Part II. The work is entitled “an overture after French taste,
for a clavicymbal with two manuals.”
_Air with thirty variations for harpsichord with two manuals (209)._ From the Clavierübung. The theme is in the bass. The work was composed for his clever pupil, J. T. Goldberg, at the request of Baron Kayserling, who presented Bach with a snuff-box containing one hundred louis d’or in return for it.
_Six little Preludes (200)._
_Little two-part Fugue in C minor (200)._
_Fifteen two-part Inventions (201)._
_Fifteen three-part Inventions; also called Symphonies (202)._
_Six little Suites called the French Suites (202)._ From Anna Magdalena’s first book.
_Six large Suites called the English Suites (203)._
_Toccata and Fugue in G minor (211)._ The toccata is in three movements.
_Prelude and Fugue in A minor (211)._
_Fantasia and Fugue in D (211)._ The fantasia is in five movements.
_Prelude and Fughetta in D minor (200)._
_ „ „ E minor (200)._
_Prelude and Fugue in A minor (200)._
_Two Fantasias in C minor (207, 212)._
_Two Fugues in C (200)._
_Two Fugues in D minor (212)._
_Fugues in A major (212)._
_ „ E minor._
_ „ A minor._
_Twelve little Preludes or exercises for beginners (200)._ No. 3 is also intended for the lute. Some of these are found in the “Clavierbüchlein für W. F. Bach.”
_Part of a Suite in F minor (212)._
_Unfinished Fugue in C minor (212)._
_Sixteen Concertos arranged from the Violin Concertos of Vivaldi (217)._
_Art of Fugue (218)._ See p. 134.
_The Musical Offering (219)._ See p. 135.
_Fantasia in A minor (215)._
_Air varied in G minor (215)._
_Toccata in G (215)._ In three movements.
_Overture in F._ Consisting of “Overture,” “Entrée,” “Minuet,” “Trio,” “Bourrée,” “Gigue,” all in the same key.
_Fantasia in G minor (215)._
_Capriccio in E (215)._ “In honour of J. C. Bach of Ohrdruf.”
_Fantasia con imitazione in B minor (216)._ It is doubtful whether this is intended for organ or pedal harpsichord.
_Sonata in D (216)._ Modelled on Kuhnau.
_Two Fugues in A (216)._
_Three Minuets (216)._
_Minuet in G minor (1959)._
_Adagio and Presto in D minor (1959)._
_Prelude in E flat (1959)._
_Fugue in B flat (1959)._ From a fugue by J. C. Erselius.
_Sixty-nine Chorale Melodies with figured bass._ Published in 1736.
_Of doubtful authenticity (1959)_:
_Sarabande with 16 Partite._
_Passacaille in D minor._
_Suite in B flat._
_Allemande_ } _Courante_ } _in A._ _Gigue_ }
_Fantasia._ Through all keys. Attributed to J. D. Heinichen.
_Fantasia in G minor._ In five movements.
_Fantasia and Fugue in D minor._
_Fugue in G minor._
_Scherzo in D minor._
_Andante in G minor._
_Fugue in B flat._ An extension of a sonata movement in Reinken’s “Hortus Musicus.”
_Fugues_--
_In C._
_„ E minor._
_„ G._
_„ D._
_„ (a) E minor._
_„ (b) E minor._
_Chaconnes_--
_In A._
_„ G._
Of works not already mentioned, the “Bachgesellschaft” publishes in vol. xlii., Part II., the following apparently authentic compositions:--
_Prelude and Fugue in A minor._
_Concerto and Fugue in C minor._
_Prelude in B minor._
_Of more doubtful authenticity_:
_Fantasia in C minor._ Molto allegro.
_Toccata quasi fantasia con fuga, A major._
_Partie, A major._
_Allemande in C minor._
_Gigue, F minor._
_Allemande and Courante, A major._
_Allemande in A minor._
_Two Fantasias and Fughettas._
_An Unfinished Fugue in E minor._
KEYED INSTRUMENTS WITH ACCOMPANIMENT.
_Concerto in F (248)._ For clavecin and two flutes concertante, with accompaniment for two violins, viola and bass.
_Concerto in G minor (249)._ For clavecin, with accompaniment for two violins, viola, violoncello and bass.
_Concerto in F minor (250)._ For clavecin, with accompaniment for two violins, viola and bass.
_Concerto in D major (251)._ For clavecin, with accompaniment for two violins, viola and bass.
_Concerto in A major (252)._ For clavecin, with accompaniment for two violins, viola, violoncello and bass.
_Concerto in E major (253)._ For clavecin, with accompaniment for two violins, viola and bass.
_Concerto in D minor (254)._ For clavecin, with accompaniment for two violins, viola and bass. The first allegro is arranged as the introductory symphony of the Cantata, “Wir müssen durch viel Trübsal.”
_Concerto in A minor (255)._ For clavecin, flute and violin, with accompaniment for two violins, viola, violoncello and bass.
_Concerto in C (256)._ For two clavecins, with two violins, viola and bass.
_Concerto in C minor (257)._ For two clavecins, with two violins, viola and bass.
_Concerto in C minor (257b)._ For two clavecins, with two violins, viola and bass. Arranged from the concerto for two violins.
_Concerto in D minor (258)._ For three clavecins, with two violins, viola and bass.
_Concerto in C (259)._ For three clavecins, with two violins, viola and bass.
_Concerto in A minor, after a concerto for four violins by Vivaldi (260)._ For four clavecins, with accompaniment for two violins, viola and bass.
FOR OTHER INSTRUMENTS.
_Concerto in A minor (229[86])._ For violin, with accompaniment for two violins, viola and bass. Also arranged for clavecin and strings in G minor.
_Concerto in E (230[87])._ For violin, with accompaniment for two violins, viola and bass.
_Concerto (231[87]) in D minor_. For two principal violins, with accompaniment for two violins, viola and bass. Also arranged for two clavecins and strings in C minor (_257b_).
_Three Sonatas and three Suites for violin, without accompaniment (228)._ Composed at Cöthen. The fugue of the sonata in G minor is also arranged for organ in D minor. The sonata in A minor is also arranged for clavecin alone in D minor (213), and the suite in E major in the same key for clavecin. The prelude in E forms the obbligato organ part of the opening chorus of the cantata “Wir danken dir.”
_Six Sonatas for (232 and 233) Violin and Figured Bass._
_Six Sonatas for Flute or Violin and Clavier (234 and 235)._
_Suite in A for Violin and Clavier (236)._
_Sonata in E minor for Violin and Clavier (236)._
_Fugue in G minor for Violin and Clavier (236)._
_Sonata in C for two Violins and Clavier (237)._
_Sonata in G for Flute, Violin and Clavier (237)._
_Trio for Flute, Violin and Clavier (237)._ From the “Musical Offering”; the clavier part supplied from the figured bass by Kirnberger.
_Six Sonatas or Suites for the Violoncello (238)._
_Three Sonatas for the Viola da Gamba and Clavier (239)._
_Clavierbuch of Anna Magdalena Bach, 1725._ Contains twenty easy pieces, consisting of minuets, polonaises, rondos, marches, and one song.
_Principles of Thorough-bass for his pupils._ Dated 1738, and preserved by J. P. Kellner. It is divided into two parts for beginners and advanced pupils. The author says, “The ultimate end and aim of thorough-bass should only be the glory of God and recreation of the mind. Where these are not kept in view there can be no real music, only an infernal jingling and bellowing.” The complete work is quoted as an appendix in Spitta, vol. iii.
FOOTNOTES:
[86] Pianoforte score.
[87] Pianoforte score.
Bibliography
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Glossary
~Ahle~, Joh. Rudolph, was born 1625, and, after holding a post at Erfurt, became organist and burgomaster of his native town Mühlhausen. His chorale tunes are still popular in Thuringia. On his death in 1673 he was succeeded by his son Joh. Georg, who was a member of the Town Council, and poet laureate to the Emperor Leopold I.
~Böhm~, Georg. Is described by Walther as a fine composer and organist of St John at Lüneburg. Bach modelled some of his early chorale-preludes, notably “Wir glauben all’ an einen Gott” on Böhm’s style.
~Brust-positiv.~ The name given to the choir manual when its pipes stand in front of the rest of the organ, as in many of the old English cathedral organs.
~Buxtehude~, Dietrich, 1637-1707, organist at the Marien-Kirche at Lübeck. His organ fugues, toccatas, &c., are of great importance as having furnished Bach with his earliest models. The fugues are usually in three portions, as in Bach’s great E flat fugue (Peters, 242). Many of his organ works have been published by Spitta.
~Caldara~, Antonius. Born at Venice 1678, a pupil of Legrenzi and Fux, and the writer of many operas, and much church music. He was successively Capellmeister at St Mark’s, the Court of Mantua, and to Charles VI. at Vienna. He was a clever imitator, but had little inventive genius. On coming to Germany, his style improved in vigour. Bach admired him sufficiently to copy his Magnificat in C.
~Cantor~, Choirmaster. The office is rarely held by the organist as in England, since the cantor has to conduct the “Hauptmusik” with a baton while the organist plays.
~Cembalo~, or clavicymbal, or clavessin, or clavecin, for which Bach wrote his clavier works, was in shape like the modern grand piano, but its interior construction was something after the model of the organ. It had, in common with the organ, the defect of being unable to produce piano or forte by the touch alone, this being done by stops. A complete cembalo had the compass of [F on fourth ledger line below bass clef] to [G on fourth ledger line above treble clef] and two manuals. Each note had four strings producing 4, 8, and 16 ft. tone, two being of 8 ft. The strings were sounded by plectra made of quill, called jacks. The instruments were sometimes also provided with organ pedals. It will be seen at once that a piece played on 16, 8 and 4 ft. stops would sound far fuller than when played on the modern piano with only unison strings.
The cembalo was used to play the basso continuo in all concerted music outside the church; and even in a concerto for clavier, a second cembalo appears to have accompanied. The lute or regal, however, sometimes took its place, for convenience of porterage.
Transposing clavicymbals, and clavicymbals with keyboards at both ends were in use. The tuning was very troublesome, and had to be done before each performance. Other names were Gravecymbalum, Flügel, Schweinskopf, Steertstück. The claviorganum was a combination of clavicymbal and positive.
~Choral~ is the German name for the Plainsong of the Roman Church. After the Reformation the name Choral (English “Chorale”) was given to the hymns which were either translated from the Latin, or originally written in the fourteenth century by Johannes of Salzburg, Muscatblüet, Hans Foltz, Michel Beheim, Johannes Gosseler, Jörg Breining, and Heinrich von Laufenberg, and which took a firm hold on the German people through the efforts of Martin Luther, Michael Vehe, W. Heintz, Joh. Hofmann, and others. The peculiar variety to be observed in the metrical construction of the German Chorale is directly traceable to the influence of the Volkslied, for Luther himself wrote sacred words for secular melodies. Other names connected with the chorale are Valentin Triller, Veit Heefen, Count Albrecht the younger of Brandenburg, Culmbach, Speratus, Spengler, Hans Sachs, Schensing, Decius Graumann, Joh. Walter, a friend and fellow-worker of Luther, L. Senfl, von Bruck and Fink. Later poets were Nic. Hermann, P. Nicolai, Calvisius Hassler, &c., H. and J. Prætorius, Neumark, Flemming, Teschner, Gerhard and Crüger. The music of the chorale was brought to perfection by J. S. Bach.
~Chorale-Cantatas~, those in which a complete hymn is carried out, each verse forming as a rule a separate movement, whether for chorus or solo voices, though occasionally a verse is omitted in the longer hymns. Sometimes recitatives break the course of the chorale melody, or the melody is played by the instruments and accompanied by vocal recitative. The chorales chosen are always well-known ones, and among the finest of the sixteenth and seventeenth centuries.
~Church~ Music. The services at Leipsic were regulated by an act passed in 1540 by Duke Heinrich applying to all Saxony. A morning service called matins was celebrated at St Nicholas every Sunday at 5.30 A.M., in which the Venite, Psalms, Te Deum and Benedicamus Domino were sung by the choir, and directed by the St Nicholas cantor.
Morning service took place at 7 at both St Thomas and St Nicholas; a Latin motet was sung, followed by the Kyrie, Gloria in excelsis, Collect in Latin, and at St Thomas a Litany was sung by four boys and the choir alternately. The Gospel and Epistle and Creed were intoned by the priest, and on certain days the Nicene Creed was sung in Latin by the choir. The “Hauptmusik” (the cantata) followed the intoning or singing of the Creed in Latin, and after it was finished the Creed was sung by the congregation in German. This was followed by a sermon of an hour’s duration. The service concluded with the general confession, the Lord’s Prayer and blessing. Chorales were sung by the congregation during the course of the service.
At the mid-day service there were only a sermon and two congregational hymns without the choir. It began at a quarter to twelve. At vespers, the choir sang a motet, and the Magnificat in German, besides leading the congregation in some hymns. At Christmas, Easter and Whitsuntide, similar services were performed for three consecutive days, matins beginning at five instead of half-past to allow more time for the festival services.
~Cithara~, Cither, a favourite instrument in the sixteenth century of the guitar family, bearing 4, 5 or 6, or even 12 metal strings. Prætorius condemns the four-stringed cithara as being “a vulgar instrument only used by cobblers and tailors.” In England it was kept at barbers’ shops for the amusement of customers waiting their turn.
~Clarino.~ Lichtenthal C. Dizionario della Musica, Milan, 1826, says “the clarino is, according to some, a species of small trumpet, of which the tube is narrower than that of the ordinary trumpet, and which gives a more acute sound; but Northerners hold that the word means the ordinary trumpet.” The word frequently occurs in Bach’s scores.
~Clavichord.~ A key-board instrument having brass strings which were neither plucked with a quill as in the harpsichord, nor struck with a hammer as in the pianoforte, but made to sound by a brass blade called a tangent, which pressed against the string as long as the key was held down. Although its tone had little power, the effects of crescendo, diminuendo, and vibrato, called in Germany “Bebung,” were entirely under the player’s control, and on this account it was a favourite instrument with Bach. The clavichord was sometimes provided with pedals for the use of organ students.
~Clavicymbal.~ See Cembalo.
~Clavier~, literally Keyboard. The German name for all keyboard instruments, such as the clavichord, harpsichord, spinet, instrument, &c. The term is also applied to both the manuals and pedals of the organ.
~Clavierbüchlein~, little clavier book for Bach’s son W. Friedemann, when nine years old, in 1720. A diagram shows the keys and principal ornaments, and one of the pieces is figured and called “Applicatio, in nomine Jesu.” Some of the pieces are composed by the boy himself. Eleven of the preludes of the Wohltemperirte clavier first appeared in this book; some of the pieces are by other composers as J. C. Richter and G. H. Stölzel of Gotha, and there are many of Bach’s own fugues.
~Clavierbüchlein~, vor Anna Magdalena Bach in 1720 and 1725. See p. 57.
~Clavierübung~, clavier practice. A work in four parts, consisting of preludes, allemands, the Italian concerto, the French overture, choralvorspiele, &c., intended, as the name implies, for educational purposes. The work includes the well-known prelude and fugue for organ in E flat, Peters 242, and the air in G with thirty variations written for Goldberg.
~College~ of Instrumental Musicians of Upper and Lower Saxony. The full text is given by Spitta, vol. i. p. 145, _et seq._ The statutes enacted that no member was to settle in any town where another member was already settled; no member was to take lower fees than his predecessor; no member was to boast that he played on a superior instrument to others; offices were only to be obtained by proper examination; no member was to sing immoral songs; every member must conduct himself with propriety in social “attendances,” and to see that his assistants did the same; no member was to bring his art to disrepute by playing on bagpipes, hurdy-gurdies, triangles, &c.
No bad language was to be allowed, and all low company to be avoided; apprentices must, before binding, produce credentials of respectability, and must serve for five years with industry and constant prayer. After an apprentice has served his five years he is to serve another three as an “assistant,” except when he marries his master’s daughter, in which case he shall only serve one year as assistant. In case of dissension arising, the matter must be brought before six master-musicians, who shall decide it. No man is to seek to oust an old master; but if a man becomes too old to do his work, an assistant shall be appointed who shall receive half the salary. Every master is to see that his assistants are properly paid for services rendered. In order that the art of music may not be brought into contempt by inadequate performance, no man shall be allowed to keep more than three apprentices at one time (for this would compel him to employ properly qualified assistants to carry out concerted music). A master neglecting to teach his apprentices could be punished; and an apprentice running away could never become a member of the college. However great the number of members, no man was to be refused membership who was found, after due trial, to be properly qualified. Questions of evil morals arising among members were to be decided by a board of elders.
~Concertmeister~, the leader of an orchestra who ranks immediately after the conductor. In early times he was also the conductor of purely instrumental music, while the capellmeister conducted whenever voices were employed. The title is also bestowed as a mark of respect on musicians of eminence who are not connected with an orchestra.
~Concerto.~ A term applied to both vocal and instrumental concerted music. Several of Bach’s Cantatas are thus named; thus “Ein Herz das seinen Jesum lebend weiss” is entitled “Concerto à quattro voci, 2 oboi, 2 violini, viola e continuo di J. S. Bach.” Concertos for instruments were in several movements, but usually three. There was sometimes a single solo instrument, but more frequently there were several. The fine concerto in G in two movements is for three violins, three violas, three violoncellos and bass without a solo instrument. The concertos of Handel and Vivaldi, &c., are orchestral compositions in several movements with or without wind instruments. The Italian Concerto is a piece in three movements for clavecin without accompaniment.
~Consistory.~ The authorities of an important church, somewhat analogous to the Dean and Chapter of an English cathedral.
~Continuo~ = Basso Continuo, the bass of a composition for voices or instruments or both. It was always the lowest part, and was usually provided with figures, that the accompanist might be able to fill in the harmonies and keep the body of performers together. It was performed on the organ, or cembalo or regal, according to circumstances. The continuo of most of Bach’s cantatas was written out in two keys, to suit the two pitches in use, “Chorton” being a tone higher than “Kammerton.” All chamber music required the accompaniment of a cembalo in figured bass; and even if there were one or more “Cembali” obbligati a separate instrument would be employed for the continuo. In all Bach’s church compositions in which there is an organ obbligato part, there is another organ part for the continuo. The conductor stood near the organist, as may be seen in the frontispiece to Walther’s Lexicon.
~Cornet~, Cornetto, Zink, consisted of a curved wooden tube covered with leather and having holes for the fingers with a cup mouthpiece like a trumpet. Two cornets hang on the wall near the organ in Walther’s illustration.
~Drese~, Johann Samuel, 1654-1716, was organist of the Court at Jena, and afterwards Capellmeister at Weimar. He composed sonatas for the clavier, motets and operas.
~Estomihi.~ Quinquagesima Sunday.
~Figural~ Music. Florid music, or all church music that is not Plainsong, or its Lutheran equivalent the chorale-melody.
~Florilegium~ Portense, a work containing 115 “cantiones selectissimas” of from four to eight voices, with figured bass for organ. A second part contained 150 “concentus selectissimas” of from five to ten parts. Published 1603 and 1621 by Bodenschatz, Cantor of Schulpforta, and Pastor at Rehausen. A complete catalogue is given in Groves’ Dictionary, vol. i. p. 253.
~French~ Overture. A form of opera overture consisting of a slow introduction, followed by a fugue or fugato, and concluding with a slow movement. This form was applied to the clavier by Bach in the “Overture in the French style” (E. P. 208) of the B minor Suite or Partita.
~Fux~, Joh. Joseph, born in Styria, 1660, organist, Court composer, and Capellmeister at Vienna. A prolific composer of church music and opera, but he is best known by his theoretical works, amongst which is his Latin “Gradus ad Parnassum,” a treatise on composition, which has been through many editions.
~Görner~, J. Gottlieb, was appointed organist of the Nicolai Church at Leipsic in 1721 and was also head of a “Collegium Musicum” or musical society. In 1729 he succeeded Gräbner as organist of St Thomas. He was a mediocre musician, but put himself in rivalry with Bach, and is reported by Scheibe to have “by his rudeness asserted his pre-eminence among a large number of his equals.” He gave Bach a good deal of trouble by assuming the position and emoluments of director of music to the University; but they appear to have worked amicably together afterwards, and Bach, by will, appointed him guardian of his children, an office which he appears to have satisfactorily fulfilled.
~Hammerschmidt~, Andreas, born in Bohemia, 1611, organist of Freiberg, afterwards at Zittau. According to Gerber, one of the greatest of German contrapuntists. Walther gives a list of his compositions, which are mostly for the church. His “Musical discourses on the Gospel” were an important step in the development of oratorio.
~Hunold~, Christian Friedrich. A poet, known as Menantes, who wrote poems for the Hamburg Theatre 1700 to 1706; became a professor at Halle, and was much at the Cöthen Court, where he wrote texts for Bach’s cantatas.
~Instrument.~ A name given to a keyed instrument of which the strings went from side to side as in the obsolete square pianoforte, the key-board being in the middle.
~Inventions.~ The fifteen Inventions and Symphonies were entitled by Bach “A genuine introduction whereby a clear method is shown to lovers of the clavier, and especially to those who are eager to learn, not only (1) of playing in two voices clearly, but also, on making further progress, (2) of playing three obbligato parts properly and well; so that they at the same time will learn to make good inventions and play them themselves, and will also learn what is most important, the art of cantabile playing; and will acquire a good taste in composition. Prepared by J. S. Bach, 1723.”
~Keiser~, Reinhard, was for forty years the celebrated composer and conductor of operas at Hamburg. He had as colleagues Telemann and Matheson. He wrote 116 operas, and produced many by other composers, particularly Handel’s Rinaldo. Born near Leipsic, 1673, died 1739.
~Kuhnau~, Johann, 1667-1722, Bach’s predecessor as cantor at the Thomas-schule, was a prolific writer on musical subjects. Amongst his compositions are six Bible sonatas, representing scenes from Scripture on the cembalo. He was the first to write chamber sonatas for the clavier instead of for several instruments. He was also learned in languages, mathematics, and law. He wrote passions, cantatas, &c., but his style seems to have soon become antiquated, and his works could not hold their own against the opera and the younger school.
~Lituus.~ The cantata No. 118, “O Jesu Christ mein’s Leben’s Licht,” is scored for two litui, cornet and three trombones. There are no string or organ parts, and the work is evidently intended for the open air, perhaps for a funeral. There is no reason given for calling the trumpets by their Latin name in this instance.
~Lute.~ This instrument appears in the score of the St John’s Passion. It was sometimes used instead of a clavecin to accompany concerted music.
~Lute-Harpsichord.~ A keyed instrument with gut strings made after Bach’s design by Zacharias Hildebrand, an organ builder. See p. 157.
~Matheson~, 1681-1764, wrote 89 volumes chiefly on musical subjects, besides being a composer. He was a classical scholar, a student of modern languages, law, and political science, a good musician, dancer, and fencer. He appeared on the Hamburg stage as a singer, composed and conducted operas there, became a great friend of Handel, was made secretary of the English Legation, and cantor and canon of the Cathedral. By his writings he materially helped forward the development of the church cantata.
~Mizler~, von Kolof, Doctor of Philosophy and historian, born 1711 at Wurtemberg, was a good amateur musician. In 1731 he went to Leipsic to study divinity and afterwards philosophy and music. Here he founded a “Society for Musical Science,” and became on friendly terms with Bach, who seems to have given him some lessons. He wrote various works dealing with the philosophy of music; and his chief importance in connection with Bach was his “Necrology” in which he gives valuable information concerning him. The work is in several numbers; unfortunately that portion of it which deals with Bach is not in the British Museum Library.
~Motet.~ The character and scope of the German motet are thus described by Spitta, vol. i. p. 54. “It is in several parts; it admits of no obbligato instruments, and its subjects are set to a text of the Bible, or to a verse of a hymn. The period of its fullest bloom was about 1600, when music was essentially polyphonic, vocal, and sacred.” Under the influence of harmony it gradually changed its form, introducing solo voices and instruments, especially the organ.
~Oboe~ da Caccia. Hunting oboe, bent like a knee, and differing but slightly from the modern Cor Anglais, or English horn. It occurs very frequently in Bach’s scores. It is described in Grove’s Dictionary as a bassoon raised a fourth, carrying the bass tone of the latter upwards rather than lowering the treble tone of the oboe a fifth. It is also called by Bach, Taille de basson, or tenor of the bassoon.
~Oberwerk.~ The Great organ.
~Oberpositiv.~ A choir organ of which the wind-chest is placed above the others.
~Orgel-büchlein~, “Little organ-book.” The first collection was made, according to Bach himself, at Cöthen between 1717 and 1723. The second collection, consisting of six chorales, was published and sold by Bach and his sons at Leipsic, Halle, and Berlin. The third collection was continued till his death and was not published. The last portion was dictated during his blindness to his son-in-law Altnikol. The two unpublished parts were written on two staves only. The pedal compass in the chorales extends to high F and F♯. These notes were found on the organ of the Lutheran Church at Cöthen only. This organ is described by Hartmann in 1803 as “an uncommonly powerful and excellent instrument.” It had 8 stops on the pedals, 10 on the great, 10 on the choir. It is now reduced in size and ruined in order to obtain more room in the church.
~Partita.~ A name given to sets of variations for organ or cembalo, and appropriated from the town pipers.
~Pachelbel~, Johann, 1653-1706, born at Nüremberg, was assistant organist at the Church of St Stephen in Vienna, whence he moved to Eisenach as Court organist in 1677. From Eisenach he went to Erfurt and to Gehren. In 1690 he became Court organist at Stuttgart; and after a stay of three years at Gotha he became organist of a church at Nüremberg till his death. He taught W. Friedemann Bach, and Bernhard, son of Ægidius. According to Gerber, he improved church music, used the overture form on the clavier, and continued the good work which Froberger had begun in respect of clavier composition. Bach used his chorales as models during the Arnstadt period.
~Picander.~ A poet of considerable reputation in his time named Christian Friedrich Henrici. Born 1700 at Stolpen. Went to the University at Leipsic, 1720. Became a lawyer, but was afterwards able to live by his poetical compositions, though he obtained important posts in Leipsic. Died 1764. He wrote the text for many of Bach’s compositions.
~Positiv.~ The name given to that portion of an organ and its manual which corresponds to our choir organ. In a three manual organ there are usually two choir manuals. The swell shutters, if any, are only applied to a few stops, used generally on a fourth or “echo” manual. Properly speaking the positive, called in Italian organs, piccolo, had its foundation pipes pitched an octave higher than those of the ordinary organ. Its diapason would therefore be a four-feet register.
~Regal.~ Sometimes used to accompany secular cantatas instead of the clavecin. It was also used for choir practices. In 1709 Kuhnau in a Memorial to the Council says, “A new regal is needed, the old one being constantly in need of repair.” An inventory of the instruments at the Thomas-schule between 1723 and 1750 mentions, “1 Regal, old and quite done for”; “1 ditto bought 1696.”
The regal was a small reed instrument of the harmonium class, but with small pipes to enhance the sound of the reeds. It could easily be carried about, and was placed on a table when played. It could be made so small as to take the size and shape of a large book, hence sometimes called Book or Bible-regal.
~Schubart~, Christian F. Daniel. Born 1739. Master of Philosophy, Theatre director, Court poet of Stuttgart, a good amateur musician. Was a good organist and held various posts. In 1777 to 1787 he was imprisoned in a castle on account of some views expressed in his political paper “Deutsche Chronik.” Burney, who met him, remarks on his great facility as a clavier player. He published several compositions and works on music.
~Schütz~, Heinrich. 1585-1672. Brought opera from Italy to Germany and also composed Passions. He was considered the best German composer of his century. He wrote music to the Passions of Matthew, Luke and John for the Court of Dresden, where he was Capellmeister. These are the greatest works of the kind next to those of Bach. His compositions are in the old church tones, but strongly influenced by the coming tonality of modern music.
~Solo~ Cantatas. Those written for one or more solo voices without a chorus. They sometimes conclude with the chorale in four parts.
~Spinet.~ Is defined by Hipkins (“The Pianoforte,” p. 121) as “a Jack keyboard instrument with one string to a note,” as opposed to the cembalo, harpsichord, &c., which had several strings to a note. Adlung says the spinet was of limited compass, its lowest octave being “short” and it was tuned a fifth above chorus pitch. It was sometimes triangular in shape and could be placed on a table; its strings ran from right to left of the performer, as in the “Instrument.”
~Rück-positiv.~ The name given to the choir manual when its pipes stand behind the rest of the organ.
~Telemann~, G. Philipp. 1681-1767. A poet and musician who composed no less than 600 overtures, 12 complete year courses of cantatas, 44 passions, 32 compositions for the instalment of preachers, 32 so-called oratorios, 20 coronation pieces, 40 operas, and a mass of other music. Besides all this he is described by Walther as the “greatest Polygraph that Germany can show,” having written a number of books on music, besides a quantity of bad poetry. He was successively organist and director of the New Church at Leipsic (during which time he mastered the English, Italian and French languages), Capellmeister in Sorau, Concertmeister in Eisenach, Kapellmeister at Frankfort-on-the-Maine, Music Director at Hamburg, where he formed one of the trio of musicians, Keiser and Matheson being the others. He was on very friendly terms with Bach and Handel. He was a candidate for the post of Cantor at St Thomas, having during his previous residence in Leipsic (1701-4) founded a flourishing “Collegium Musicum” among the students. He had a great reputation throughout Germany. Bach copied some of his music, and the influence of Telemann, at that time very popular, is seen in Bach’s cantata “Herr Gott dich loben wir.”
~Theorbo.~ A lute with an extra neck bearing the bass strings.
~Tromba~ da tirarsi. A slide trumpet, the soprano of the trombone. Often used in Bach’s scores.
~Viola~ d’amore. A tenor viol of a specially agreeable and silvery tone (Walther). It sometimes had sympathetic strings, though these were not a necessary adjunct.
~Viola~ da gamba. Leg viol, the bass of the viol family, held between the knees, like the violoncello, when played. It had six strings, the lowest of which was the D below the bass stave, and its finger-board was fretted. Its tone (like that of all the viol class) was weak compared to the violoncello.
~Viola~ pomposa, an instrument invented by Bach. See p. 157.
~Violetta.~ This instrument occurs in the cantata “Herr Gott dich loben wir” as an alternative of the “oboe di caccia.” It is described by Walther as a fiddle (Geige) playing an inner part, constructed like a viola, or small viola da gamba.
~Violino~ piccolo. A small violin whose lowest string was a fourth higher than that of the violin. Its tuning was therefore C, G, D, A, an octave above the viola. It frequently occurs in Bach’s scores.
~Violoncello~ piccolo, with five strings. This instrument occurs in the score of a tenor aria in cantata No. 41, “Jesu nur sei gepreiset.” The additional string was tuned to E, and enabled the performer to execute the very florid high passages which Bach writes.
~Ziegler~, Christiane Mariane von, who wrote words for some of the cantatas was born in 1695 at Leipsic. Began to publish poems when she was fifteen. Left a widow in 1722, she devoted herself to writing poetry and the practice of the keyboard instruments and lute, and flute, and was held in honour by the most artistic society of her time. Spitta gives an account of her life in Curtius’ Historische Aufsätze, 1884. See p. 197.
Index
Abel, Chr. F., 50
„ Karl Friedrich, _id._
Accompanying, his method of, 103, 104
Ahle, Johann Georg, 33
Altnikol, Johann C., 170
Anhalt-Cöthen, appointed capellmeister to Prince Leopold of, 48
Arnstadt, appointed organist at, 25; details of organ at, 26, 27; troubles with Consistory of, 29-33
“Art of Fugue,” 134, 135
“Bach Choir,” 143
Bach as “Familien-Vater,” 170
Bach Family, 3-18
Bach Gesellschaft, 148
Bach, Maria Barbara, his cousin, 33; marries her, _id._; her death, 51
Bach Society, English, 142
Bachs of Thuringia, the, 1, 2
Bibliography, 202-204
Birnbaum, his reply to Scheibe’s attack on Bach, 85
Birth, his, 21
Blindness, his, 88
Böhm, becomes a pupil of, 23
Books and instruments, his, 80, 81
Börner, 25
Burial, his place of, 89
Buxtehude, visit to, 28
Cantatas and the chorale, 91
Carlsbad, visit to, 51
Cassel, visit to, 44
_Catalogue of Instrumental Works_, 191-195 Orchestra, 194, 195 Organ, 191-194
_Catalogue of Vocal Works_, 177-190 Church Cantatas, 177-188 Funeral Ode, 188 Lost Works, 190 Motets, 188 Secular Cantatas, 189
_Cembalo, Clavichord, Spinet, &c., Works for_, 196-201 Keyed instruments with accompaniment, 200 Other instruments, 200, 201
Children, his, 57
Choirmaster, as, 171
Christmas Oratorio, the, 144
Clavichord, his favourite instrument, 78
“Clavier, the Wohltemperirte,” 131
Cöthen, appointed capellmeister at, 48; leaves, 56
Death, his, 89; notice of in the _Leipsic Chronicle_, _id._
Death of his Father, 21
Death of his first wife, 51
Dresden, competition with Marchand at, 46, 47; journey to, 46; plays organ at, 84
Drese, Samuel, 48
Early studies, 22
Easter oratorio, 145
Effler, Johann, 25
Eilmar, G. C., 38
English Bach Society, 142
Erdmann, G., 46
Ernesti, Johann August, 81; troubles with, 82, 83
Eyesight, failing, 88; he becomes blind, _id._
“Familien-Vater,” Bach as, 170
Fasch, 65
Father, death of his, 21
Figured bass, his method of playing from, 165
Final illness and death, 89; notice in the _Leipsic Chronicle_, _id._
Fingering, and use of keyed and stringed instruments, 152-155
Flemming, Field Marshal von, 47
Forkel, 39, 78, 170; anecdote of Bach, 41
Frederick the Great, visit to, 86, 87
Frohne, J. A., 38
“Fugue, Art of,” 134, 135
Gesner, 81
Glossary, 205-218
Görner, 78; throws his wig at, _id._
Grace notes (Manieren), 149-151
Graupner, 65
Halle, visit to, 43, 45
Hamburg, competes for organistship at, 52; journey to, _id._
Hamburg and Celle, visits to, 24
Handel, his efforts to meet, 55, 56
Harrer, Gottlob, 86, 90
Hausmann, his portrait of Bach, 85
Heitmann, J. Joachim, 53
Herrings’ heads, story of the, 24
Hildebrand, Zacharias, 157
Hilgenfeldt, 39, 172
Home life at Leipsic, 77
Hurlebusch, anecdote of, 79; visit from, 79, 80
Kauffmann, G. F., 65
Kirchoff, G., 46
Koch, Johann Sebastian, 36
Krebs, Johann Ludwig, 49; Johann T., _id._
Kuhnau, 44
Lämmerhirt, Tobias, 36
Last representative of his family, 90
Leipsic, appointed Cantor of, 66; Cantor, duties of, 59-61; differences with the Council, 70; St Thomas’s School at, 59
Leipsic church organs:-- Thomas Church, Leipsic, 160-162 University Church, Leipsic, 162-165
Lost works, 147
Lübeck, visit to, 28
Lüneburg, removes to, 22
Lute-harpsichord planned by Bach, 157
Magnificat in D, 146
Marchand, competition with, 46, 47
Marriage to his cousin, 33, 36
Marriage to Anna Magdalena Wülken, 56
Mass in B minor, 114
Mattheson, 54, 55
Mizler, 85
Money matters, his carefulness in, 80, 174
Mühlhausen, appointed organist of St Blasius at, 33; resigns appointment, 39
“Musical Offering,” 135; dedication to Frederick the Great, 136
Ohrdruf, removes to, 21
“Old Lutherans,” the, differences with, 38
_Orchestration_-- Accompanying, his method, 103, 104 “Ein feste Burg” chorale, 94, 96, 101 “Es ist nichts gesundes” cantata, 108-111 “Gottlob! nun geht das Jahr zu Ende” cantata, 106 Mass in B minor: (Et incarnatus), 127 (Et resurrexit), 128 (Gloria), 127 (Kyrie), 126 (Sanctus), 123, 129 Passion Music (St Matthew), 104, 105 “Wir danken dir, Gott” cantata, 112
_Organs_-- As an examiner of, 78 Description of at Thomas Church, Leipsic, 160-162 Description of at University Church, Leipsic, 162, 165 Pitch of, 169
Passion Music (St Matthew), 114
Personal details, 77
“Pietists” the, differences with, 38
Playing, his, 148
Portraits of Bach, Hausmann’s, &c., 85, 175
Pupils, list of his, 140
Reinken, 52
Rolle, Ch. F., 45, 65
Saxe-Weimar, appointed chamber-musician to Duke of, 39; his salary, 40
Saxon Court, appointed composer to the, 84
Scheibe, his attack on Bach, 85; Birnbaum’s reply, _id._
Schneider, J., 50
Schott, 65
Schubart, Johann Martin, 35, 49
Self-Criticism, 173
Silbermann’s pianos, 87, 172
St Blasius, Mühlhausen, appointed organist of, 33; repairs to the organ, 37; resigns the post, 39
Statues of Bach, 176
Stauber, Pastor, 39
Stringed instruments, his knowledge of, 157-159
Teacher, Bach as a, 137, 140
Telemann, 65
Vogler, J. C., 49
Walther, Johann Gottfried, 33, 40
Weimar, appointed chamber-musician to Duke of, 39; his salary, 40; joins the Court orchestra at, 25
Widow and daughter, fate of his, 90
“Wohltemperirte Clavier,” the, 131
Wülken, Anna Magdalena, marries her, 56
Works:-- “Art of Fugue,” 134, 135 _Canon_, “Von Himmel hoch, da komm’ ich her,” 85 _Cantatas_-- “Denn du wirst meine Seele nicht in der Hölle lassen,” 27, 28 “Erforsche mich Gott,” 107 “Es ist nichts gesundes,” 108-110, 113 “Freue dich erlöste Schaar,” 112 “Gleich wie der Regen und Schnee,” 108 “Gott ist mein König,” 36 “Gottlob! nun geht das Jahr zu Ende,” 106 “Herr Gott dich loben wir,” 107 “Ich hatte viel Bekümmerniss,” 108 “Jesus nahm zu sich die Zwölfe,” 66 “Nun Komm, der Heiden Heiland,” 44 “O Ewigkeit, du Donnerwort,” 108 “The rich man died and was buried,” 86 “Thomana sass annoch betrübt,” 81 “Vor deinen Thron tret ich,” 89 “Wir danken dir, Gott,” 112 _Capriccio_ on the departure of his brother, 28 _Chorales_-- “An Wasserflüssen Babylon,” 24, 52 “Christ, der du bist der helle Tag,” 25 “Ein feste Burg,” 43, 95, 96, 101 “Es ist gewisslich an der Zeit,” 24 “O Gott, du Frommer Gott,” 25 “When we are in the greatest need,” 88 “Wie schön leuchtet uns der Morgenstern,” 28 _Christmas Oratorio_, 106, 144 Easter Oratorio, 145 Magnificat in D, 146 Mass in B minor, 114, 123-130 “Musical Offering,” 135 Passion Music (St Matthew), 104, 105, 114 Serenade, 51 Toccata in G, 24 Variations: “Allein Gott in der Höh sei Ehr,” 28 “Wohltemperirte Clavier,” the, 131-134
_Works for Cembalo, Clavichord, Spinet, &c_, catalogue of, 196-201
_Works, Instrumental_-- Catalogue of, 191-195 Orchestra, 194, 195 Organ, 191-194
_Works, Vocal_-- Catalogue of, 177-190 Church Cantatas, 177-188 Funeral Ode, 188 Lost Works, 190 Motets, 188 Secular Cantatas, 189
* * * * * *
Transcriber's note:
Illustrations have been moved next to the text to which they refer, and may not match the page numbers in the List of Illustrations. Sidenotes not in italics were originally printed as page headers.
The following apparent errors have been corrected:
Advertisement page "_Second Edition_" changed to "_Second Edition._"
p. vi "2 vols" changed to "2 vols."
p. 4 "Gottlich" changed to "Gottlieb"
p. 12 "Sax-Eisenach," changed to "Sax-Eisenach."
p. 15 "Teleman" changed to "Telemann"
p. 19 "all’an" changed to "all’ an"
p. 24 (note) "music, Berlin" changed to "music, Berlin."
p. 27 "meïne" changed to "meine"
p. 63 "troulde" changed to "trouble"
p. 73 "leave Leipzic" changed to "leave Leipsic"
p. 85 "Von Himmel" changed to "Vom Himmel"
p. 87 (note 51) "Sansouci" changed to "Sanssouci"
p. 95 "viola violoncello," changed to "viola, violoncello,"
p. 108 "Reigen" changed to "Regen"
p. 108 "Bekummerniss" changed to "Bekümmerniss"
p. 113 "di J. S. Bach" changed to "di J. S. Bach."
p. 114 "an einem Gott" changed to "an einen Gott"
p. 121 "unecht. zur" changed to "unecht? Zur"
p. 122 "seventeenth" changed to "eighteenth"
p. 124 "I have" changed to ""I have"
p. 127 "Quoniam solus Sanctus" changed to "Quoniam to solus Sanctus"
p. 135 "Wenn wir im höchsten Nöthen sind" changed to "Wenn wir in höchsten Nöthen sein"
p. 140 "Sätzes" changed to "Satzes"
p. 145 "Der Geist hift unsere Schwachheit auf" changed to "Der Geist hilft unsrer Schwachheit auf"
p. 145 "Tonet" changed to "Tönet"
p. 149 "1. The Vorschlag" changed to "The Vorschlag"
p. 170 "Staatsburger" changed to "Staatsbürger"
p. 171 "Lüneberg" changed to "Lüneburg"
p. 176 "Johnn Sebastian Bach" changed to "Johann Sebastian Bach"
p. 179 "erzahlen" changed to "erzählen"
p. 183 "Hochzeitgehe" changed to "Hochzeit gehe"
p. 184 "meinem Thaten" changed to "meinen Thaten"
p. 185 "ursprung" changed to "Ursprung"
p. 186 "Geist" changed to "Geist-"
p. 186 "gewünschste" changed to "gewünschte"
p. 187 "Süsse Trost, mein Jesu kommt" changed to "Süsser Trost, mein Jesus kömmt"
p. 188 "erhöbt" changed to "erhöht"
p. 188 "spirit," changed to "spirit,”"
p. 188 "auf seinem Gott" changed to "auf seinen Gott"
p. 189 "plandert" changed to "plaudert"
p. 189 "Dieskan" changed to "Dieskau"
p. 189 "sache" changed to "sa che"
p. 190 "wiederan" changed to "Wiederau"
p. 192 "Orgelbuchlein" changed to "Orgel-büchlein"
p. 196 "“Hortus Musicus.’" changed to "“Hortus Musicus.”"
p. 199 "Courante, A major" changed to "Courante, A major."
p. 202 "alterer" changed to "älterer"
p. 203 "Schuler der Partikularschule in Lüneberg" changed to "Schüler der Partikularschule in Lüneburg"
p. 204 "Vorträge." changed to "Vorträge.”"
p. 204 "Berüchsichtigung" changed to "Berücksichtigung"
p. 212 "Freiburg" changed to "Freiberg"
p. 213 "Teleman" changed to "Telemann"
pp. 203, 213 and 216 "Kühnau" changed to "Kuhnau"
p. 217 "the English" changed to "the English,"
p. 218 "Historisches Aufsätze" changed to "Historische Aufsätze"
p. 220 "organist ship" changed to "organistship"
p. 220 "Kauffman" changed to "Kauffmann"
p. 220 "Johann, T." changed to "Johann T."
p. 222 "gesundes," changed to "gesundes,”"
p. 222 "Bekummerniss" changed to "Bekümmerniss"
p. 222 "an noch" changed to "annoch"
p. 222 "Got" changed to "Gott"
p. 222 "Cappricio" changed to "Capriccio"
The following possible errors have not been changed:
p. 14 Würtemburg
p. 14 Höhenlohe
p. 145 No. 2.
In addition, many of the cantatas' incipits are truncated and/or omit punctuation; these have been left as printed.
The following are used inconsistently:
_bâton_ and baton
choralvorspiele and choral-vorspiele
concertmeister and concert-meister
deathbed and death-bed
Gedact and Gedackt
hammerlike and hammer-like
keyboard and key-board
lifetime and life-time
Nachthorn and Nacht-horn
Nicolai-Church and Nicolai-church
Rück-positiv and Rückpositiv
Schallmey and Schalmei
Thomasschule and Thomas-schule