitland.
Novello, London, 1884. 2nd edition, 1899.
~----~ Die Passions-Musiken von Seb. Bach, 1893, in “Sammlung
gemeinverstandlicher wissenschaftlicher Vorträge.” Serie 8, Heft 176.
~----~ Ueber die Beziehungen S. Bach’s zu C. F. Hunold und Mariane von
Ziegler, in Curtius E. Historische und Philologische Aufsätze. 1884.
Berlin.
~Taylor~ (Sedley). The Life of J. S. B. in relation to his work as a
Church Musician and Composer. 1897.
~Todt~ (B.). Vademecum durch die Bachschen Cantaten. 1895.
~Tudor~ (H.). Das Heroentum in der Deutschen Musik. An essay on the
music of Bach, Beethoven and Wagner. 1891.
~Walther~ (J. G.). Musikalisches Lexicon. 1732. Contains a short
article on J. S. Bach.
~Westphal~ (R.). Allgemeine Theorie der Musikalischen Rhythmik. Mit
besonderer Berücksichtigung von Bach’s Fugen, &c. 1880.
~Winterfeld~ (C. von). Der evangelische Kirchengesang. Leipsic, 1847.
[Illustration: The performance of a Church Cantata
From Walther’s Lexicon, Leipsic, 1732]
Glossary
~Ahle~, Joh. Rudolph, was born 1625, and, after holding a post at
Erfurt, became organist and burgomaster of his native town Mühlhausen.
His chorale tunes are still popular in Thuringia. On his death in 1673
he was succeeded by his son Joh. Georg, who was a member of the Town
Council, and poet laureate to the Emperor Leopold I.
~Böhm~, Georg. Is described by Walther as a fine composer and
organist of St John at Lüneburg. Bach modelled some of his early
chorale-preludes, notably “Wir glauben all’ an einen Gott” on Böhm’s
style.
~Brust-positiv.~ The name given to the choir manual when its pipes
stand in front of the rest of the organ, as in many of the old English
cathedral organs.
~Buxtehude~, Dietrich, 1637-1707, organist at the Marien-Kirche at
Lübeck. His organ fugues, toccatas, &c., are of great importance as
having furnished Bach with his earliest models. The fugues are usually
in three portions, as in Bach’s great E flat fugue (Peters, 242). Many
of his organ works have been published by Spitta.
~Caldara~, Antonius. Born at Venice 1678, a pupil of Legrenzi and
Fux, and the writer of many operas, and much church music. He was
successively Capellmeister at St Mark’s, the Court of Mantua, and
to Charles VI. at Vienna. He was a clever imitator, but had little
inventive genius. On coming to Germany, his style improved in vigour.
Bach admired him sufficiently to copy his Magnificat in C.
~Cantor~, Choirmaster. The office is rarely held by the organist as in
England, since the cantor has to conduct the “Hauptmusik” with a baton
while the organist plays.
~Cembalo~, or clavicymbal, or clavessin, or clavecin, for which Bach
wrote his clavier works, was in shape like the modern grand piano, but
its interior construction was something after the model of the organ.
It had, in common with the organ, the defect of being unable to produce
piano or forte by the touch alone, this being done by stops. A complete
cembalo had the compass of [F on fourth ledger line below bass clef]
to [G on fourth ledger line above treble clef] and two manuals. Each
note had four strings producing 4, 8, and 16 ft. tone, two being of 8
ft. The strings were sounded by plectra made of quill, called jacks.
The instruments were sometimes also provided with organ pedals. It will
be seen at once that a piece played on 16, 8 and 4 ft. stops would
sound far fuller than when played on the modern piano with only unison
strings.
The cembalo was used to play the basso continuo in all concerted music
outside the church; and even in a concerto for clavier, a second
cembalo appears to have accompanied. The lute or regal, however,
sometimes took its place, for convenience of porterage.
Transposing clavicymbals, and clavicymbals with keyboards at both ends
were in use. The tuning was very troublesome, and had to be done before
each performance. Other names were Gravecymbalum, Flügel, Schweinskopf,
Steertstück. The claviorganum was a combination of clavicymbal and
positive.
~Choral~ is the German name for the Plainsong of the Roman Church.
After the Reformation the name Choral (English “Chorale”) was given to
the hymns which were either translated from the Latin, or originally
written in the fourteenth century by Johannes of Salzburg, Muscatblüet,
Hans Foltz, Michel Beheim, Johannes Gosseler, Jörg Breining, and
Heinrich von Laufenberg, and which took a firm hold on the German
people through the efforts of Martin Luther, Michael Vehe, W. Heintz,
Joh. Hofmann, and others. The peculiar variety to be observed in the
metrical construction of the German Chorale is directly traceable
to the influence of the Volkslied, for Luther himself wrote sacred
words for secular melodies. Other names connected with the chorale
are Valentin Triller, Veit Heefen, Count Albrecht the younger of
Brandenburg, Culmbach, Speratus, Spengler, Hans Sachs, Schensing,
Decius Graumann, Joh. Walter, a friend and fellow-worker of Luther, L.
Senfl, von Bruck and Fink. Later poets were Nic. Hermann, P. Nicolai,
Calvisius Hassler, &c., H. and J. Prætorius, Neumark, Flemming,
Teschner, Gerhard and Crüger. The music of the chorale was brought to
perfection by J. S. Bach.
~Chorale-Cantatas~, those in which a complete hymn is carried out,
each verse forming as a rule a separate movement, whether for chorus
or solo voices, though occasionally a verse is omitted in the longer
hymns. Sometimes recitatives break the course of the chorale melody,
or the melody is played by the instruments and accompanied by vocal
recitative. The chorales chosen are always well-known ones, and among
the finest of the sixteenth and seventeenth centuries.
~Church~ Music. The services at Leipsic were regulated by an act passed
in 1540 by Duke Heinrich applying to all Saxony. A morning service
called matins was celebrated at St Nicholas every Sunday at 5.30 A.M.,
in which the Venite, Psalms, Te Deum and Benedicamus Domino were sung
by the choir, and directed by the St Nicholas cantor.
Morning service took place at 7 at both St Thomas and St Nicholas;
a Latin motet was sung, followed by the Kyrie, Gloria in excelsis,
Collect in Latin, and at St Thomas a Litany was sung by four boys and
the choir alternately. The Gospel and Epistle and Creed were intoned
by the priest, and on certain days the Nicene Creed was sung in Latin
by the choir. The “Hauptmusik” (the cantata) followed the intoning or
singing of the Creed in Latin, and after it was finished the Creed was
sung by the congregation in German. This was followed by a sermon of
an hour’s duration. The service concluded with the general confession,
the Lord’s Prayer and blessing. Chorales were sung by the congregation
during the course of the service.
At the mid-day service there were only a sermon and two congregational
hymns without the choir. It began at a quarter to twelve. At vespers,
the choir sang a motet, and the Magnificat in German, besides leading
the congregation in some hymns. At Christmas, Easter and Whitsuntide,
similar services were performed for three consecutive days, matins
beginning at five instead of half-past to allow more time for the
festival services.
~Cithara~, Cither, a favourite instrument in the sixteenth century
of the guitar family, bearing 4, 5 or 6, or even 12 metal strings.
Prætorius condemns the four-stringed cithara as being “a vulgar
instrument only used by cobblers and tailors.” In England it was kept
at barbers’ shops for the amusement of customers waiting their turn.
~Clarino.~ Lichtenthal C. Dizionario della Musica, Milan, 1826, says
“the clarino is, according to some, a species of small trumpet, of
which the tube is narrower than that of the ordinary trumpet, and which
gives a more acute sound; but Northerners hold that the word means the
ordinary trumpet.” The word frequently occurs in Bach’s scores.
~Clavichord.~ A key-board instrument having brass strings which were
neither plucked with a quill as in the harpsichord, nor struck with a
hammer as in the pianoforte, but made to sound by a brass blade called
a tangent, which pressed against the string as long as the key was held
down. Although its tone had little power, the effects of crescendo,
diminuendo, and vibrato, called in Germany “Bebung,” were entirely
under the player’s control, and on this account it was a favourite
instrument with Bach. The clavichord was sometimes provided with pedals
for the use of organ students.
~Clavicymbal.~ See Cembalo.
~Clavier~, literally Keyboard. The German name for all keyboard
instruments, such as the clavichord, harpsichord, spinet, instrument,
&c. The term is also applied to both the manuals and pedals of the
organ.
~Clavierbüchlein~, little clavier book for Bach’s son W. Friedemann,
when nine years old, in 1720. A diagram shows the keys and principal
ornaments, and one of the pieces is figured and called “Applicatio,
in nomine Jesu.” Some of the pieces are composed by the boy himself.
Eleven of the preludes of the Wohltemperirte clavier first appeared in
this book; some of the pieces are by other composers as J. C. Richter
and G. H. Stölzel of Gotha, and there are many of Bach’s own fugues.
~Clavierbüchlein~, vor Anna Magdalena Bach in 1720 and 1725. See p. 57.
~Clavierübung~, clavier practice. A work in four parts, consisting
of preludes, allemands, the Italian concerto, the French overture,
choralvorspiele, &c., intended, as the name implies, for educational
purposes. The work includes the well-known prelude and fugue for organ
in E flat, Peters 242, and the air in G with thirty variations written
for Goldberg.
~College~ of Instrumental Musicians of Upper and Lower Saxony. The full
text is given by Spitta, vol. i. p. 145, _et seq._ The statutes enacted
that no member was to settle in any town where another member was
already settled; no member was to take lower fees than his predecessor;
no member was to boast that he played on a superior instrument to
others; offices were only to be obtained by proper examination; no
member was to sing immoral songs; every member must conduct himself
with propriety in social “attendances,” and to see that his assistants
did the same; no member was to bring his art to disrepute by playing on
bagpipes, hurdy-gurdies, triangles, &c.
No bad language was to be allowed, and all low company to be
avoided; apprentices must, before binding, produce credentials of
respectability, and must serve for five years with industry and
constant prayer. After an apprentice has served his five years he is
to serve another three as an “assistant,” except when he marries his
master’s daughter, in which case he shall only serve one year as
assistant. In case of dissension arising, the matter must be brought
before six master-musicians, who shall decide it. No man is to seek
to oust an old master; but if a man becomes too old to do his work,
an assistant shall be appointed who shall receive half the salary.
Every master is to see that his assistants are properly paid for
services rendered. In order that the art of music may not be brought
into contempt by inadequate performance, no man shall be allowed to
keep more than three apprentices at one time (for this would compel
him to employ properly qualified assistants to carry out concerted
music). A master neglecting to teach his apprentices could be punished;
and an apprentice running away could never become a member of the
college. However great the number of members, no man was to be refused
membership who was found, after due trial, to be properly qualified.
Questions of evil morals arising among members were to be decided by a
board of elders.
~Concertmeister~, the leader of an orchestra who ranks immediately
after the conductor. In early times he was also the conductor of purely
instrumental music, while the capellmeister conducted whenever voices
were employed. The title is also bestowed as a mark of respect on
musicians of eminence who are not connected with an orchestra.
~Concerto.~ A term applied to both vocal and instrumental concerted
music. Several of Bach’s Cantatas are thus named; thus “Ein Herz das
seinen Jesum lebend weiss” is entitled “Concerto à quattro voci,
2 oboi, 2 violini, viola e continuo di J. S. Bach.” Concertos for
instruments were in several movements, but usually three. There
was sometimes a single solo instrument, but more frequently there
were several. The fine concerto in G in two movements is for three
violins, three violas, three violoncellos and bass without a solo
instrument. The concertos of Handel and Vivaldi, &c., are orchestral
compositions in several movements with or without wind instruments.
The Italian Concerto is a piece in three movements for clavecin without
accompaniment.
~Consistory.~ The authorities of an important church, somewhat
analogous to the Dean and Chapter of an English cathedral.
~Continuo~ = Basso Continuo, the bass of a composition for voices
or instruments or both. It was always the lowest part, and was
usually provided with figures, that the accompanist might be able
to fill in the harmonies and keep the body of performers together.
It was performed on the organ, or cembalo or regal, according to
circumstances. The continuo of most of Bach’s cantatas was written out
in two keys, to suit the two pitches in use, “Chorton” being a tone
higher than “Kammerton.” All chamber music required the accompaniment
of a cembalo in figured bass; and even if there were one or more
“Cembali” obbligati a separate instrument would be employed for the
continuo. In all Bach’s church compositions in which there is an organ
obbligato part, there is another organ part for the continuo. The
conductor stood near the organist, as may be seen in the frontispiece
to Walther’s Lexicon.
~Cornet~, Cornetto, Zink, consisted of a curved wooden tube covered
with leather and having holes for the fingers with a cup mouthpiece
like a trumpet. Two cornets hang on the wall near the organ in
Walther’s illustration.
~Drese~, Johann Samuel, 1654-1716, was organist of the Court at Jena,
and afterwards Capellmeister at Weimar. He composed sonatas for the
clavier, motets and operas.
~Estomihi.~ Quinquagesima Sunday.
~Figural~ Music. Florid music, or all church music that is not
Plainsong, or its Lutheran equivalent the chorale-melody.
~Florilegium~ Portense, a work containing 115 “cantiones selectissimas”
of from four to eight voices, with figured bass for organ. A second
part contained 150 “concentus selectissimas” of from five to ten
parts. Published 1603 and 1621 by Bodenschatz, Cantor of Schulpforta,
and Pastor at Rehausen. A complete catalogue is given in Groves’
Dictionary, vol. i. p. 253.
~French~ Overture. A form of opera overture consisting of a slow
introduction, followed by a fugue or fugato, and concluding with a slow
movement. This form was applied to the clavier by Bach in the “Overture
in the French style” (E. P. 208) of the B minor Suite or Partita.
~Fux~, Joh. Joseph, born in Styria, 1660, organist, Court composer, and
Capellmeister at Vienna. A prolific composer of church music and opera,
but he is best known by his theoretical works, amongst which is his
Latin “Gradus ad Parnassum,” a treatise on composition, which has been
through many editions.
~Görner~, J. Gottlieb, was appointed organist of the Nicolai Church at
Leipsic in 1721 and was also head of a “Collegium Musicum” or musical
society. In 1729 he succeeded Gräbner as organist of St Thomas. He
was a mediocre musician, but put himself in rivalry with Bach, and is
reported by Scheibe to have “by his rudeness asserted his pre-eminence
among a large number of his equals.” He gave Bach a good deal of
trouble by assuming the position and emoluments of director of music
to the University; but they appear to have worked amicably together
afterwards, and Bach, by will, appointed him guardian of his children,
an office which he appears to have satisfactorily fulfilled.
~Hammerschmidt~, Andreas, born in Bohemia, 1611, organist of Freiberg,
afterwards at Zittau. According to Gerber, one of the greatest of
German contrapuntists. Walther gives a list of his compositions, which
are mostly for the church. His “Musical discourses on the Gospel” were
an important step in the development of oratorio.
~Hunold~, Christian Friedrich. A poet, known as Menantes, who wrote
poems for the Hamburg Theatre 1700 to 1706; became a professor at
Halle, and was much at the Cöthen Court, where he wrote texts for
Bach’s cantatas.
~Instrument.~ A name given to a keyed instrument of which the strings
went from side to side as in the obsolete square pianoforte, the
key-board being in the middle.
~Inventions.~ The fifteen Inventions and Symphonies were entitled by
Bach “A genuine introduction whereby a clear method is shown to lovers
of the clavier, and especially to those who are eager to learn, not
only (1) of playing in two voices clearly, but also, on making further
progress, (2) of playing three obbligato parts properly and well; so
that they at the same time will learn to make good inventions and play
them themselves, and will also learn what is most important, the art
of cantabile playing; and will acquire a good taste in composition.
Prepared by J. S. Bach, 1723.”
~Keiser~, Reinhard, was for forty years the celebrated composer and
conductor of operas at Hamburg. He had as colleagues Telemann and
Matheson. He wrote 116 operas, and produced many by other composers,
particularly Handel’s Rinaldo. Born near Leipsic, 1673, died 1739.
~Kuhnau~, Johann, 1667-1722, Bach’s predecessor as cantor at the
Thomas-schule, was a prolific writer on musical subjects. Amongst his
compositions are six Bible sonatas, representing scenes from Scripture
on the cembalo. He was the first to write chamber sonatas for the
clavier instead of for several instruments. He was also learned in
languages, mathematics, and law. He wrote passions, cantatas, &c., but
his style seems to have soon become antiquated, and his works could not
hold their own against the opera and the younger school.
~Lituus.~ The cantata No. 118, “O Jesu Christ mein’s Leben’s Licht,”
is scored for two litui, cornet and three trombones. There are no
string or organ parts, and the work is evidently intended for the open
air, perhaps for a funeral. There is no reason given for calling the
trumpets by their Latin name in this instance.
~Lute.~ This instrument appears in the score of the St John’s Passion.
It was sometimes used instead of a clavecin to accompany concerted
music.
~Lute-Harpsichord.~ A keyed instrument with gut strings made after
Bach’s design by Zacharias Hildebrand, an organ builder. See p. 157.
~Matheson~, 1681-1764, wrote 89 volumes chiefly on musical subjects,
besides being a composer. He was a classical scholar, a student of
modern languages, law, and political science, a good musician, dancer,
and fencer. He appeared on the Hamburg stage as a singer, composed
and conducted operas there, became a great friend of Handel, was
made secretary of the English Legation, and cantor and canon of the
Cathedral. By his writings he materially helped forward the development
of the church cantata.
~Mizler~, von Kolof, Doctor of Philosophy and historian, born 1711 at
Wurtemberg, was a good amateur musician. In 1731 he went to Leipsic to
study divinity and afterwards philosophy and music. Here he founded
a “Society for Musical Science,” and became on friendly terms with
Bach, who seems to have given him some lessons. He wrote various
works dealing with the philosophy of music; and his chief importance
in connection with Bach was his “Necrology” in which he gives
valuable information concerning him. The work is in several numbers;
unfortunately that portion of it which deals with Bach is not in the
British Museum Library.
~Motet.~ The character and scope of the German motet are thus described
by Spitta, vol. i. p. 54. “It is in several parts; it admits of no
obbligato instruments, and its subjects are set to a text of the Bible,
or to a verse of a hymn. The period of its fullest bloom was about
1600, when music was essentially polyphonic, vocal, and sacred.” Under
the influence of harmony it gradually changed its form, introducing
solo voices and instruments, especially the organ.
~Oboe~ da Caccia. Hunting oboe, bent like a knee, and differing but
slightly from the modern Cor Anglais, or English horn. It occurs very
frequently in Bach’s scores. It is described in Grove’s Dictionary as a
bassoon raised a fourth, carrying the bass tone of the latter upwards
rather than lowering the treble tone of the oboe a fifth. It is also
called by Bach, Taille de basson, or tenor of the bassoon.
~Oberwerk.~ The Great organ.
~Oberpositiv.~ A choir organ of which the wind-chest is placed above
the others.
~Orgel-büchlein~, “Little organ-book.” The first collection was made,
according to Bach himself, at Cöthen between 1717 and 1723. The second
collection, consisting of six chorales, was published and sold by
Bach and his sons at Leipsic, Halle, and Berlin. The third collection
was continued till his death and was not published. The last portion
was dictated during his blindness to his son-in-law Altnikol. The two
unpublished parts were written on two staves only. The pedal compass
in the chorales extends to high F and F♯. These notes were found on the
organ of the Lutheran Church at Cöthen only. This organ is described by
Hartmann in 1803 as “an uncommonly powerful and excellent instrument.”
It had 8 stops on the pedals, 10 on the great, 10 on the choir. It is
now reduced in size and ruined in order to obtain more room in the
church.
~Partita.~ A name given to sets of variations for organ or cembalo, and
appropriated from the town pipers.
~Pachelbel~, Johann, 1653-1706, born at Nüremberg, was assistant
organist at the Church of St Stephen in Vienna, whence he moved to
Eisenach as Court organist in 1677. From Eisenach he went to Erfurt
and to Gehren. In 1690 he became Court organist at Stuttgart; and
after a stay of three years at Gotha he became organist of a church at
Nüremberg till his death. He taught W. Friedemann Bach, and Bernhard,
son of Ægidius. According to Gerber, he improved church music, used
the overture form on the clavier, and continued the good work which
Froberger had begun in respect of clavier composition. Bach used his
chorales as models during the Arnstadt period.
~Picander.~ A poet of considerable reputation in his time named
Christian Friedrich Henrici. Born 1700 at Stolpen. Went to the
University at Leipsic, 1720. Became a lawyer, but was afterwards able
to live by his poetical compositions, though he obtained important
posts in Leipsic. Died 1764. He wrote the text for many of Bach’s
compositions.
~Positiv.~ The name given to that portion of an organ and its manual
which corresponds to our choir organ. In a three manual organ there
are usually two choir manuals. The swell shutters, if any, are only
applied to a few stops, used generally on a fourth or “echo” manual.
Properly speaking the positive, called in Italian organs, piccolo,
had its foundation pipes pitched an octave higher than those of the
ordinary organ. Its diapason would therefore be a four-feet register.
~Regal.~ Sometimes used to accompany secular cantatas instead of the
clavecin. It was also used for choir practices. In 1709 Kuhnau in a
Memorial to the Council says, “A new regal is needed, the old one being
constantly in need of repair.” An inventory of the instruments at the
Thomas-schule between 1723 and 1750 mentions, “1 Regal, old and quite
done for”; “1 ditto bought 1696.”
The regal was a small reed instrument of the harmonium class, but with
small pipes to enhance the sound of the reeds. It could easily be
carried about, and was placed on a table when played. It could be made
so small as to take the size and shape of a large book, hence sometimes
called Book or Bible-regal.
~Schubart~, Christian F. Daniel. Born 1739. Master of Philosophy,
Theatre director, Court poet of Stuttgart, a good amateur musician.
Was a good organist and held various posts. In 1777 to 1787 he was
imprisoned in a castle on account of some views expressed in his
political paper “Deutsche Chronik.” Burney, who met him, remarks on his
great facility as a clavier player. He published several compositions
and works on music.
~Schütz~, Heinrich. 1585-1672. Brought opera from Italy to Germany and
also composed Passions. He was considered the best German composer of
his century. He wrote music to the Passions of Matthew, Luke and John
for the Court of Dresden, where he was Capellmeister. These are the
greatest works of the kind next to those of Bach. His compositions are
in the old church tones, but strongly influenced by the coming tonality
of modern music.
~Solo~ Cantatas. Those written for one or more solo voices without a
chorus. They sometimes conclude with the chorale in four parts.
~Spinet.~ Is defined by Hipkins (“The Pianoforte,” p. 121) as “a
Jack keyboard instrument with one string to a note,” as opposed to
the cembalo, harpsichord, &c., which had several strings to a note.
Adlung says the spinet was of limited compass, its lowest octave being
“short” and it was tuned a fifth above chorus pitch. It was sometimes
triangular in shape and could be placed on a table; its strings ran
from right to left of the performer, as in the “Instrument.”
~Rück-positiv.~ The name given to the choir manual when its pipes stand
behind the rest of the organ.
~Telemann~, G. Philipp. 1681-1767. A poet and musician who composed
no less than 600 overtures, 12 complete year courses of cantatas, 44
passions, 32 compositions for the instalment of preachers, 32 so-called
oratorios, 20 coronation pieces, 40 operas, and a mass of other music.
Besides all this he is described by Walther as the “greatest Polygraph
that Germany can show,” having written a number of books on music,
besides a quantity of bad poetry. He was successively organist and
director of the New Church at Leipsic (during which time he mastered
the English, Italian and French languages), Capellmeister in Sorau,
Concertmeister in Eisenach, Kapellmeister at Frankfort-on-the-Maine,
Music Director at Hamburg, where he formed one of the trio of
musicians, Keiser and Matheson being the others. He was on very
friendly terms with Bach and Handel. He was a candidate for the post of
Cantor at St Thomas, having during his previous residence in Leipsic
(1701-4) founded a flourishing “Collegium Musicum” among the students.
He had a great reputation throughout Germany. Bach copied some of his
music, and the influence of Telemann, at that time very popular, is
seen in Bach’s cantata “Herr Gott dich loben wir.”
~Theorbo.~ A lute with an extra neck bearing the bass strings.
~Tromba~ da tirarsi. A slide trumpet, the soprano of the trombone.
Often used in Bach’s scores.
~Viola~ d’amore. A tenor viol of a specially agreeable and silvery tone
(Walther). It sometimes had sympathetic strings, though these were not
a necessary adjunct.
~Viola~ da gamba. Leg viol, the bass of the viol family, held between
the knees, like the violoncello, when played. It had six strings, the
lowest of which was the D below the bass stave, and its finger-board
was fretted. Its tone (like that of all the viol class) was weak
compared to the violoncello.
~Viola~ pomposa, an instrument invented by Bach. See p. 157.
~Violetta.~ This instrument occurs in the cantata “Herr Gott dich loben
wir” as an alternative of the “oboe di caccia.” It is described by
Walther as a fiddle (Geige) playing an inner part, constructed like a
viola, or small viola da gamba.
~Violino~ piccolo. A small violin whose lowest string was a fourth
higher than that of the violin. Its tuning was therefore C, G, D, A, an
octave above the viola. It frequently occurs in Bach’s scores.
~Violoncello~ piccolo, with five strings. This instrument occurs in the
score of a tenor aria in cantata No. 41, “Jesu nur sei gepreiset.” The
additional string was tuned to E, and enabled the performer to execute
the very florid high passages which Bach writes.
~Ziegler~, Christiane Mariane von, who wrote words for some of the
cantatas was born in 1695 at Leipsic. Began to publish poems when she
was fifteen. Left a widow in 1722, she devoted herself to writing
poetry and the practice of the keyboard instruments and lute, and
flute, and was held in honour by the most artistic society of her time.
Spitta gives an account of her life in Curtius’ Historische Aufsätze,
1884. See p. 197.
Index
Abel, Chr. F., 50
„ Karl Friedrich, _id._
Accompanying, his method of, 103, 104
Ahle, Johann Georg, 33
Altnikol, Johann C., 170
Anhalt-Cöthen, appointed capellmeister to Prince Leopold of, 48
Arnstadt, appointed organist at, 25;
details of organ at, 26, 27;
troubles with Consistory of, 29-33
“Art of Fugue,” 134, 135
“Bach Choir,” 143
Bach as “Familien-Vater,” 170
Bach Family, 3-18
Bach Gesellschaft, 148
Bach, Maria Barbara, his cousin, 33;
marries her, _id._;
her death, 51
Bach Society, English, 142
Bachs of Thuringia, the, 1, 2
Bibliography, 202-204
Birnbaum, his reply to Scheibe’s attack on Bach, 85
Birth, his, 21
Blindness, his, 88
Böhm, becomes a pupil of, 23
Books and instruments, his, 80, 81
Börner, 25
Burial, his place of, 89
Buxtehude, visit to, 28
Cantatas and the chorale, 91
Carlsbad, visit to, 51
Cassel, visit to, 44
_Catalogue of Instrumental Works_, 191-195
Orchestra, 194, 195
Organ, 191-194
_Catalogue of Vocal Works_, 177-190
Church Cantatas, 177-188
Funeral Ode, 188
Lost Works, 190
Motets, 188
Secular Cantatas, 189
_Cembalo, Clavichord, Spinet, &c., Works for_, 196-201
Keyed instruments with accompaniment, 200
Other instruments, 200, 201
Children, his, 57
Choirmaster, as, 171
Christmas Oratorio, the, 144
Clavichord, his favourite instrument, 78
“Clavier, the Wohltemperirte,” 131
Cöthen, appointed capellmeister at, 48;
leaves, 56
Death, his, 89;
notice of in the _Leipsic Chronicle_, _id._
Death of his Father, 21
Death of his first wife, 51
Dresden, competition with Marchand at, 46, 47;
journey to, 46;
plays organ at, 84
Drese, Samuel, 48
Early studies, 22
Easter oratorio, 145
Effler, Johann, 25
Eilmar, G. C., 38
English Bach Society, 142
Erdmann, G., 46
Ernesti, Johann August, 81;
troubles with, 82, 83
Eyesight, failing, 88;
he becomes blind, _id._
“Familien-Vater,” Bach as, 170
Fasch, 65
Father, death of his, 21
Figured bass, his method of playing from, 165
Final illness and death, 89;
notice in the _Leipsic Chronicle_, _id._
Fingering, and use of keyed and stringed instruments, 152-155
Flemming, Field Marshal von, 47
Forkel, 39, 78, 170;
anecdote of Bach, 41
Frederick the Great, visit to, 86, 87
Frohne, J. A., 38
“Fugue, Art of,” 134, 135
Gesner, 81
Glossary, 205-218
Görner, 78;
throws his wig at, _id._
Grace notes (Manieren), 149-151
Graupner, 65
Halle, visit to, 43, 45
Hamburg, competes for organistship at, 52;
journey to, _id._
Hamburg and Celle, visits to, 24
Handel, his efforts to meet, 55, 56
Harrer, Gottlob, 86, 90
Hausmann, his portrait of Bach, 85
Heitmann, J. Joachim, 53
Herrings’ heads, story of the, 24
Hildebrand, Zacharias, 157
Hilgenfeldt, 39, 172
Home life at Leipsic, 77
Hurlebusch, anecdote of, 79;
visit from, 79, 80
Kauffmann, G. F., 65
Kirchoff, G., 46
Koch, Johann Sebastian, 36
Krebs, Johann Ludwig, 49;
Johann T., _id._
Kuhnau, 44
Lämmerhirt, Tobias, 36
Last representative of his family, 90
Leipsic, appointed Cantor of, 66;
Cantor, duties of, 59-61;
differences with the Council, 70;
St Thomas’s School at, 59
Leipsic church organs:--
Thomas Church, Leipsic, 160-162
University Church, Leipsic, 162-165
Lost works, 147
Lübeck, visit to, 28
Lüneburg, removes to, 22
Lute-harpsichord planned by Bach, 157
Magnificat in D, 146
Marchand, competition with, 46, 47
Marriage to his cousin, 33, 36
Marriage to Anna Magdalena Wülken, 56
Mass in B minor, 114
Mattheson, 54, 55
Mizler, 85
Money matters, his carefulness in, 80, 174
Mühlhausen, appointed organist of St Blasius at, 33;
resigns appointment, 39
“Musical Offering,” 135;
dedication to Frederick the Great, 136
Ohrdruf, removes to, 21
“Old Lutherans,” the, differences with, 38
_Orchestration_--
Accompanying, his method, 103, 104
“Ein feste Burg” chorale, 94, 96, 101
“Es ist nichts gesundes” cantata, 108-111
“Gottlob! nun geht das Jahr zu Ende” cantata, 106
Mass in B minor:
(Et incarnatus), 127
(Et resurrexit), 128
(Gloria), 127
(Kyrie), 126
(Sanctus), 123, 129
Passion Music (St Matthew), 104, 105
“Wir danken dir, Gott” cantata, 112
_Organs_--
As an examiner of, 78
Description of at Thomas Church, Leipsic, 160-162
Description of at University Church, Leipsic, 162, 165
Pitch of, 169
Passion Music (St Matthew), 114
Personal details, 77
“Pietists” the, differences with, 38
Playing, his, 148
Portraits of Bach, Hausmann’s, &c., 85, 175
Pupils, list of his, 140
Reinken, 52
Rolle, Ch. F., 45, 65
Saxe-Weimar, appointed chamber-musician to Duke of, 39;
his salary, 40
Saxon Court, appointed composer to the, 84
Scheibe, his attack on Bach, 85;
Birnbaum’s reply, _id._
Schneider, J., 50
Schott, 65
Schubart, Johann Martin, 35, 49
Self-Criticism, 173
Silbermann’s pianos, 87, 172
St Blasius, Mühlhausen, appointed organist of, 33;
repairs to the organ, 37;
resigns the post, 39
Statues of Bach, 176
Stauber, Pastor, 39
Stringed instruments, his knowledge of, 157-159
Teacher, Bach as a, 137, 140
Telemann, 65
Vogler, J. C., 49
Walther, Johann Gottfried, 33, 40
Weimar, appointed chamber-musician to Duke of, 39;
his salary, 40;
joins the Court orchestra at, 25
Widow and daughter, fate of his, 90
“Wohltemperirte Clavier,” the, 131
Wülken, Anna Magdalena, marries her, 56
Works:--
“Art of Fugue,” 134, 135
_Canon_, “Von Himmel hoch, da komm’ ich her,” 85
_Cantatas_--
“Denn du wirst meine Seele nicht in der Hölle lassen,” 27, 28
“Erforsche mich Gott,” 107
“Es ist nichts gesundes,” 108-110, 113
“Freue dich erlöste Schaar,” 112
“Gleich wie der Regen und Schnee,” 108
“Gott ist mein König,” 36
“Gottlob! nun geht das Jahr zu Ende,” 106
“Herr Gott dich loben wir,” 107
“Ich hatte viel Bekümmerniss,” 108
“Jesus nahm zu sich die Zwölfe,” 66
“Nun Komm, der Heiden Heiland,” 44
“O Ewigkeit, du Donnerwort,” 108
“The rich man died and was buried,” 86
“Thomana sass annoch betrübt,” 81
“Vor deinen Thron tret ich,” 89
“Wir danken dir, Gott,” 112
_Capriccio_ on the departure of his brother, 28
_Chorales_--
“An Wasserflüssen Babylon,” 24, 52
“Christ, der du bist der helle Tag,” 25
“Ein feste Burg,” 43, 95, 96, 101
“Es ist gewisslich an der Zeit,” 24
“O Gott, du Frommer Gott,” 25
“When we are in the greatest need,” 88
“Wie schön leuchtet uns der Morgenstern,” 28
_Christmas Oratorio_, 106, 144
Easter Oratorio, 145
Magnificat in D, 146
Mass in B minor, 114, 123-130
“Musical Offering,” 135
Passion Music (St Matthew), 104, 105, 114
Serenade, 51
Toccata in G, 24
Variations: “Allein Gott in der Höh sei Ehr,” 28
“Wohltemperirte Clavier,” the, 131-134
_Works for Cembalo, Clavichord, Spinet, &c_, catalogue of, 196-201
_Works, Instrumental_--
Catalogue of, 191-195
Orchestra, 194, 195
Organ, 191-194
_Works, Vocal_--
Catalogue of, 177-190
Church Cantatas, 177-188
Funeral Ode, 188
Lost Works, 190
Motets, 188
Secular Cantatas, 189
[Illustration: THE
TEMPLE PRESS
LETCHWORTH
ENGLAND]
* * * * * *
Transcriber's note:
Illustrations have been moved next to the text to which they refer, and
may not match the page numbers in the List of Illustrations. Sidenotes
not in italics were originally printed as page headers.
The following apparent errors have been corrected:
Advertisement page "_Second Edition_" changed to "_Second Edition._"
p. vi "2 vols" changed to "2 vols."
p. 4 "Gottlich" changed to "Gottlieb"
p. 12 "Sax-Eisenach," changed to "Sax-Eisenach."
p. 15 "Teleman" changed to "Telemann"
p. 19 "all’an" changed to "all’ an"
p. 24 (note) "music, Berlin" changed to "music, Berlin."
p. 27 "meïne" changed to "meine"
p. 63 "troulde" changed to "trouble"
p. 73 "leave Leipzic" changed to "leave Leipsic"
p. 85 "Von Himmel" changed to "Vom Himmel"
p. 87 (note 51) "Sansouci" changed to "Sanssouci"
p. 95 "viola violoncello," changed to "viola, violoncello,"
p. 108 "Reigen" changed to "Regen"
p. 108 "Bekummerniss" changed to "Bekümmerniss"
p. 113 "di J. S. Bach" changed to "di J. S. Bach."
p. 114 "an einem Gott" changed to "an einen Gott"
p. 121 "unecht. zur" changed to "unecht? Zur"
p. 122 "seventeenth" changed to "eighteenth"
p. 124 "I have" changed to ""I have"
p. 127 "Quoniam solus Sanctus" changed to "Quoniam to solus Sanctus"
p. 135 "Wenn wir im höchsten Nöthen sind" changed to "Wenn wir in
höchsten Nöthen sein"
p. 140 "Sätzes" changed to "Satzes"
p. 145 "Der Geist hift unsere Schwachheit auf" changed to "Der Geist
hilft unsrer Schwachheit auf"
p. 145 "Tonet" changed to "Tönet"
p. 149 "1. The Vorschlag" changed to "The Vorschlag"
p. 170 "Staatsburger" changed to "Staatsbürger"
p. 171 "Lüneberg" changed to "Lüneburg"
p. 176 "Johnn Sebastian Bach" changed to "Johann Sebastian Bach"
p. 179 "erzahlen" changed to "erzählen"
p. 183 "Hochzeitgehe" changed to "Hochzeit gehe"
p. 184 "meinem Thaten" changed to "meinen Thaten"
p. 185 "ursprung" changed to "Ursprung"
p. 186 "Geist" changed to "Geist-"
p. 186 "gewünschste" changed to "gewünschte"
p. 187 "Süsse Trost, mein Jesu kommt" changed to "Süsser Trost, mein
Jesus kömmt"
p. 188 "erhöbt" changed to "erhöht"
p. 188 "spirit," changed to "spirit,”"
p. 188 "auf seinem Gott" changed to "auf seinen Gott"
p. 189 "plandert" changed to "plaudert"
p. 189 "Dieskan" changed to "Dieskau"
p. 189 "sache" changed to "sa che"
p. 190 "wiederan" changed to "Wiederau"
p. 192 "Orgelbuchlein" changed to "Orgel-büchlein"
p. 196 "“Hortus Musicus.’" changed to "“Hortus Musicus.”"
p. 199 "Courante, A major" changed to "Courante, A major."
p. 202 "alterer" changed to "älterer"
p. 203 "Schuler der Partikularschule in Lüneberg" changed to "Schüler
der Partikularschule in Lüneburg"
p. 204 "Vorträge." changed to "Vorträge.”"
p. 204 "Berüchsichtigung" changed to "Berücksichtigung"
p. 212 "Freiburg" changed to "Freiberg"
p. 213 "Teleman" changed to "Telemann"
pp. 203, 213 and 216 "Kühnau" changed to "Kuhnau"
p. 217 "the English" changed to "the English,"
p. 218 "Historisches Aufsätze" changed to "Historische Aufsätze"
p. 220 "organist ship" changed to "organistship"
p. 220 "Kauffman" changed to "Kauffmann"
p. 220 "Johann, T." changed to "Johann T."
p. 222 "gesundes," changed to "gesundes,”"
p. 222 "Bekummerniss" changed to "Bekümmerniss"
p. 222 "an noch" changed to "annoch"
p. 222 "Got" changed to "Gott"
p. 222 "Cappricio" changed to "Capriccio"
The following possible errors have not been changed:
p. 14 Würtemburg
p. 14 Höhenlohe
p. 145 No. 2.
In addition, many of the cantatas' incipits are truncated and/or omit
punctuation; these have been left as printed.
The following are used inconsistently:
_bâton_ and baton
choralvorspiele and choral-vorspiele
concertmeister and concert-meister
deathbed and death-bed
Gedact and Gedackt
hammerlike and hammer-like
keyboard and key-board
lifetime and life-time
Nachthorn and Nacht-horn
Nicolai-Church and Nicolai-church
Rück-positiv and Rückpositiv
Schallmey and Schalmei
Thomasschule and Thomas-schule