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)