So far the New Bachgesellschaft has published only a single Cantata overlooked by the old Society. See infra, p. 280.

In The News of January 4, 1829, he is described as the second son of the late John Stephenson of Great Ormonde Street, Queen Square, whom he had succeeded in the partnership of the firm. His wife was dead, and of his eight children the eldest was also in the Bank.

Carl Philipp Emmanuel Bach, third son of Johann Sebastian Bach, b. 1714; Kammermusikus to Frederick the Great of Prussia (1746), Kapellmeister at Hamburg (1768); d. 1788.

Johann Friedrich Agricola, of Dobitsch, b. 1720; studied composition with Bach at Leipzig; Court Composer (1751) and, after Carl Heinrich Graun's death (1759), Kapellmeister to Frederick the Great of Prussia; d. 1774. See Spitta, Johann Sebastian Bach, iii. 243 ff.

Lorenz Christoph Mizler (1711-78), a pupil of Bach, founded at Leipzig in 1738 the “Sozietat der musikalischen Wissenschaften,” of which Bach and Handel were members. Mizler's journal, the NeuerÖffneter Musikalischer Bibliothek, was its organ. It appeared from 1736 to 1754. In Part I. of vol. iv. (1754) C. P. E. Bach and Agricola collaborated in the obituary notice, or “Nekrolog,” which is almost the earliest literary authority for Bach's life. It covered less than twenty pages. (See Schweitzer, J. S. Bach (trans. Ernest Newman), i. 189 ff. and Spitta, i. Pref.) Agricola's association with Bach's son in the preparation of the obituary notice is explained by the fact that for the last ten years of Sebastian's life Agricola was in closer relations with him than Carl Philipp Emmanuel, who no longer was resident in Leipzig.

Forkel's Allgemeine Geschichte der Musik (2 vols. 1788-1801) had only come down to the sixteenth century when its author diverted his pen to a biography of Bach.

The firm of Hoffmeister and KÜhnel was founded at Leipzig in 1800 by Franz Anton Hoffmeister, who started, in 1801, a subscription for the publication of Bach's works, to which Forkel alludes. The scheme failed to mature, and its accomplishment was reserved to C. F. Peters, who purchased Hoffmeister's “Bureau de Musique” in 1814. See articles on Hoffmeister and Peters in Grove's Dictionary.

Though Bach never ventured upon such tours as Mozart or Berlioz, for instance, undertook, he loved travelling, and his artistic journeys made him famous throughout Germany, at least as an organist. Forkel himself describes (infra, pp. 19, 23) his notable visits to the Courts of Berlin and Dresden.

In 1802, it must be remembered, not a note of Bach's concerted Church music was in print except the tunes he wrote for Schemelli's Hymn-book (1736) and the vocal parts of an early Cantata (No. 71). Of his instrumental works engraved by 1802 Forkel gives a list infra, p. 137. It was hardly until the foundation of the Bachgesellschaft in 1850, to celebrate the centenary of Bach's death, that the systematic publication of his concerted Church music began. Before that date, however, Peters of Leipzig had taken in hand the abandoned scheme of Hoffmeister and KÜhnel, to which Forkel alludes, and in which he participated.

It is notable that Forkel makes no mention of Haydn, Mozart, or Handel, whose English domicile had divorced him from Germany's service. Forkel's pessimism is the more curious, seeing that Beethoven was already thirty years old, and that Mozart in 1786, after giving him a subject to extemporise upon, had remarked, “Listen to that young man; he will some day make a noise in the world” (Holmes, Life of Mozart, Dent's ed., p. 223). Forkel, in fact, appreciated neither Mozart nor Beethoven and thoroughly detested Gluck.

As has been pointed out in the Introduction, Forkel stood almost alone in 1802 in his opinion of Bach's pre-eminence. Even Beethoven placed Bach after Handel and Mozart, but knew little of his music on which to found a decision.

The anonymous article in the Allgemeine deutsche Bibliothek, to which Forkel alludes, deals with Bach's Clavier and Organ works and upon them asserts Bach's superiority over Handel. The judgment was unusual. Bach's fame was gravely prejudiced by German Handel-worship, which the first performance of the Messiah at Leipzig in 1786 stimulated. Johann Adam Hiller, Bach's third successor in the Cantorate of St. Thomas', was largely responsible. He neglected, and even belittled, the treasures of Bach's art which the library of St. Thomas' contained. See Schweitzer, i. 231.

The Nekrolog. See supra, p. xxiv.

Carl Philipp Emmanuel and Wilhelm Friedemann. The latter was born in 1710, and after holding Organistships at Halle and Dresden, died at Berlin in 1784, leaving his widow and daughter in great poverty. The former received a grant from the receipts of the Messiah performance alluded to in note 1, supra. A man of brilliant musical attainments, Wilhelm Friedemann's character was dissolute and unsteady. See Schweitzer, i. 146 ff.

Two letters written by C. P. E. Bach to Forkel in 1775, conveying a good deal of information reproduced by Forkel in this monograph, are printed in facsimile by Dr. Max Schneider in his Bach-Urkunden (N.B.G., XVII. (3)).

Forkel's statement is entitled to respect. On the other hand there is nothing in the recorded careers of either of Bach's sons that bears him out on this point. Schweitzer (i. 229) endorses Elinor's judgment: “Bach's sons were the children of their epoch, and never understood their father; it was only from piety that they looked at him with childlike admiration.” Dr. Charles Burney spent several days with Carl Philipp Emmanuel at Hamburg in 1772, but during the whole time the son never played to him a note of his father's music.

i.e. Hoffmeister and KÜhnel's project.

The accuracy of this statement is apparent from the Genealogy appended to this volume. Bach's sons represented the sixth generation from Veit Bach, the sixteenth century ancestor of the family. Veit himself was not a professional musician; one of his sons was a Spielmann; thereafter for the next 150 years all but seven of his descendants, whose professions are known, were Organists or Cantors or Town Musicians. Many of them, moreover, were men of the highest attainments in their profession.

He took his name from St. Vitus (Guy), patron saint of the church of Wechmar, a fact which sufficiently disproves Forkel's statement that his original domicile was in Hungary. The Bachs were settled in Wechmar as early as circ. 1520. Veit migrated thence to Hungary, though there is no adequate foundation for the statement that he settled at Pressburg. He returned to Wechmar during the beginning of the Counter-Reformation under the Emperor Rudolph II. (1576- 1612), and died at Wechmar, March 8, 1619. See Spitta, i. 4.

Apart from church and town registers, laboriously consulted by Spitta in tracing the Bach genealogy, we owe our knowledge of it to an MS. drawn up by Bach in 1735 which is now in the Berlin Royal Library after being successively in the possession of Carl Philipp Emmanuel, Forkel, and G. PÖlchau, the Hamburg teacher of music.

The original entries in it are stated by Carl P. Emmanuel to be by his father. Forkel also owned a Bach genealogical tree, given him by Carl Philipp Emmanuel; it has disappeared. Traces of it exist in a work published at Pressburg by Johann Matthias Korabinsky in 1784, its insertion being due to the assumption that the Bachs were a Hungarian family. Forkel shared that error. See Spitta's Preface on the whole question. The MS. genealogy of 1735 is published by the New Bachgesellschaft (XVIII. 3) in facsimile.

Veit, in fact, returned to his native village. His name, as has been pointed out, implies a connection with Wechmar that must have dated from infancy. Moreover, there was living there in 1561 one Hans Bach, an official of the municipality, who may be regarded confidently as Veit's father.

It has been suggested that the name Bach is the sole authority for the statement that Veit was a baker. But Spitta points out that the vowel in the name is pronounced long and was frequently written BAACH in the seventeenth century, a fact which makes it difficult to associate the word with “Backer” (Baker).

In the Genealogy Johann Sebastian calls the instrument a Cythringen.

Hans Bach (d. Dec. 26, 1626) and (?) Lips Bach (d. Oct. 10, 1620). See infra, Genealogical Tables I. and II. and note to the latter.

The “Stadt Pfeiferei,” or official town musical establishment, descended from the musicians' guilds of the Middle Ages and was presided over by the Stadt Musiker, who enjoyed certain ancient privileges and the monopoly of providing the music at open-air festivities. Johann Jakob Brahms, the father of Johannes, was a member of such a corporation at Hamburg, after having served his apprenticeship for five years elsewhere. See Florence May, Johannes Brahms, vol. i. pp. 48 ff.

See Genealogical Table II. The three young Bachs were the sons of Lips Bach and, presumably, nephews of Hans the “Spielmann.” The youngest of them was named Jonas; the name of another was certainly Wendel. It is remarkable, in a period in which Italy was regarded as the Mecca of musicians, that exceedingly few of the Bach family found their way thither. Besides the three sons of Lips Bach, only Johann Nikolaus, 1669-1753 (see Table VI.), Johann Sebastian Bach's son Johann Christian, 1735-82 (see Table VIII.), and Carl P. E. Bach's son Sebastian (see Table VII.) seem to have visited Italy.

i.e. from Veit Bach. Of the three names Forkel mentions the first two were a generation before Johann Sebastian; the third, Johann Bombard, was of the same generation as Johann Sebastian; none of the three belonged to Johann Sebastian's branch.

Eldest son of Heinrich Bach (see Table VI.). Whether he was Court as well as Town Organist at Eisenach cannot be stated positively.

The Alt-Bachische Archive is a collection of the compositions of various members of the family, before and after Johann Sebastian, formed largely by the latter. From C. P. E. Bach it passed to G. PÖlchau and from him to the Berlin Royal Library.

Johann Christoph composed several Motets (see them discussed in Spitta, i. 75 ff.). The daring work to which Forkel alludes was written about 1680 and is lost. Though the augmented sixth was then and remained unusual, Johann Christoph's is not the earliest use of it. Spitta finds it in Giacomo Carissimi (1604-74).

The Cantata (“And there was war in heaven”) is analysed by Spitta (i. 44). The score is unusually full: two five-part choirs; Vn. 1 and 2, 4 Violas, Contrabasso, Fagotto, 4 Trombe, Timpani, Organ. In 1726 Johann Sebastian Bach wrote a Cantata for Michaelmas on the same text (Rev. xii. 7).

Spitta (i. 101 n.) characterises the statement as “a mythical exaggeration.” In a chapter devoted to the instrumental works of Johann Christoph and his brother he instances a collection of forty-four Organ Chorals by the former, not one of which is in five parts.

In the Bach genealogy already referred to C. P. E. Bach designates Johann Christoph a “great and impressive composer.”

A Lamento published under Johann Christoph's name seems actually to have been composed by his father Heinrich (see Pirro, J.-S. Bach, 9 n.). Johann Christoph, however, is the composer of the Motet Ich lasse dich nicht, so often attributed to Johann Sebastian.

See Table VI. He was the father of Johann Sebastian's first wife.

See note, p. 4 supra.

Spitta (i. 59 ff.) mentions twelve Motets by Michael Bach. Several of them are for eight voices. Forkel probably refers to the most remarkable of Michael's Motets, in which he detects the romantic spirit of Johann Sebastian. It is set to the words Unser Leben ist ein Schatten, (Life on earth is but a shadow). The first choir consists of 2 S., A., 2 T., B., and the second choir of A. T. B. only. Spitta analyses the work closely (i. 70-72). Novello publishes his five- part Motet Christ is risen with an English text.

He succeeded his cousin Johann Christoph at Eisenach in 1703.

Spitta (i. 24 ff.) mentions four Suites, or Overtures, Clavier pieces, and Organ Chorals as being by him. That Johann Sebastian Bach highly esteemed the Suites is proved by the fact that he copied the parts of three of them with his own hand at Leipzig.

It is a curious fact that, prior to the career of Johann Sebastian Bach, the composers of the Bach family occur invariably in other branches than his. With two exceptions, the gift of composition appears to have been possessed, or exercised, solely by Heinrich Bach (see Table VI.), his two sons Johann Christoph and Johann Michael, already discussed, and his grandson, Johann Nikolaus (son of Johann Christoph). Heinrich Bach was a very productive composer in all forms of musical art employed at that time in church (Sp. i. 36). His grandson, Johann Nikolaus, composed a Mass and a comic operetta (ib., 132 ff.). The only other Bach composer known to Spitta is Georg Christoph, founder of the Franconian Bachs (see Table IV.) and Cantor at Themar and Schweinfurt (ib. 155). The other Bach composer outside Heinrich Bach's branch is Johann Bornhard, already mentioned by Forkel.

In the Quodlibet different voices sang different well-known melodies, sacred and profane, and sought to combine them to form a harmonious whole. For an example see Variation 30 of the Aria mit 30 Veranderungen (Peters' ed., bk. 209 p. 83). In it Bach combines two popular songs of his period.

See article “Quodlibet” in Grove.

The date is conjectural, and is deduced from the fact that the infant was baptized on March 23. The Gregorian Calendar was not adopted in Germany until 1701. Had it been in use in 1685 Bach's birthday would be March 31.

Johann Ambrosius' Court appointment is to be inferred from the fact that in 1684 the Duke refused him permission to return to Erfurt.

See Table IV.

Johann Ambrosius survived his brother by nearly eighteen months.

His mother died in May 1694, and his father in January 1695. At the latter date Johann Sebastian was three months short of his tenth year.

Excepting Johann Jakob, a lad of thirteen years, Johann Christoph was Bach's only surviving brother, and the only one of the family in a position to look after him. Johann Jakob accompanied Sebastian to Ohrdruf (Pirro, p. 13) and afterwards apprenticed himself to his father's successor as Town Musician at Eisenach. One of the daughters was already married. What became of the other is not stated. See Table V.

It is difficult to believe this statement. That the boy was destined for a musical career by his father hardly can be doubted. That he was of unusual precocity, the story told by Forkel in the text proves. His father's asserted neglect to instruct him is therefore hardly credible.

Johann Jakob Froberger, born at Halle (date unknown); Court Organist at Vienna, 1637-57; d. 1667.

Johann Caspar Ferdinand Fischer, c. 1660-1738 (actual dates of his birth and death unknown); Kapellmeister to Markgraf Ludwig of Baden at Schloss Schlackenwerth in Bohemia. His Ariadne Musica Neo-Organoedum (1702) was the precursor of Bach's Das wohltemperirte Clavier.

Johann Caspar Kerl, b. 1628; Kapellmeister in Munich, 1656-74; Court Organist at Vienna, 1677-92; d. 1693.

Johann Pachelbel, b. 1653, d. 1706. In 1695 he was Organist of St. Sebald's Church, NÜrnberg. His influence upon the organ playing of his generation was enormous. Bach's brother, Johann Christoph, was his pupil.

Dietrich Buxtehude, b. 1637, d. 1707; Organist (1668) of the Marienkirche, LÜbeck, and the chief musical influence in North Germany.

Nikolaus Bruhns, b. circ. 1665, d. 1697; a. pupil of Buxtehude; Organist at Husum; the greatest organist of his time after Buxtehude.

Georg BÖhm, b. 1661; date of death uncertain (c. 1739); from 1698 Organist of the Johanniskirche, LÜneburg.

In fact, Johann Christoph did not die until 1721, more than twenty years after Sebastian ceased to be under his roof.

The fact that Johann Christoph survived till 1721 disproves Forkel's statement. The youthful Bach, aged fifteen in 1700, no doubt seized the earliest opportunity to relieve his brother of the charge of him. Moreover, Johann Christoph's family was increasing (see Table V.). In spite of the story of Bach's midnight copying, it cannot be questioned that he owed a good deal to his brother, who not only taught him but, presumably, maintained him at the Ohrdruf Lyceum, where Bach acquired a sound education and a considerable knowledge of Latin. See Pirro, pp. 14-16, on Bach's education at Ohrdruf. He left the Lyceum in March 1700.

Georg Erdmann, Bach's fellow-pupil at the Lyceum.

Bach's entry into the choir of St. Michael's Convent, LÜneburg, took place about Easter 1700. The step was taken upon the advice of Elias Herda, Cantor at the Ohrdruf Lyceum, himself a former member of St. Michael's. Bach remained at St. Michael's for three years, till 1703. The choir library was particularly rich in the best church music of the period, both German and Italian. Spitta is of opinion that Bach's talents as a violinist and Clavier player were also laid under contribution. His voice, as Forkel states, soon ceased to be serviceable. His maximum pay was one thaler (three shillings) a month and free commons.

Probably Georg BÖhm, who had relations with the Convent choir, inspired Bach to make the pilgrimage. BÖhm, then at St. John's, LÜneburg, was a pupil of Reinken of Hamburg. Spitta (i. 196) suggests that Bach's cousin, Johann Ernst (see Table IV.), was at this time completing his musical education at Hamburg, a fact which may have contributed to draw Bach thither. He made more than one visit, on foot, to Hamburg. F. W. Marpurg published, in 1786, the story, which he received from Bach himself, that on one of his journeys from Hamburg, Bach sat down outside an inn and hungrily sniffed the savours from its kitchen. His pockets were empty and there seemed little prospect of a meal, when a window was opened and two herring heads were thrown out. Bach picked them up eagerly, and found in each of them a Danish ducat. Who was his benefactor he never discovered; the gift enabled him to satisfy his hunger and pay another visit to Hamburg.

Johann Adam Reinken, b. 1623, became Organist of St. Catherine's Church, Hamburg, in 1664, and held the post until his death in 1722.

His introduction to French music marked another step in Bach's progressive education. The reigning Duke of Celle (father-in-law of George I. of Great Britain and Ireland) had married a Frenchwoman. See Pirro, J. S. Bach, pp. 24-27.

He entered the Weimar service on April 8, 1703 (Pirro, p. 29).

Bach's engagement was in the private band of the younger brother of the Duke. He remained in his new post only a few months. He was engaged as a Violin player, and since his interests were towards the Organ and Clavier, it is clear that he accepted the engagement as a temporary means of livelihood.

He is, however, described in July 1703 as Court Organist (Pirro, p. 30). Bach was drawn to Arnstadt chiefly by the fact that the New Church recently had been equipped with a particularly fine Organ (specification in Spitta, i. 224), which existed until 1863. Bach inaugurated it on July 13, 1703, and entered on his duties as Organist of the church in the following month (Pirro, p. 30).

His earliest Church Cantata (No. 15) was composed here in 1704. To the Arnstadt period (1703-7) also must be attributed the Capriccio written on the departure of his brother, Johann Jakob (Peters bk. 208 p. 62), the Capriccio in honour of his Ohrdruf brother, Johann Christoph (Peters bk. 215, p. 34), the Sonata in D major (Peters bk. 215, p. 44), the Organ Prelude and Fugue in C minor (Novello bk. 2 p. 48), and the Organ Fugue in C minor (Novello bk. 12 p. 95).

In the Nekrolog C. P. E. Bach and Agricola remark of the Arnstadt period, that Bach then “really showed the first-fruits of his industry in the art of Organ-playing and composition, which he had in great measure learnt only from the study of the works of the most famous composers of the time, and from his own reflections on them” (quoted in Spitta, i. 235).

Bach's stipend at Arnstadt was not inconsiderable, and his duties engaged him only at stated hours on Sundays, Mondays, and Thursdays. He, therefore, had leisure and the means to employ it. In October 1705 he obtained four weeks' leave of absence and set off on foot to LÜbeck, after leaving an efficient deputy behind him. He stayed away until February 1706. On his return the Consistory demanded an explanation of his absence, and took the opportunity to remonstrate with him on other matters. They charged him “with having been hitherto in the habit of making surprising variationes in the Chorals, and intermixing divers strange sounds, so that thereby the congregation were confounded.” They charged him with playing too long preludes, and after this was notified to him, of making them too short. They reproached him “with having gone to a wineshop last Sunday during sermon,” and cautioned him that, “for the future he must behave quite differently and much better than he has done hitherto” (see the whole charge in Spitta, i. 315 ff.). Bach also was on bad terms with the choir, whose members had got out of hand and discipline. Before his LÜbeck visit he engaged in a street brawl with one of the scholars. Then, as later, he was a choleric gentleman. In November 1706 he got into further trouble for having “made music” in the church with a “stranger maiden,” presumably his cousin Maria Barbara Bach, then on a visit to Arnstadt; he married her a year later. Clearly the relations between the Consistory and the brilliant young Organist were becoming difficult, and Bach's migration to MÜhlhausen no doubt was grateful to both. His resignation was made formally on June 29, 1707.

Bach was appointed on June 15, 1707, to succeed Johann Georg Able. MÜhlhauson prided itself upon its musical traditions. Bach's Cantata, No. 71, written in February 1708 for the inauguration of the MÜhlhausen Town Council, was engraved (the parts only), the only one of the 206 Cantatas which have come down to us which was printed during Bach's lifetime. He also composed Cantatas 131 and 196 at Muhlhausen, and perhaps three others. See infra, p. 188.

Bach's petition to the MÜhlhausen Consistory for permission to resign his post is dated June 25, 1708, and is printed in full by Spitta, i. 373. Bach mentions the Weimar post as having been offered to him, but bases his desire to resign the organ of St. Blasius, partly on the ground that his income was inadequate, partly because, though he had succeeded in improving the organ and the conditions of music generally, he saw “not the slightest appearance that things will be altered” for the better. MÜhlhausen, in fact, was a stronghold of Pietism and unsympathetic to Bach's musical ideals.

He was Court Organist and Kammermusikus. In the latter post Bach was of use as a Violinist and Clavier player. The Court band, or Kapelle, on special occasions appeared in Hungarian costume, which Bach presumably donned. His income began at a sum nearly double that he had received at Arnstadt and MÜhlhausen.

The character of his employer, Duke Wilhelm Ernst of Saxe-Weimar, must be reckoned a factor in the development of the youthful Bach. The Duke was not only a cultured artist, but was also a man of genuine piety.

Though Bach retouched them in later years and wrote others, it may be stated in general terms that his Organ works were the fruit of the Weimar period, which lasted from 1708 till 1717.

Bach's promotion to the position of Concertmeister had taken place certainly before March 19, 1714, on which date Spitta (i. 517) prints a letter in which Bach gives himself the title. The increase in his income early in 1714 also supports the conclusion, while a letter of January 14, 1714, written by Bach, is not signed by him as Concertmeister. It would seem that his promotion took place in the interval between the two letters. As Concertmeister it was part of his duty to provide Cantatas for the church services. Twenty-two were written by him at Weimar. See infra, p. 188, for a list of them.

Friedrich Wilhelm Zachau died on August 7 or 14, 1712.

Spitta (i. 513) infers that, in the later years of the Weimar period, Bach spent part of the autumn of every year in visits to the Courts and larger towns of Germany in order to give Organ recitals and to conduct performances of his Cantatas. Besides the visit to Halle, in 1713, to which Forkel alludes, Bach performed at Cassel in 1713 or 1714 before the future Frederick I. of Sweden, who presented him with a ring which he drew from his finger. Bach's feet, an admirer recorded, “flew over the pedal-board as if they had wings.” In December 1714 he visited Leipzig and performed Cantata No. 61, Nun komm, der Heiden Heiland. In 1716 he was again invited to Halle, and at about the same time performed at Meiningen. Forkel records the famous contest with Marchand, the French Organist, at Dresden in 1717.

Forkel's brief account follows the Nekrolog. Bach was in Halle in the autumn of 1713, a year after Zachau's death. The latter's post was still vacant and a new and particularly large Organ (sixty-three speaking stops) was being erected. The authorities pressed Bach to submit himself to the prescribed tests, and he complied so far as to compose a Cantata and to conduct a performance of it. On his return to Weimar he received a formal invitation to accept the post. After some correspondence Bach refused it, partly, perhaps chiefly, on the ground that the income was inadequate. The refusal was answered by the groundless accusation that he had merely entertained the Halle proposal in order to bring pressure upon Weimar for a rise of salary. The misunderstanding was cleared away by 1716, when Bach visited Halle again. In the interval Zachau's post had been given to his pupil, Gottfried Kirchhoff. The whole matter is discussed at length in Spitta, i. 515 ff.

Frederick Augustus I. of Saxony was elected, as Augustus II., to the throne of Poland in 1697. He died In 1733.

Louis Marchand, b. 1669, d. 1732; Organist to the French Court and later of the Church of St. HonorÉ, Paris. His arrival in Dresden was due to his being in disgrace at Versailles. Whether or not he was offered a permanent engagement at the Saxon Court, he was regarded as the champion of the French style, and as such the challenge was issued to him by Bach.

Francois Couperin, b. 1668, d. 1733; Organist of St. Gervais, Paris. Forkel's judgment upon his art is not supported by modern criticism.

Bach, however, admired Marchand's compositions sufficiently to give them to his pupils. See Pirro, p. 52.

Jean-Baptiste Volumier, an acquaintance of Bach, according to Spitta (i. 583). Eitner, Quellen Lexikon. says that he was born in Spain and educated in France. Grove's Dictionary declares him a Belgian. In 1709 he was appointed Concertmeister to the Saxon Court. He died at Dresden in 1728.

It is more probable that Bach was at Dresden either expressly to hear Marchand or upon one of his autumn tours.

Some years earlier Flemming had witnessed Handel's triumphant descent on the Saxon Court, but had failed to establish friendly relations with him. See Streatfield's Handel, p. 87.

The article on Marchand in Grove gives a different version of the affair, based upon Joseph FÉtis (1784-1871). According to this story of the event, Bach, summoned from Weimar, attended Marchand's concert incognito, and after hearing Marchand perform, was invited by Volumier to take his seat at the Clavier. Bach thereupon repeated from memory Marchand's theme and variations, and added others of his own. Having ended, he handed Marchand a theme for treatment on the Organ and challenged him to a contest. Marchand accepted it, but left Dresden before the appointed hour.

The Prince was brother-in-law of Duke Ernst August of Saxe-Weimar. Bach was, therefore, already known to him and showed the greatest regard for him both at CÖthen and after he had left his service.

The reason for Bach's migration from Weimar to CÖthen was his failure to obtain the post of Kapellmeister at the former Court upon the death of Johann Samuel Drese in 1716. The post was given to Drese's son. On August 1, 1717, just before or after his Marchand triumph, Bach was appointed Kapellmeister to the Court of CÖthen. Duke Wilhelm Ernst refused to release him from his engagement, and Bach endured imprisonment from November 6 to December 2, 1717, for demanding instant permission to take up his new post. Probably his last work at Weimar was to put the OrgelbÜchlein into the form in which it has come down to us (see articles by the present writer in The Musical Times for January-March 1917).

With his departure from Weimar in 1718 Bach left behind him the distinctively Organ period of his musical fertility. Though his compositions were still by no means generally known, as a player he held an unchallenged pre-eminence.

He was appointed to CÖthen on August 1, 1717, and was inducted at Leipzig on May 31, 1723.

The date actually was November 1720. At CÖthen Bach had an inferior Organ and little scope for his attainments; his chief duties were in connection with the Prince's band. The yearning to get back to the Organ, which eventually took him to Leipzig in 1723, shows itself in his readiness to entertain an invitation to Hamburg in 1720.

Three Organ movements by Bach upon Wolfgang Dachstein's melody, An WasserflÜssen Babylon, are extant. See notes upon them and their relation to the Hamburg extemporisation in Terry, Bach's Chorals, Part III.

As at Halle in 1713, Bach does not appear to have gone to Hamburg specially to compete for the post of Organist to the Church of St. James, vacant by the death of Heinrich Friese in September 1720. He was not able to stay to take part in the final tests, nor was he asked to submit to them, since his visit to Hamburg had given him an opportunity to display his gifts. In the result the post was given to Johann Joachim Heitmann, who acknowledged his appointment by forthwith paying 4000 marks to the treasury of the Church. See Spitta, ii. 17 ff.

Johann Kuhnau died on June 25, 1722.

On the title-pages of his published works Bach describes himself as “Capellm. und Direct. Chor. Mus. Lips.”

Forkel has practically nothing to say regarding the Leipzig period of Bach's musical life. That a professed historian of music, setting before the public for the first time the life of one whom he so greatly extolled, and with every inducement to present as complete a picture of him as was possible, should have taken no trouble to carry his investigations beyond the point C. P. E. Bach and Agricola had reached in the Nekrolog of 1754 is almost incredible. The only reason that can be adduced, apart from the lack of a really scientific impulse, is that Forkel was almost entirely ignorant of the flood of concerted church music which poured from Leipzig from 1723 to 1744. His criticism of Bach as a composer is restricted practically to Bach's Organ and Clavier works.

On November 19, 1728. Latterly his interest in music had waned. The fact, along with Bach's concern for the education of his sons and his desire to return to the Organ, explains his abandonment of the more dignified CÖthen appointment.

The score of this work was in Forkel's possession, but was missing from his library in 1818 and was assumed to be lost until, in 1873, Rust was able to show that Bach used for the occasion certain choruses and Arias from the St. Matthew Passion, which he was then writing, with the first chorus of the Trauer-Ode as an opening of the extemporised work. See Spitta, ii. 618; Schweitzer, ii. 208.

In 1723 he received the title HochfÜrstlich Weissenfelsische wirkliche Kapellmeister and retained it till his death. He retained also his CÖthen appointment.

Augustus III. Bach had petitioned for the appointment in a letter dated July 27, 1733 (Spitta, iii. 38), forwarding a copy of the newly-written Kyrie and Gloria of the B minor Mass.

There does not appear to be any ground for the suggestion that the post of Hofcomponist to the Dresden Court was attached ex officio to the St. Thomas' Cantorate. Bach applied for it in 1733, taking advantage of the recent accession of the new sovereign, Augustus III., in February 1733.

Friedemann was then at Halle.

May 7, 1747, according to Spitta, quoting Friedrich Wilhelm Marpurg's Historisch-kritische BeytrÄge zur Aufnahme der Musik, which appeared in 5 vols. between 1754-1778. On the other hand, Spener, who first records the event, states briefly: “May 11,1747. His Majesty was informed that Kapellmeister Bach had arrived in Potsdam, and that he was in the King's ante-chamber, waiting His Majesty's gracious permission to enter, and hear the music. His Majesty at once commanded that he should be admitted” (Spitta, iii. 231 n.). If the Marpurg and Spener dates are reliable, it looks as though Friedemann's story of his father, travel-stained and weary, being hurried incontinent into the presence of the King is a piece of picturesque embroidery.

Clearly this was a story that Wilhelm Friedemann prided himself on the telling, and Forkel's remark suggests the need for caution in accepting all its details. Frederick's courtesy to Bach, however, tends to discredit the story that ten years earlier (1737) Handel deliberately refused to meet the King at Aix-la-Chapelle owing to the peremptoriness of his summons. Mr. Streatfleld (p. 145) also shows that Frederick was not at Aix until 1741, when Handel was writing the Messiah in London.

Gottfried Silbermann, a pioneer of the modern pianoforte. Bach was already familiar with his Claviers with hammer action, and indeed had offered useful criticism of which Silbermann had taken advantage. See Spitta, ii. 46.

* The pianofortes manufactured by Silbermann, of Freiberg, pleased the King so much, that he resolved to buy them all. He collected fifteen. I hear that they all now stand, unfit for use, in various corners of the Royal Palace. [Robert Eitner, in 1873, found one of the pianos in Frederick the Great's room at Potsdam.]

According to another account, which Spitta (iii. 232) follows, Bach played before a large congregation in the Church of the Holy Spirit, Potsdam. The King does not appear to have been present. The extemporisation of the six-part Fugue took place in Frederick's presence on the evening of that day.

Bach's letter to Frederick accompanying the gift is dated 7th July 1747. He calls it “a musical offering, of which the noblest portion is the work of Your Majesty's illustrious hand.” In addition to Forkel's analysis it contains a Sonata for Flute, Violin, and Clavier, and a canon perpetuus for the same three instruments.

John Taylor (1703-72), oculist to George II. The operation took place in the winter of 1749-50. Taylor is said to have operated on Handel in 1751 (see the article on him in the Dict. Nat. Biography.). Streatfield (Handel, p. 212), however, does not mention Taylor, and his account suggests that Samuel Sharp, of Guy's Hospital, was the operator in Handel's case.

The actual date was July 28, at 8.45 P.M. Bach was working to the very moment of his collapse on July 18. Probably his last work was the Choral Prelude (Novello bk. xvii. 85) on the melody Wenn wir in hÖchsten NÖthen sein. Facing eternity, he bade his son-in-law, Altnikol, inscribe the movement with the title of the Hymn, Vor deinen Thron tret ich hiemit, whose first stanza filled his mind:

An addendum to the Genealogy, in C. P. E. Bach's hand, gives July 30 as the date of his father's death.

July 18.

See Genealogical Tables VII. and VIII.

The statement is misleading. Of the five sons of the first marriage, two were famous, two died in infancy, and the fifth abandoned a promising musical career for the law. Of the six sons of the second marriage, one was imbecile, three died in infancy, two were famous.

See Introduction, p. XXI, supra.

In view of Bach's memorial of August 23, 1730 (infra), this seems to be the meaning of the resolution.

Steigt freudig in die Luft, first performed at CÖthen, set to a new text, Schwingt freudig euch empor.

The well-known portrait by C. F. Rr. Liszewski in the Joachimsthal Gymnasium, Berlin, was painted in 1772, twenty-two years after Bach's death. It represents him at a table with music-paper before him and an adjacent Clavier. Pirro uses for his frontispiece a portrait by Geber, which bears no resemblance whatever to the Haussmann or Volbach pictures. Mention must also be made of a singularly engaging picture of Bach at the age of thirty-five. It hangs in the Eisenach Bach Museum and is by Johann Jak. Ihle. It is reproduced as the frontispiece of this volume.

His Versuch Über die wahre Art des Klavier zu spielen was published (Part I.) in 1753.

Forkel's meaning can be made clear in the following manner: place the thumb and fingers of either hand upon the notes C D E F G of the pianoforte so that the three middle fingers lie more or less flat upon the keys; then draw back the three middle fingers until they form an arch having their tips approximately in a straight line with the tips of the thumb and little finger upon the keys.

It must be remembered that Forkel is speaking of the Clavier and not of the Pianoforte.

The Harpsichord, as its name implies, was an instrument whose strings were plucked by a plectrum. Bach preferred the older Clavier, or Clavichord, which could be regulated, as the other could not, by nicety of touch. See note, p. 68, infra.

Schweitzer (i. 208) points out that Bach's touch was modern, in that he realised that “singing tone” depends not only upon the manner in which the keys are struck, but, to a great extent, on the regulation of their ascent.

Of Handel's touch, Burney writes (quoted by Rockstro, p. 349): “His touch was so smooth, and the tone of the instrument so much cherished, that his fingers seemed to grow to the keys. They were so curved and compact when he played, that no motion, and scarcely the fingers themselves, could be discovered.”

At the beginning of the seventeenth century, as Spitta points out (ii. 34), the art of fingering had not developed. Speaking generally, neither thumb nor little finger was employed. It was not until the beginning of the eighteenth century that a scientific method emerged, a development rendered necessary by the advance in the modes of musical expression. C. P. E. Bach, quoted by Schweitzer (i. 206), puts this concisely: “My late father told me that in his youth he had heard great men who never used the thumb except when it was necessary to make big stretches. But he lived in an epoch when there came about gradually a most remarkable change in musical taste, and therefore found it necessary to work out for himself a much more thorough use of the fingers, and especially of the thumb, which, besides performing other good services, is quite indispensable in the difficult keys, where it must be used as nature intends.”

According to Mr. Arnold Dolmetsch, Clavichords with special strings for each note (bundfrei) were known in Bach's time.

In the Essay already referred to. For a discussion of Couperin's method see Spitta, ii. 37 ff.

For instance, the Rondeau in B flat in Anna Magdalena's Noten- buch (No. 6) (1725) is by Couperin.

No doubt the friend who prepared this trap for Bach was Johann Gottfried Walther. His compositions frequently were characterised by intricacy.

Mozart had the same gift. When visiting St. Thomas' School in 1789, he heard with astonishment a performance of Bach's Motet, Singet dem Herrn ein neues Lied. “At the conclusion he expressed his delight, and said, ‘Now that is something from which a man may learn.’ On being informed that Bach was Cantor to this school, and that his Motets were venerated there as reliques, he was eager to see them. No score being to be obtained, they handed him the separate parts, and it was interesting to observe his manner of reading them, holding some in his hands, some on his knees, placing some on chairs around him; seeming thoroughly lost to everything, and not rising till he had thoroughly satisfied his curiosity” (Holmes, Life of Mozart, ed. Dent, p. 251).

There were in Bach's time three “Clavier” instruments in use. The oldest, the Clavichord, as a rule, had two strings to every note, set in motion by a “tangent” striking them from below. Its advantage was that it permitted the tone to be regulated by the touch. For that reason, though its tone was weak, Bach preferred it. The Clavicembalo, or Harpsichord, as it is called in the text, was in general known as the “FlÜgel,” the strings being plucked, or flipped by a quill or metal pin, after the manner of the modern mandoline. The third instrument was the “piano e forte,” or Hammerclavier. The Clavicembalo was also built with two keyboards, like an Organ, and a pedal-board provided with strings. It was for this instrument that the so-called Organ Sonatas of Bach were written. He possessed five Clavicembali, but not a single Clavichord at the time of his death. For that reason it has been questioned whether Forkel is accurate in stating that Bach preferred the latter instrument. See Schweitzer, i. 200 ff.

Peters bk. 207 p. 4.

The truth of this remark is very evident in the OrgelbÜchlein.

Forkel writes as though he were in a position by personal knowledge to compare the gifts of Bach and his son. In fact he was born in 1749 and was less than two years old when Bach died.

On Bach's use of the stops see Spitta, i. 394 ff., and Pirro's L'Orgue de J.-S. Bach.

Johann Joachim Quantz, b. 1697; flute player and composer; taught Frederick the Great the flute; settled at Berlin as Kammer-musikus and Court Composer; d. 1773.

The Nekrolog sums up more briefly than Forkel, in a judgment which, without doubt, is the very truth: “Bach was the greatest Organ player that had yet been known.”

Johann Adolph Scheibe, a native of Leipzig, was an unsuccessful candidate for the Organistship of St. Thomas' Church in 1729. Bach was one of the judges. In 1737 Scheibe published in the “Kritische Musikus” a criticism of Bach which, while doing justice to his powers as an organist, characterised his compositions as “turgid and confused in character.” Bach was incensed by the criticism and asked his friend, Professor Birnbaum of Leipzig, to answer it. Scheibe replied in 1739, with a wholly unjustified challenge of Bach's general education and culture. In his “Phoebus and Pan,” performed in 1731, Bach had already had the satisfaction of representing Scheibe as “Midas” and calling him an ass. On the whole matter see Schweitzer, i. 178 ff. and Spitta, iii. 252. Scheibe conducted the Court orchestra at Copenhagen from 1742-49 and died there in 1776.

Georg Andreas Sorge, “Court and Town Organist to the Count of Reuss and Plau at Lobenstein,” in his dedication thus commended Bach: “The great musical virtue that Your Excellency possesses is embellished with the excellent virtue of affability and unfeigned love of your neighbour.” See Schweitzer, i. 155.

The following passage from the Autobiography of Hector Berlioz (ed. Dent, p. 11) is relevant: “My father would never let me learn the piano; if he had, no doubt I should have joined the noble army of piano thumpers…Sometimes I regret my ignorance, yet, when I think of the ghastly heap of platitudes for which that unfortunate piano is made the daily excuse—insipid, shameless productions, that would be impossible if their perpetrators had to rely, as they ought, on pencil and paper alone—then I thank the fates for having forced me to compose silently and freely by saving me from the tyranny of finger-work, that grave of original thought.”

Antonio Vivaldi, A. 1743; a master of form. That fact turned the attention of German composers to him; while the popularity of his Violin Concertos also attracted musicians, like Bach, whose work at CÖthen was in close association with the Court Kapelle or band.

Bach re-wrote sixteen Vivaldi Violin Concertos for the Clavier, four of them for the Organ, and developed one into a Concerto for four Claviers and a quartet of strings which Forkel enumerates ( infra, p. 132) as a composition of Bach's (Peters bk. 260). Bach learnt from Vivaldi “clearness and plasticity of musical structure.” See article Vivaldi in Grove; Spitta, i. 411 ff; Schweitzer, i. 192 ff. The Vivaldi Clavier Concertos are in Peters bk. 217; the Organ Concertos in Novello bk. 11. Not all these transcriptions are based on Vivaldi. See Schweitzer, i. 193.

Girolamo Frescobaldi, b. 1583, d. 1644; Organist of St. Peter's, Rome.

Delphin Strungk, b. 1601, d. 1694; Organist of St. Martin's, Brunswick; composed for the Organ.

Purcell should be added to those whom Forkel mentions as Bach's models. See infra, p. 261.

* See Kirnberger's “Kunst des reinen Satzes,” p. 157. [The work was published in two volumes at Berlin in 1771, 1776.]

Transitus regularis= a passing note on the unaccented portions of the bar; transitut irregularis=a passing note on the accented part of the bar.

Spitta (iii. 315 ff. ) prints a treatise by Bach, Rules and Instructions for playing Thorough-bass or Accompaniment in Four Parts, dated 1738. Rule 3 of chap. vi. states: “Two fifths or two octaves must not occur next one another, for this is not only a fault, but it sounds wrong. To avoid this there is an old rule, that the hands must always go against one another, so that when the left goes up the right must go down, and when the right goes up the left must go down.”

Actually the third beat of the fourth bar from the end. P. bk. 1 p. 37 Fugue no. 9.

Forkel edited the Wohltemperirte Clavier for Hoffmeister in 1801.

Suite No. 6, in D minor (P. bk. 204 p. 84).

* Many people hold the opinion that the best melody is one which the largest number of persons can understand and sing. But this cannot be admitted, for if it were true, popular airs which are sung up and down the country by all classes, even the lowest, must be accounted the finest and best. I should be inclined to state the proposition conversely: a melody which attracts everybody is invariably of the most ordinary kind. In that form the statement might, perhaps, pass as a principle.

Forkel alludes to the Goldberg Variations (P. bk. 209).

P. bks. 205, 206.

P. bks. 203, 204.

P. bk. 207.

Bach wrote three Suites (Partita) and three Sonatas for Solo Violin. They date from about 1720 and are in the keys of G minor, B minor, A minor, D minor, C major, and E major (P. bk. 228). The six Violoncello Suites date from the same period and are in G major, D minor, C major, E flat major, C minor, and D major (P. bks. 238a, 238b).

Reinhard Keiser, b. 1673, d. 1739; scholar of the Leipzig Thomas-schule; settled at Hamburg, 1694; composed a number of Operas, and for a time had a great vogue.

It was precisely his agreeable operatic Arias that expressed Handel's genius in the eyes of his generation. With rare exceptions that branch of his work is obsolete and his cult survives mainly in the Messiah, which supports his quite posthumous reputation as “musician in ordinary to the Protestant religion.” See Mr. R. A. Streatfield's Handel, Introduction.

Schweitzer advances the opinion, which may perhaps be challenged, that inevitable and natural as Bach's melodies are, they do not give the impression of “effortless invention.” Bach, he holds, worked like a mathematician, who sees the whole of a problem at once, and has only to realise it in definite values. Hence, he agrees with Spitta, Bach's way of working was quite different from Beethoven's. With Beethoven the work developed by means of episodes that are independent of the theme. With Bach everything springs with mathematical certainty from the theme itself. See Schweitzer (i. 211) on Bach's methods of working.

Johann Sebastian Bach's Vierstimmige ChoralgesÄnge were published in 1765 and 1769. C. P. E. Bach was concerned only with the first volume. Forkel perhaps refers to an edition of the ChoralgesÄnge issued by Breitkopf in four parts at Leipzig in 1784, 1785, 1786, and 1787, and edited by C. P. E. Bach.

Forkel indicates the period 1720-1750. But in 1720 Bach had already completed the OrgelbÜchlein and the greater part of his Organ works.

* There are people who conclude that Bach merely perfected harmony. But if we realise what harmony is, a means to extend and emphasise musical expression, we cannot imagine it apart from melody. And when, as in Bach's case, harmony is actually an association of melodies, such a view becomes the more ridiculous. It might perhaps be reasonable to say of a composer that his influence was restricted to the sphere of melody, because we may get melody without harmony. But there cannot be real harmony without melody. Hence the composer who has perfected harmony has influenced the whole, whereas the melodist has left his mark only on a fraction of his art.

As has been pointed out already (supra, p. 14) Bach's earliest church Cantatas date from the Arnstadt period.

The statement certainly needs a caveat. No composer of his period studied his text more closely or reverently than Bach. No one, on the other hand, was more readily fired by a particular word or image in his text to give it sometimes irrelevant expression.

Of Bach's church Cantatas 206 have survived. In only 22 of them does Bach fail to introduce movements based upon the Lutheran Chorals.

We must attribute to Forkel's general ignorance of Bach's concerted church music his failure to comment upon a much more remarkable feature of the recitatives, namely, their unique treatment of the human voice as a declamatory medium, a development as remarkable as Wagner's innovations in operatic form a century later.

It was not the imperfections of the choir but the indifference of Bach's successors at St. Thomas', Leipzig, that was chiefly responsible for the neglect of his Cantatas in the latter half of the eighteenth century. Johann Friedrich Doles (1716-89) was the only Cantor who realised the greatness of his predecessor's concerted church music.

The Trauer-Ode was performed on October 17, 1727. Bach finished the score two days before the performance! A parallel case is that of Mozart, who finished the overture of Don Giovanni on the morning of the first performance of the Opera, and actually played it unrehearsed that evening.

It has been pointed out already that Bach used the St. Matthew Passion music, set to other words, for the occasion. No. 26 (“I would beside my Lord be watching”) was sung to the words “Go, Leopold, to thy rest”!

Of the 206 surviving Cantatas, 172 were written for the Leipzig choir.

Forkel's knowledge is very incomplete.

Elsewhere Forkel mentions only one of the secular Cantatas.

There is a tradition that Bach wrote a comic song, Ihr SchÖnen, hÖret an, which was widely current about the time of his death (Spitta, iii. 181 n.). The Aria, So oft ich meine Tabakspfeife, in A. M. Bach's Notenbuch of 1725, should be mentioned. See B. G. xxxix. sec. 4.

Bach's method has come down to us in treatises by two of his pupils, C. P. E. Bach's Essay and Kirnberger's Die Kunst des reinen Satzes in der Musik, to which reference has been made already.

Supra, p. 60.

Bach wrote eighteen Preludes for Beginners. They are all in P. bk. 200.

Most of these movements, which Bach called indifferently “Inventions” (ideas) and “Praeambula” (Preludes), were written in 1723. They are in P. bk. 201.

Heinrich Nikolaus Gerber, who was Bach's pupil from 1724 to 1727, particularly emphasises this feature of Bach's teaching.

See on the whole matter Spitta, iii. 117 ff. Bach's method is illustrated by his Rules and Instructions (1738) printed by Spitta, iii. 315 ff., and also by the Einige hÖchst nÖthinge Regeln at the end of A. M. Bach's Notenbuch (1725).

Mozart wrote as follows to a correspondent who asked him what his method of composition was: “I can really say no more on this subject than the following; for I myself know no more about it, and cannot account for it. When I am, as it were, completely myself, entirely alone, and of good cheer—say, travelling in a carriage, or walking after a good meal, or during the night when I cannot sleep; it is on such occasions that my ideas flow best and most abundantly. Whence and how they come, I know not; nor can I force them. Those ideas that please me I retain in memory, and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me how I may turn this or that morsel to account, so as to make a good dish of it, that is to say, agreeably to the rules of counterpoint, to the peculiarities of the various instruments, etc. All this fires my soul, and, provided I am not disturbed, my subject enlarges itself, becomes methodised and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it, like a fine picture or a beautiful statue, at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all together. What a delight this is I cannot tell!…When I proceed to write down my ideas, I take out of the bag of my memory, if I may use that phrase, what has previously been collected into it in the way I have mentioned. For this reason the committing to paper is done quickly enough, for everything is, as I said before, already finished; and it rarely differs on paper from what it was in my imagination” (Life, ed. Dent, p. 255).

Wagner, writing in 1851 to Uhlig, who could not understand how the libretto of Young Siegfried could be set to music, expresses the same idea as Mozart: “What you cannot possibly imagine is a-making of itself! I tell you, the musical phrases build themselves on these verses and periods without my having to trouble at all; everything springs as if wild from the ground” (Life, trans. Ellis, iii. p. 243).

Schumann writes in 1839: “I used to rack my brains for a long time, but now I scarcely ever scratch out a note. It all comes from within, and I often feel as if I could go on playing without ever coming to an end” (Grove, vol. iv. p. 353).

Angela Berardi's Documenti armonici. Nelli quali con varii discorsi, regole, ed essempii si dimonstrano gli studii arteficiosi della musica was published at Bologna in 1687.

Giovanni Maria Buononcini, b. c. 1640, d. 1678; Maestro di Capella at Modena; published his Musico prattico at Bologna in 1673, 1688.

Johann Joseph Fux, b. 1660, d. 1741; Kapellmeister at Vienna; published his Gradus ad Parnassum at Vienna in 1725.

See supra, p. 74.

* I speak here only of those pupils who made music their profession. But, besides these, Bach had a great many other pupils. Every dilettante in the neighbourhood desired to boast of the instruction of so great and celebrated a man. Many gave themselves out to have been his pupils who had never been taught by him.

See Spitta, i. 522; Schweitzer, i. 214 for farther details regarding Vogler, who died circ. 1765.

Gottfried August Homilius, b. 1714, d. 1785; pupil of Bach, circ. 1735. Cantor of the Kreuzschule, Dresden.

Christoph Transchel (1721-1800) taught music at Leipzig and Dresden; Bach's pupil and friend, circ. 1742. See Spitta, iii. 245.

Johann Gottlieb (or Theophilus) Goldberg, clavicenist to Count Kaiserling (infra, p. 119) for whom Bach wrote the so-called Goldberg Variations. He was born circ. 1720 and was a pupil of Bach from 1733-46.

Johann Ludwig Krebs, b. 1713, d. 1780; Bach's pupil, 1726-35. Bach said of him that he was “the best crab (Krebs) in the brook (Bach).”

Johann Christoph Altnikol, d. 1759.

Johann Friedrich Agricola, b. 1720, d. 1774; pupil of Bach circ. 1738-41; Director of the Royal Chapel, Berlin.

Pier Francesco Tosi, b. circ. 1650; singing master in London. His Opinioni de' canton antichi e moderni, o sieno osservazioni sopra il canto figurato was published at Bologna in 1723.

Johann Gottfried MÜthel, b. circ. 1720, d. circ. 1790; pupil of Bach in 1750 and resident in his house at the time of his death; organist of the Lutheran Church, Riga.

Johann Philipp Kirnberger, b. 1721, d. 1783; Bach's pupil, 1739-41.

Louisa Amalia, of Brunswick-WolfenbÜttel, wife of Frederick the Great's brother, and mother of his successor, Frederick William II. (1786-97).

The second work was published in 1773 at Berlin. For the first, see supra, p. 74.

Johann Christian Kittel, b. 1732, d. 1809; one of Bach's latest pupils; Organist of the Predigerkirche, Erfurt. He is said to have possessed a portrait of his master and to have rewarded his pupils for good playing by drawing the curtain which usually covered the picture and permitting them to look upon it. It is, perhaps, the portrait, recently discovered by Dr. Fritz Volbach, which is reproduced at p. 92 of this volume.

Nothing seems to be known of him.

Johann Martin Schubart succeeded Bach at Weimar in 1717. He was born in 1690 and died in 1721. See Spitta, i. 343.

In addition to those mentioned by Forkel, the following pupils of Bach are known: Johann Gotthilf Ziegler, of St. Ulrich's Church, Halle; J. Bernhard Bach, of Ohrdruf; Heinrich Nikolaus Gerber, Organist at Sondershausen; Samuel Anton Bach, of Meiningen; Johann Ernst Bach, of Saxe-Weimar; Johann Elias Bach, Cantor at Schweinfurt; Johann Tobias Krebs, organist at ButtelstÄdt, and his sons, Johann Ludwig, Johann Tobias, and Johann Carl; Johann Schneider, organist of St. Nicolas', Leipzig; Georg Friedrich Einicke, Cantor at Frankenhausen; Johann Friedrich Doles, Bach's second successor in the Cantorate of St. Thomas'; Rudolph Straube, who afterwards settled in England; Christoph Nichelmann, cembalist to Frederick the Great; Christian GrÄbner, and Carl Hartwig.

For full information upon Bach's pupils see Spitta, i. 522 ff., ii. 47 ff., iii. 116 ff., 239 ff., and the relative articles in Grove's Dictionary.

Forkel does not do justice to his friend. C. P. E. Bach is recognised as the immediate precursor of Haydn and as the link between the latter and J. S. Bach.

Mozart had a very particular regard for him. See Schweitzer i. 220 on his brothers' abilities as composers.

Spitta (iii. 262) quotes a characteristic anecdote. To some one who praised his skill on the Organ Bach replied: “There is nothing wonderful about it. You merely strike the right note at the right moment and the Organ does the rest.”

See supra, p. 19. Bach himself certainly was the challenger.

When Handel was at Venice in 1708, Domenico Scarlatti, hearing a stranger touching the Harpsichord at a masquerade, exclaimed, “That must either be the famous Saxon or the Devil” (Rockstro's George Frederick Handel, p. 48). Streatfield (p. 145) mentions a similar event which took place in 1737. Hearing a stranger playing a Fugue in one of the Flemish churches, the organist embraced him, saying, “You can be no other but the great Handel.”

Heinrich Lorenz Hurlebusch was organist of three churches in Brunswick. His visit to Bach took place in 1730, seemingly. See Schweitzer, i. 154.

Schweitzer prints an appreciation of Hurlebusch which suggests that he was a man of distinct ability and “a paragon of politeness.”

Antonio Caldara, b. circ. 1670; vice-Kapellmeister at Vienna, 1716-36; d. 1736.

Johann Adolph Hasse, b. 1699, d. 1783; Kapellmeister and Director of the Opera, Dresden.

Johann Gottlieb Graun, b. circ. 1698, d. 1771; conductor of the royal Kapelle, Berlin.

Carl Heinrich Graun, b. 1701, d. 1759; like his brother, in Frederick the Great's service.

Georg Philipp Telemann, b. 1681, d. 1767; Cantor and Musik-direktor in Hamburg.

Johann Dismas Zelenka, b. 1679 or 1681, d. 1745; Court Composer at Dresden.

Franz Benda, b. 1709, d. 1786; Concertmeister to Frederick the Great upon the death of J. G. Graun.

On Telemann's influence on Bach see Spitta, ii. 437.

Handel's second visit to Halle took place in June 1729. His mother's illness detained him. See Streatfield, p. 110.

Handel's third visit took place in July-August 1760. He was laid up by a severe accident in the course of it, and appears to have not recovered from it at the time of Bach's death.

Faustina Bordoni, b. 1693, d. 1783; m. Hasse in 1730. She was one of the most famous singers of the day.

The original has “Liederchen.”

See supra, p. 37. Compare Handel's case. He received a royal pension of £600 per annum, and though he was twice a bankrupt, left £20,000.

The Duke was the nephew of, and succeeded, Duke Wilhelm Ernst in 1728.

The Canonic Variations on the melody are published by Novello bk. 19, p. 73. For the Mizler Society, see supra, p. xxiv.

Spitta (iii. 294) regards the statement as incorrect and holds that the work was engraved before Bach joined Mizler's Society in June 1747. Pirro (p. 215) supports Spitta and regards the Variations as having been engraved at NÜrnberg “vers 1746.”

The first of Bach's works to be engraved was the MÜhlhausen Cantata, Gott ist mein KÖnig, (parts only). It was published in 1708, when Bach was twenty-three years old. Forkel refers to Partita I. in the first Part of the ClavierÜbung (P. bk. 205 p. 4). It was engraved in 1726, when Bach was forty-one years old. In 1731 he republished it, with five others that had appeared in the interval, in the first Part of the ClavierÜbung (P. bks. 205, 206).

Forkel's rather casual critical axioms seem to be as follows: “Publication postulates excellence”; “An amended MS. implies that the original text was not a finished work of art.”

It was the first work engraved by Bach himself, though the parts of the Cantata Gott ist mein KÖnig had been published by the Town Council at MÜhlhausen in 1708.

The work was published at Leipzig “in Commission bey Boetii Seel, hinderlassenen Tochter, unter den Rath-hause.” The Suites, or Partitas (P. bks. 205, 206), are in B flat major, C minor, A minor, D major, G major, E minor.

In 1801 Hoffmeister and KÜhnel unsuccessfully attempted to publish Bach's works by subscription.

The Partita in B minor (P. bk. 208 p. 20).

The work was published in 1735. The Italian Concerto in F major is published by Novello and P. bk. 207.

The work appeared in 1739. It was intended to contain works for the Organ only; the four Duetti are incongruous and seem to have crept in by mistake. See the scheme of the work discussed in Terry, Bach's Chorals, Part III. The Choral Preludes are in Novello's ed., bk. xvi.

The work was published circ. 1747-50. Five of the six movements certainly, and the sixth with practical certainty, are adaptations to the Organ of movements out of Bach's Church Cantatas. See Parry, Bach, p. 535. The Chorals are in Novello's ed., bk. xvi.

See supra, p. 65.

Thus the pedal sounds above the part given to the second manual and is often the topmost part. See Novello's ed., bk. xvi. 4.

Published circ. 1742; the so-called “Goldberg Variations.” They are in P. bk. 209.

Variation No. 10 is a Fughetta in four parts.

Ten of the Variations are marked “a 2 Clav.,” that is, for two keyboards or manuals: Nos. 8, 11, 13, 14, 17, 20, 23, 25, 26, 28. Nos. 5, 7, 29 are marked “a 1 ovvero 2 Clav.”

The movement is constructed upon two merry folk-songs, Kraut and RÜben haben mich vertrieben, and Ich bin so lang nicht bei dir gewirt.

See supra, p. 101.

In fact Bach wrote the early Aria variata alla maniera Italiana (Peters bk. 215, p. 12) for the Clavier. For the Organ he wrote four sets of Variations upon as many Choral melodies (Novello bk. xix.). But all except the Goldberg Variations are youthful works, and in his maturity Bach clearly had no liking for the form. The theme of the Goldberg Variations, moreover, is itself a youthful idea; at least it dates back to as early as 1725, and is found in A. M. Bach's Notenbuch (No. 26, Aria in G major).

There is no reference to these corrigenda in the B. G. edition.

The work has been referred to already in connection with Bach's membership of Mizler's Society (supra, p. 112). It was composed presumably circ. 1746 and in point of technical skill is the most brilliant of Bach's instrumental works. Forkel states that it was engraved after June 1747, when Bach joined Mizler's Society. Spitta (iii. 295) is of opinion that it was already engraved by then. It is in bk. xix. of Novello's edition.

Supra, p. 25.

The presentation copy of the work, which Bach sent to Frederick along with a dedicatory letter (July 7, 1747), is in the Berlin Amalienbibliothek and proves that only the first third of the work, as far as the “Ricercare a sei voci” (see B.G. XXXI. (2)) was sent then. The latter and the remaining canons were dispatched subsequently probably by the hand of C. P. E. Bach. The six-part Ricercare was a particular compliment to the King. Frederick had desired Bach on his visit to play a Fugue in six parts but left it to the player to select his theme. Bach now employed the thema regium for the purpose. The first reissue of the work was by Breitkopf and Haertel in 1832. Peters (bk. 219) brought it out in 1866. See Schweitzer, i. 417 IV. and Spitta, iii. 191 ff. and 292.

In C minor (P. bk. 237 p. 3).

The statement is inaccurate. The work was written for the most part in 1749 and the greater part of it was prepared for engraving by Bach himself during his last illness. None of his elder sons was with him at his death, and the blunders that disfigure the engraved copy show that they clumsily finished their father's work. It is in P. bk. 218.

Friedrich Wilhelm Marpurg, b. 1718, d. 1795.

The work was published shortly after Bach's death, but had no sale. C. P. E. Bach then commissioned Marpurg to write a preface, and the new edition was published at the Leipzig Fair, Easter, 1762. In four years only about thirty copies were sold. See Spitta, iii. 197 ff. and Schweitzer, i. 423 ff.

In 1756. See C. P. E. Bach's advertisement in Felix Grenier, p. 232.

The work contains six Fugues and four canons upon the same theme; an unfinished Fugue “a tre soggetti,” the first four notes of the third of which spell B A C H; and the Choral Prelude “Wenn wir in hÖchsten NÖthen sein.”

Schweitzer explains: “His purpose in this work being a purely theoretical one, Bach writes the Fugues out in score, and calls them ‘counterpoints’ ”

Supra, p. 27. The movement is in N. bk. 17 p. 85. It is not certain that Bach intended the Prelude or the unfinished Fugue to be included.

C. P. E. Bach was only concerned with the first volume. Erk, in his edition of the ChoralgesÄnge, conjectures that Kirnberger was responsible for the second.

The four volumes were published at Leipzig between 1784-87. Spitta states that C. P. E. Bach was the editor. Erk joins Kirnberger with him in that position. As C. P. E. Bach died in 1788 Kirnberger's association with the work is probable, especially if he had already been responsible for the 1769 volume.

Bach's Clavier school consisted of eighteen Preludes for beginners (all in B.G. XXXVI.); the two-part and three-part Inventions; and the Well-tempered Clavier. The six Preludes mentioned by Forkel, and which alone he knew, were published by him for the first time. Seven more are found in Wilhelm Friedemann's ClavierbÜchlein (B.G. XLV. (1)), and the remaining five have survived in texts handed down by others of Bach's pupils. The eighteen are in P. bk. 200.

The Autograph was written at CÖthen and is dated 1723. It also contains the fifteen Symphonies, or three-part Inventions mentioned in paragraph 3. Both Inventions and Symphonies are in F. bk. 201. According to Spitta (ii. 57 n.) the Inventions were published at Leipzig in 1763. See also Schweitzer, i. 328 ff.

See the previous note.

The second Part was compiled in 1744 and Bach's Autograph of it, though not the earliest Autograph, is in the British Museum. See Schweitzer, i. 331 ff. and Spitta, ii. 161 ff. The whole work is in P. bks. 1, 2; or 1a, 1b; or 2790a, 2790b.

No. 20. Spitta (ii. 164) attributes it to the years 1707 or 1708. Schweitzer (i. 332) also regards it as a youthful piece written, moreover, for the pedal Clavicembalo.

Nos. 15 and 16. Spitta, admitting that the two do not rank with the most interesting in the collection, finds no indication of their being of different date from the best movements.

No. 1. Here Spitta (ii. 165 n.) challenges Forkel.

Nos. 11 and 12. In regard to No. 12 (F minor) Spitta holds Forkel to be in error. As to No. 11, he expresses the same opinion as in note 3, supra.

The date 1744 places the second Part among Bach's latest compositions. On the other hand, like the first Part, it contained work of earlier date.

Chromatic Fantasia and Fugue in D minor (P. bk. 207 p. 4). It probably dates from circ. 1720-23.

The MS. was discovered in 1876 and is now at Dresden. It was written circ. 1738 and disproves Forkel's conjecture that the fugue did not belong to the Fantasia and is only partially by Bach. The Fugue contains forty-seven bars. As the Autograph is a fair copy the Fugue cannot be called unfinished. See Spitta, iii. 182. The Fantasia is in P. bk. 207 p. 50; the Fugue in P. bk. 212 p. 88. See B.C. xxxvi., xxxviii., and xlii. for other Clavier Fantasias.

The true explanation seems to be that the Prelude of the first Suite (A major) is based upon a Gigue by Charles Dieupart (d. circ. 1740), a popular teacher and composer in England. The words fait pour les Anglois, which head the A major Suite in an early MS., have been wrongly interpreted as applying to the whole set of six. They merely indicate Dieupart's borrowed Gigue. See Grove, vol. i. 701, and Parry, J. S. Bach, p. 463. A copy of the work exists, of date 1724-27, made by one of Bach's pupils. But the composition of the Suites may certainly be assigned to the CÖthen period. They are published in P. bks. 203, 204.

The French Suites undoubtedly date back to the CÖthen period, since they figure, though incomplete, in the Notenbuch of A. M. Bach (1722). They are published in P. bk. 202.

Forkel's incomplete catalogue may be compared with the Bachgesellschaft volumes III., XIV., XXV. (1), XXXI. (2), XXXVI., XLIL, XLIII. (1 and 2), XLV. (1). See generally Schweitzer, ch. 15, and Pirro, pp. 218 ff.

P. bks. 205, 206, 208, 212 (fragment in F minor), 214, 215, 1959.

P. bks. 200, 210, 211, 212, 214, 215, 1959.

For the most part these youthful works will be found in B.G. XXXVI.

P. bk. 207 p. 16.

In C minor (P. bk. 200 p. 10).

In P. bks. 232, 233.

Suite in A major (P. bk. 236), Sonata in E minor (P. bk. 236), Fugue in G minor (P. bk. 236), four Inventions (P. bk. 2957), Sonata in G minor (BG. ix. 274; not in P.), Sonata in C major for 2 Violins and Clavier (P. bk. 237).

There are six Sonatas for Flute and Clavier, in B minor, E flat major, A minor, C major, E minor, E major (P. bks. 234, 235).

There are three Sonatas for Clavier and Gamba, in G major, D major, G minor (P. bk. 239).

Forkel omits two Sonatas for Violin, Flute, and Clavier, in G major and C minor (both in P. bk. 237).

As Forkol mentions in secs. 4, 5, 6 the Concertos for two, three, and four Claviers, perhaps he had in mind here seven Concertos for Clavier and Orchestra (P. bks. 248-254). A Concerto for Clavier, Violin, Flute, and Orchestra (P. bk. 255 p. 4) in A minor also should be mentioned. Also an Overture, in G minor, for Clavier and Strings (B.G. XLV. (1) p. 190; not in P.)

P. bk. 257 p. 4.

P. bk. 256 p. 4.

There are, in fact, three Concertos for two Claviers and Orchestra: two in C minor and one in C major. Forkel refers to only one of the former and regards it as antiquated by comparison with the one in C major. Spitta (iii. 144) attributes the C major to 1730. Forkel's C minor in its original form was a Concerto for two Violins, now lost. The other C minor Concerto is identical with the Concerto in D minor for two Violins and is in P. 257b. Spitta (iii. 138) dates it 1736. See Schweitzer, i. 413.

In D minor and C major (P. bks. 258, 259). The tradition is that Bach wrote these two Concertos in order to play them with his elder sons. Spitta (iii. 144) finds the tradition trustworthy. Hence the two works must have been written by c. 1733 at latest, before the sons left home. See also Schweitzer, i. 414.

In A minor (P. bk. 260). This is not an original composition, but is an arrangement by Bach of a Vivaldi Concerto for four Violins. Spitta (iii. 149) assigns it to the same period as the Concertos for three Claviers, c. 1733. See B.G. XLIII. (1) infra.

The pedal on the small German Organ had only the compass of an octave.

The Great Preludes and Fugues are, with one exception, in B.G. XV. The Prelude and Fugue in E flat was published by Bach in the third Part of the ClavierÜbung. Its Fugue is known as the “St. Anne's.”

From the figures printed by Forkel the twelve can be identified as follows (the references in parentheses are to the Novello edition of Bach's Organ works):

The Passacaglia in C minor (Novello bk. 10 p. 214) was written originally for the Clavicembalo and pedal. It belongs to the later Weimar period, i.e. circ. 1715. See Spitta, i. 588 and Schweitzer, i. 280.

They are all printed in Novello bk. 19, and are three in number, on the melodies “Christ, der du bist der helle Tag”, “O Gott, du frommer Gott,” and “Sei gegrÜsset, Jesu gÜtig.” The pedal is only required in one movement of the first, in none of the second, and considerably in the third. Without question all three date from Bach's earliest period, but whether they were written at Arnstadt or LÜneburg cannot be stated.

The fullest collection of these miscellaneous Organ Choral Preludes is in B.G. XL. Not counting variant readings they number fifty-two, besides two fragments and thirteen of doubtful authenticity, of which two are sets of Variations. The Novello edition contains fifty-two in bks. 18 and 19. To these must be added the “Eighteen” Preludes on Choral Melodies, which Forkel nowhere mentions, as well as the third Part of the ClavierÜbung, the SchÜbler Chorals, and the Variations on Vom Himmel hoch, to which he has already made reference in the first section of this chapter. As he does not mention it specifically, it is to be inferred that Forkel was ignorant of the existence of the OrgelbÜchlein; otherwise he could hardly have failed to introduce it in this section. All Bach's Choral Preludes, miscellaneous and in collections made by himself, are in Novello's edition, bks. 15-19. A useful key to their melodies is provided by bk. 20. For more detailed information see Terry, Bach's Chorals, Part III.

The large number of MSS. of many of the miscellaneous Preludes is made evident in the introduction to B.G. XL.

The Sonatas in E flat major, C minor, and D minor are in N. bk. 4; E minor, C major, G major in N. bk. 5.

The so-called “Sonatas” were actually written for a Clavicembalo with two manuals and a pedal. Bach's Autograph of them belonged to his second son and an earlier copy of them to Wilhelm Friedemann. Both are now in the Berlin Royal Library. Friedemann went to Dresden as Organist in 1733 and Spitta is of opinion that the whole of the six Sonatas were in existence by or soon after 1727. If so, they must be regarded as the outcome of Bach's early years at Leipzig. See Spitta, iii. 212 ff. and Schweitzer, i. 278.

None are extant. Spitta, iii. 213 n., conjectures that Forkel refers to the Trios in D minor and C minor (N. bks. 2 p. 54, 12 p. 108) and the Pastorale in F major (N. bk. 12 p. 102.) His incomplete knowledge of the Organ works is revealed by Appendix V. infra.

This is a pure conjecture and Schweitzer scouts it (i. 416 n.).

The oldest copy of them dates from circ. 1720; they belong therefore to the late CÖthen period. The 1720 MS. is in A. M. Bach's handwriting and was discovered in 1814 at Petrograd among old papers about to be sent away to a butter dealer. The Sonatas are in P. bk. 228.

They also date from the CÖthen period and are in P. bk. 238a, 238b.

Forkel omits to mention the Brandenburg Concertos (P. bks. 261-266); the Overtures in C major (P. bk. 267), B minor (P. bk. 268), D major (P. bk. 269), D major (P. bk. 2068); and the Violin Concertos in A minor (P. bk. 229), E major (P. bk. 230), and (for two Violins) in D minor (P. bk. 231). In B.G. XXI. (1) is a Symphonic movement, in D major, for Violin and orchestra. A Sinfonia in F major (B.G. XXXI. 96) is another version of the first Brandenburg Concerto. The Clavier Concertos have been mentioned supra.

The set of five is complete only for Christmas Day, Feast of the Circumcision, Whitsunday (one of the five is of doubtful authenticity), Purification of the B.V.M., and Feast of St. Michael the Archangel. See Terry, Bach's Chorals, Part II. 2 ff.

In giving the number of Passions as five, Forkel repeats the statement of the Nekrolog. The number corresponds with the five sets of Church Cantatas which Bach is known to have written. It is, however, exceedingly doubtful whether Bach wrote more than four Passions. Only those according to St. Matthew and St. John have come down to us from C. P. E. Bach, who was left the Autographs of both by his father. The St. John Passion was first performed in 1724 and the St. Matthew Passion in 1729. Picander, Bach's librettist, certainly wrote two other Passion texts, one of which was written for Good Friday 1725, and the second, based on St. Mark's Gospel, was actually performed at St. Thomas', Leipzig, on Good Friday 1731. Spitta (ii. 505) gives good reason to hold that Bach's music for this Passion was adapted from the Trauer-Ode, which he had written in 1727 in memory of Queen Christiane Eberhardine. But of the 1725 Passion there is no trace. If it ever existed, its loss probably may be assigned to Wilhelm Friedemann's carelessness, to whom presumably it was assigned in the division of Bach's property after his death. But even so, we have no more than four Passions. There exists, however, a fifth Passion according to St. Luke, which is undoubtedly in Bach's Autograph, and which Spitta is inclined to attribute to Bach himself. It is published by Breitkopf and Haertel, but is generally regarded as being by another composer than Bach, who probably copied it for use at Leipzig. On the whole matter see Spitta, ii. 504 ff., Schweitzer, chap. xxvi., and the Bach-Jahrbuch for 1911 (Publications of the New Bachgesellschaft XII. (2)).

Other than the Passions, the only Oratorios are the Christmas Oratorio, (1734), the Easter Oratorio (c. 1736), and Ascension Oratorio (c. 1735).

Besides the B minor Mass (1733-? 38) Bach wrote four miscalled “short” Masses, in F major, A major, G minor, and G major. They all belong to the Leipzig period (c. 1739).

Besides the setting of the Sanctus in the B minor Mass there are four detached settings, in C major, D major, D minor, and G major. Of these only that in D major is probably by Bach (c. 1723).

The music for Saints' Days is included in the church Cantatas. For the Birthday Odes see supra, Chap. IIA.

Besides the Trauer-Ode, three or four of the church Cantatas and certainly three of the Motets were written for funerals. See Terry, op. cit., pp. 24, 44.

Among the church Cantatas there are at least five for use at weddings. Bach wrote also three secular wedding Cantatas: Weichet nur, betrÜbte Schatten (c. 1730); O holder Tag (11749); the third (1728) has disappeared.

Two Italian Cantatas—Amore traditore and Non sa che sia dolore—have come down to us. A third, Andro dall colle al prato, is lost. See B.G. XI. (ii.), XXIX.

Only six are genuine. See infra, p. 141.

Of the Motets that have come down to us as his, only six are Bach's. Forkel mentions five of them in secs. 7 and 3 of the next paragraph; he omits Lobet den Herrn, alle Heiden. In 1802-3 Breitkopf and Haertel published six Motets—the five mentioned by Forkel and another, Ich lasse dich nicht, of which Bach made a copy, but whose composer actually was Johann Christoph Bach. We know that Bach composed at least one Latin Motet for double chorus, and Friedemann's share of his father's autographs may have contained it and others known to Forkel but no longer extant.

The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin, contains one of the most important Bach collections, but it has long been superseded by the Royal Library there as the chief repository of Bach's Autographs.

The Amalienbibliothek has only one Autograph, namely, Cantata 34, O ewiges Feuer. The rest are early copies.

Cantata 53. No Autograph of this Cantata exists, and the copies from which the B.G. edition was printed are in the Amalienbibliothek.

On the contrary, the Cantata belongs to the Leipzig period, 1723-34.

None of the four “short” Masses is in five parts. All have instrumental accompaniments. The autograph scores of the Masses in A major and G major are in Messrs. Breitkopf and Haertel's possession. Copies of the other two scores, in Altnikol's handwriting, are in the Berlin Royal Library. See Introduction to B.G. VIII.

An eight-part Mass in G was performed at a Leipzig Gewandhaus Concert on March 7, 1805, and was published later in the year by Breitkopf and Haertel. The score is admittedly, for the greater part of the work, in Bach's hand and is in the Berlin Royal Library. The publication of the work was under consideration by the Bachgesellschaft in 1858. That it is not by Bach is generally held. It has been attributed to Johann Ludwig Bach (d. 1741). See Genealogical Table II.

The St. Matthew Passion.

Perhaps Forkel indicates the short Sanctus in Richter's edition of the ChoralgesÄnge, No. 123, or that in B.G. XLI. p. 177.

This is the first Chorus of Cantata No. 38. It is printed as a separate Motet in Erk, No. 150.

Forkel's list is complete except for Lobet den Herrn, alle Heiden.

The opening Chorus of Cantata 144.

Forkel refers to the Peasant Cantata, or Mer hahn en neue Oberkeet, performed on August 30, 1742. Forkel clearly was not familiar with Bach's other secular Cantatas. See B.G. XI. (ii.), XX. (ii.), XXIX. The Autograph score of the Peasant Cantata is in the Berlin Royal Library.

Forkel's suggestion was carried out, with varying thoroughness, in the Bachgesellschaft edition.

Forkel's judgment is at fault. See Schweitzer, i. 336.

Also in Wilhelm Friedemann's ClavierbÜchlein. See Schweitzer, i. 279; Spitta, ii. 166.

“Since you cannot please everybody by your actions and work, strive at least to satisfy a few; popular appreciation encourages bad art.”—Schiller's Votiftafeln

The Cantatas are classified under Appendix II.

The references are to Peters' edition. Excepting bk. 1959, which contains pieces of doubtful authenticity, every number printed by Peters is entered in the Chronological Catalogue.

There are three other Sonatas, in A minor, C major, D minor, none of which is an original composition. They are printed in P. bk. 213. The first and second are adaptations of material in Reinken's Hortus Musicus. The third is a transcription of the second Solo Sonata for Violin.

The references are to Novello's twelve Books of Bach's Organ Works, edited by J. F. Bridge and J. Higgs. The edition is complete, and contains every movement included in Alfred Dorffel's “Thematisohos Verzeichniss” (second edition, 1882) except his No. 24 on p. 72; Nos. 6 and 8 on page 85; the “Kleines harmonisches Labyrinth” (DÖrffel, p. 88, tigs. 131-33), the genuineness of which is questioned by Spitta (ii. 43); and figs. 136-37 on p. 88. The Novello edition also follows Rust, against Spitta's judgment, in printing the “Fantasia con Imitazione” (bk. 12 p. 71) as an Organ instead of as a Clavier piece. Books 15-19 print the Choral Preludes. See the Peters and Novello editions collated in Appendix V.

Printed as a “Toccata” in E major in B.G. XV. p. 276.

Spitta (ii. 620, 718) mentions a Birthday Cantata written in 1717-1721(?), the title of which is lost.

The references are to Peters' edition.

The D minor contains the famous Chaconne.

The references are to Peters' edition. In the B.G. edition the Orchestral music is included in the Chamber Music volumes.

Pirro, p. 228, holds that the first two (C major and B minor) were written at CÖthen and the last two (D major and D major) at Leipzig. Schweitzer (i. 402) regards it as not clear in which period the Overtures were written.

In A minor, E major, G major. The G major figures as the fourth Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk. 248). The A minor and E major were also converted into Clavier Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier Concerto (bk. 264) preserves a lost Violin Concerto in the same key, and the one in F minor (bk. 250) corresponds with a lost Violin Concerto in G minor (bks. 3068, 3069).

Also arranged as a Concerto for two Claviers (C minor) in P. bk. 257b.

Bach wrote another Magnificat, the music of which is lost. See Spitta, ii. 374.

All except the Sanctus in D major are of doubtful authenticity. See Schweitzer, ii. 328 and Spitta, iii. 41 n.

The Concerto in C minor (P. bk. 257) is an arrangement of one for two Violins now lost. The third, also in C minor, is identical with the D minor Concerto for two Violins and is published in that key in the Peters edition. The remaining Concerto, in C major, is the only one originally written for the Clavier. See Schweitzer, i. 413.

The work is an amplification of the Prelude and Fugue in A minor, already catalogued among the Clavier works of the CÖthen period. Schweitzer (i. 340) concludes that it was rearranged as an orchestral Concerto early in the thirties, when Bach needed Concertos for the Telemann Society's Concerts.

The scheme of the G major and C major Preludes and Fugues dates back to the Weimar period. See Spitta, iii. 208; Parry, p. 67.

These so-called “Organ” Sonatas were written for the Pedal Clavicembalo.

The Clavier Suites in E minor, E major, and C minor are arrangements of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.

In Mizler's Nekrolog.

Supra, p. 138.

See the present writer's Bach's Chorals, Part II. p. 1.

Ibid., p. 4. Four more Cantatas, of doubtful authenticity, are published by the Bachgesellschaft, Jahrgang XLI.

See the Table of Cantatas set out in chronological order.

Nos. 18, 24, 28, 59, 61, 142, 160.

Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166, 168, 185, 186 (part).

Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one version), Ehre sei Gott (incomplete).

Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.

Nos. 47, 141.

Nos. 50, 191, 196.

Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.

No. 15: Denn du wirst meine Seele nichfc in der HÖlle lassen.

The intimate personal note of the opening words of the Recitative—“Mein Jesus ware tot”—reveals him.

Spitta, i. 231.

Schweitzer, i. 103.

No. 131: Aus der Tiefe rufe ich, Herr, zu dir.

No. 71: Gott ist mein KÜonig.

No. 196: Dorr Herr denket an uns.

See Spitta, i. 359 ff.

Ibid., i. 374. On the other hand, Baoh's art was visibly affected by Pietistic influences, as Schweitzer, i. 169, shows.

Eilmar died in 1715 (Spitta, i. 361).

No. 189: Meine Seele rÜhmt und preist.

No. 150: Nach dir, Herr, verlanget mich.

Vol. i. 456.

J.S. Bach, p. 87.

The conclusion is based on letters printed by Spitta, i. 517.

Nos. 18, 61, 142, 160, and 69. See Table.

He was born May 12, 1671 (Spitta, i. 470).

The volume is entitled Erdmann Neumeisters Geistliche Cantaten statt einer Kirchen-Musik. Die zweyte Auflage.

Entitled Herrn Erdmann Neumeisters FÜnffache Kirchen-Andachten, Leipzig, 1716.

Spitta, i. 474.

Vol. i. 466 ff.

See the Aria (Duetto) of Cantata No. 28.

See particularly the Litanei in Cantata No. 18.

Telemann was Carl Philipp Emmanuel Bach's godfather (Spitta, i. 486).

Nos. 24, 28, 69, 61.

No. 18.

Nos. 142, 160.

See Spitta, i. 630.

His influence is also detected in Nos. 27, 56, 199.

Telemann also set the libretti of Bach's Nos. 18 and 142. See Spitta, i. 487.

Vol. i. 530.

Wustmann, Joh. Seb. Bach's Kantaten-Texte (1913), p. xxii n. The cycle is entitled Evangelisches Andachts-Opffer.

Only Nos. 70, 147, and 186 are taken from it.

Entitled Evangelische Sonn- und Fest-Tages Andachten.

Vol. ii. 131.

For instance, the Aria in Cantata No. 168, beginning:

Spitta, ii. 5; Schweitzer, i. 106.

Spitta, ii. 3.

The two Cantatas are Nos. 47 and 141.

Wustmann, p. xxiii.

Spitta, ii. 12 n.

The Choral is absent from No. 141. It should be “Christe, du Lamm Gotten.”

Schweitzer, ii. 147. The Cantata is No. 47, Wer sich selbst erhÖhet.

Vol. ii. 13.

Vol. ii. 147.

No. 141: Das ist je gewisslich wahr.

Vol. ii. 15.

Vol. ii. 148.

Johann Sebastian Bach, p. 108.

Op. cit., Note 195.

Spitta, ii. 147.

Nos. 134 and 173.

No. 134: Ein Herz, das seinen Jesum lebend weiss.

No. 173: ErhÖtes Fleisch und Blut.

No. 75: Die Elenden sollen essen, sung on May 30, the day preceding Bach's formal induction.

For instance, Nos. 67 and 102.

Wustmann, by implication, only associates eight libretti (Cantatas Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss. All of them belong to the early years, 1723-27.

See Nos. 75 and 105.

See Nos. 25, 42, 77. As an extreme illustration, the first Recitative of No. 25 begins with the words, Die ganze Welt ist nur ein Hospital.

Vol. ii. 388.

Cantata No. 65: Sie werden aus Saba Alle kommen.

Vol. i. 361.

Wustmann, p. xxiv.

Ibid.

See the Table.

They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171, 190,195, and the incomplete Cantata, Ehre sei Gott in der HÖhe.

Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194. See the Table.

No. 4: Christ lag in Todesbanden.

Vol. ii. 393.

See the Table: No. 112, Derr herr ist mein getreuer Hirt.

Nos. 8, 20, 93.

No. 148: Bringet dem Herrn Ehre seines Namens.

No. 8: Liebster Gott, wann werd' ich sterben.

No. 181: Leichtgesinnte Flattergeister.

Vol. ii. 340 ff.

The volume is entitled Sammlung Erbaulicher Gedancken, Bey und Über gewohnlichen Sonn- und Festtags-Evangelien, Leipzig.

Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr, Leipzig, 1728. He reprinted them in 1732 in his Satyrische Gedichte.

But see Cantata No. 148 and Spitta, ii. 693. Also No. 19.

Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and the Cantata Ehre sei Gott.

No. 157.

Nos. 19, 30, 36, 84, 148, 197.

Vol. ii. 346.

Nos. 32, 48, 67, 90, 144, 181.

Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154, 194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144, 145, 148, for Bach's collaboration with Picander.

Besides No. 80, a Choral Cantata.

Schweitzer, ii. 332 ff.

Entitled Versuch in gebundener Schreibart.

Vol. iii. 71.

Vol. ii. 331 n.

No. 85: Ich bin ein guter Hirt.

Note 60.

Vol. ii. 331 n.

No. 33: Gott fÄret auf mit Jauchzen.

See Table.

No. 74.

Op. cit., p. 377.

See Table.

Nos. 100 and 107, both of them c. 1735.

No. 8, for the Sixteenth Sunday after Trinity.

No. 93, for the Fifth Sunday after Trinity (1728).

Nos. 9 (? 1731), 99 (c. 1733).

No. 122.

No. 80.

Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127, 138, 140.

Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125, 126, 130, 139, 178, 180.

Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.

Nos. 3, 38, 123, 133, 135.

P. xxiv.

Nos. 3, 123, 133, 135.

See supra, p. 180.

Nos. 17, 34, 43, 151, 197, and Herr Gott, Beherrsoher aller Dinge.

Nos. 30, 32, 48, 57, 90.

Nos. 45, 79, 110, 143.

No. 28.

No. 50.

No. 118.

Nos. 6, 11, 13, 146, 193.

See Bach's Chorals, Part II., Introduction.

The above article and the Table that follows were communicated originally to the Musical Association on March 28, 1918.

The Church Cantatas are published by Peters and also by Breitkopf and Haertel. A prefixed asterisk indicates that an English edition of the Cantata or Oratorio is published by Novello or Breitkopf and Haertel.

The Organ music is published by Novello, to whose edition references are given (N.), Peters, and Breitkopf and Haertel. collation of the Peters and Novello editions is given in Appendix V.

The Clavier and Instrumental music is published by Peters, to whose edition references are given (P.).

A Variant of the first Invention is on p. 342 of the volume. A Variant of Sinfonia ix. is on p. vi. of the Nachtrag.

A Variant is in B.G. XI.

A Variant is in P. bk. 244 p. 109.

“If genuine, the Sonata is a youthful work,” remarks Schweitzer, i. 401 n.

Additional movements of the second, third, and fourth Suites are in Appendix II. of B.G. XXXVI.

The volume contains an Appendix of Variants, etc. See also B.G. XLV. (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix I. of B.G. XXXVI.

See publications of the N.B.G. xiv. (2) no. 5.

See publications of the N.B.G. vii. (3) no. 3.

For this work, in its original form as a Violin Concerto, see N.B.G. XVIII. (1 and 2).

The D major (No. 3) and G minor (No. 7) Concertos are identical with the Violin Concertos in E major and A minor. See B.G. XXI. (1). No. 6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G. XIX. no. 4.

In a shortened form this work appears also as a Sinfonia in F major. See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).

Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7, and also B.G. XLV. (1), Appendix, p. 233.

Identical with the D major Clavier Concerto. See B.G. XVII. no. 3, and N.B.G. VIII. (1)

Identical with the Concerto for two Claviers in C minor. See B.G. XXI. (2) no. 3.

The movement is described as being from “einer unbekannten Kirchencantate” for four voices and Orchestra. The Autograph is incomplete. The movement is not published elsewhere than in the B.G. edition.

Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI. (1) no. 3. Also pp. 131, 158, 160, supra.

Also in N.B.G. XVII. (1 and 2).

For an exposition of Bach's design in the “OrgelbÜchlein,” see the present writer's articles in “The Musical Times” for January_March 1917, and “Bach's Chorals,” Part III. See N.B.G. II. (1) for an arrangement of the Preludes for two pianofortes.

See B.G. XLII. for a Clavier version.

See B.G. XLII. for a Clavier version.

Boosey and Co. also publish an English edition.

This is a shortened form of the first Brandenberg Concerto (see B.G. XIX. no. 1). It consists of the Allegro, Adagio, Minuet, Trio I. and Trio II. of the latter, and omits its second Allegro and Polacca.

The Appendix contains Joh. Philipp Kernberger's solutions of the Canons and his expansion of the figured bass of the Clavier part of the Sonata.

See publications of the N.B.G. XIV. (2) no. 2.

See publications of the N.B.G. XIV. (2) no. 2.

Text and music are identical with the version in B.G. XX. (2).

Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).

The subject of the Fughetta is the same as that of Fugue No. 17 in the second part of the “Well-tempered Clavier.”

The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is his No. 10. It is the same subject an that of Fugue 16 in the second part of the “Well-tempered Clavier.” An alternative Prelude (P. 214 p. 78) is in the Appendix (p. 220).

They are described as “zur vierten franzÖsischen Suite.” The Prelude is in P. bk. 1959 p. 67.

Written respectively for the second and third French Suites (not in P.).

A fingered exercise.

The Appendices of the volume contain variant readings of movements elsewhere contained in it, and of the first, third, and sixth Preludes and Fugues in the second part of the “Well-tempered Clavier.”

See B.G. XLV. (1) Appendix.

Only nos. 2 and 3 are derived from Vivaldi.

A variant text is in B.G. XLII. 282.

Vivaldi's text of the first movement is in the Appendix (p. 229).

See B.G. XLIII. (2) sec. 1 no. 2.

The fugal subject is taken from the Allabreve.

Bach's instrumental accompaniments are in the Appendix (p. 143).

C. P. E. Bach's collection of his father's Choral settings was published by Immanuel Breitkopf in four volumes between the years 1784-87. They are all inoluded in Breitkopf and Haertel's edition (1898) of Bach s “ChoralgesÄnge”; the numerals in brackets in the above list indicate the position of each Choral in that collection. The latter includes also the simple four-part Chorals from the Oratorios and Cantatas; hence the numeration of that volume and B.G. XXXIX. is not uniform.

The bracket states the title by which the tune is better known.

The Chorals are taken from two sources, Anna Magdalena Bach's “Notenbuch” (1726; see B.G. XLIII. (2)), and Schemelli's “Musicalisches Gesang-Buch” (1736), of which Bach was the musical editor. The latter contains sixty-nine melodies (with figured bass), the former seven: one melody (No. 14) is in both collections. The Schemelli tunes are indicated by an S within a bracket after the numeral. One melody (No. 71) is indubitably by Bach himself. It, and others, which may be attributed to him on good evidence, are marked by an asterisk. The seventy-five settings are published in practicable form by the N.B.G. I. (1) and I. (2).

Nos. 22 and 23 are the same tune.

For a discussion of Bach's original hymn-tunes see the present writer's “Bach's Chorals,” Part II. Introduction, pp. 67 ff. Six more of Bach's original hymn-tunes are printed there.

The first three Arias are published by Novello, and also by the N.B.G. I. (1).

In the Royal Library, Berlin. Kirnberger was a pupil of Bach. See section on Variants infra.

Novello omits the concluding four-part Choral.

The Prelude is also attributed to J. L. Krebs, a pupil of Bach.

See section on Variants infra.:

Variant, P. bk. 245 p. 106.

Ernst Naumann remarks, “Das StÜck kann recht gut von Seb. Baoh herrÜhren.” The text is complete, and the omission of the Prelude from the Novello edition is to be regretted.

A transcription of the second Sonata for Solo Violin, in A minor, See B.G. XXVII. (1).

A transcription of the third Partita, in E major, for Solo Violin. See ibid.

From the third Sonata for Solo Violin, in C major. See ibid.

Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's “Hortus Musicus.” See Spitta, i. 430.

Both Sonatas are arrangements of instrumental Sonatas in J. A. Reinken's “Hortus Musicus.” See Spitta, i. 430.

After a Sonata movement by J. A. Reinken.

After a Fugue by J. C. Erselius. The original is given in Anhang II. of the volume.

Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of Weimar (Nos. 11, 16, and perhaps 13).

The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.

The volume also contains a Variant of the first Organ Concerto (B.G. XXXVIII.).

The Concerto is an arrangement of one by Antonio Vivaldi for four Violins, the original of which (in B minor) is given in the Appendix to the volume.

Omitting the vocal numbers, movements printed elsewhere, and the “Menuet fait par Mons. BÖhm,” Peters' Bk. 1959 contains the remaining twenty numbers of the Notebook. They are indicated in the above index by a P in a bracket.

A separate Preface to the reprinted Suites is by Ernst Naumann. It is dated 1895.

Perhaps an arrangement of an orchestral piece. See Schweitzer, i. 342 n.

The Appendix to the volume contains addenda to the Violin Concerto in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.). Also the Zurich and London texts of the “Welltempered Clavier” (B.G. XIV.), with critical notes.

The Preface is dated 1899. The volume was issued in 1900.

The original words are “Die SchÄtzbarkeit der weiten Erden.”

The title-page is dated 1913 and the Preface “Im Advent auf 1914.”

The Aria is no. 20 of A. M. Bach's “Notenbuch” for 1725. See E.G. XLII. (2) no. 20.

This publication, announced for 1916, appears under a different title as the third issue for 1917. See infra, XVII. (3).