d. 1846

(_Court Organist_), Meiningen.

A LIST OF CHURCH CANTATAS IN PRESUMED ORDER OF PRODUCTION.[83]

(An obelus indicates that the date to which it is affixed is not absolutely certain. The numbers following the titles are those of the edition published by the Bach-Gesellschaft; those to which no number is attached remain in manuscript, with few exceptions, at Berlin.)

I. Denn du wirst meine Seele (15) _Easter day_, 1704† II. Meine Seele soll Gott loben[84] 1707-8† III. Aus der Tiefe rufe ich: Psalm cxxx. (131) ” IV. Gottes Zeit ist die allerbeste Zeit (106)(_Actus tragicus_) ” V. Gott ist mein König (71) (_Municipal_) _4th February_, 1708 VI. Der Herr denket an uns[85] (_Wedding_) ” VII. Nach dir, Herr, verlanget mich 1708-12† VIII. Uns ist ein Kind geboren _Christmas day_, 1712-14† IX. Gleichwie der Regen und Schnee (18) _Sexagesima_, 1713-14† X. Ich weiss, dass mein Erlöser lebt _Easter day_, 1713-14† XI. Nun komm’, der Heiden Heiland (61) _1st in Advent_, 1714 XII. Ich hatte viel Bekümmerniss (21) _Per ogni tempo_, ” XIII. Himmelskönig, sei willkommen[86] _Palm Sunday_, 1714-15 XIV. Der Himmel lacht, die Erde jubiliret (31) _Easter day_, 1715 XV. Barmherziges Herze der ewigen Liebe[87] _4th after Trinity_, ” XVI. Komm, du süsse Todesstunde _16th after Trinity_, ” † XVII. Ach ich sehe, jetzt da ich _20th after Trinity_, ” XVIII. Nur jedem das Seine _23rd after Trinity_, 1715† XIX. Bereitet die Wege (132) _4th in Advent_, ” XX. Tritt auf die Glaubensbahn _Sunday after Christmas_, ” XXI. Mein Gott wie lang, ach lange _2nd after Epiphany_, 1716† XXII. Alles was von Gott geboren[88] _3rd in Lent_, ” XXIII. Wer mien liebet, der wird mein Wort (59) _Whitsunday_, ” XXIV. Wachet, betet, seid bereit (70) _2nd in Advent_, ” XXV. Herz und Mund und That _4th in Advent_, ” XXVI. Der Friede sei mit dir _Candlemas or Easter Tu., before_, 1717 XXVII. Wer sich selbst erhöht (47) _17th after Trinity_, 1720 XXVIII. Das ist je gewisslich wahr _3rd in Advent_, ” † XXIX. Jesus nahm zu sich die Zwölfe (22) _Quinquagesima_, 1723 XXX. Du wahrer Gott und Davids sohn[89] (23) ” ” XXXI. Die Elenden sollen essen (75) _1st after Trinity_, ” † XXXII. Die Himmel erzählen (76) _2nd after Trinity_, ” XXXIII. Ein ungefärbt Gemüte (24) _4th after Trinity_, ” † XXXIV. Ärgre dich, o Seele, nicht _7th after Trinity_, ” XXXV. Ihr die ihr euch von Christo nennet _13th after Trinity_, ” † XXXVI. Preise, Jerusalem (119) (_Municipal_) _24th August_, ” XXXVII. Höchsterwünschtes] Freudenfest (_Church festival at Stoermthal_) _2nd November_, ” XXXVIII. Christen, ätzet diesen Tag (63) _Christmas day_, ” † XXXIX. Dazu ist erschienen (40) _2nd Christmas day_, ” † XL. Sehet, welch’ eine Liebe (64) _3rd Christmas day_, ” † XLI. Gottlob, nun geht das Jahr zu Ende (28) _Sunday after Christmas_, 1723-7† XLII. Singet dem Herrn ein neues Lied _New Year’s day_, 1724† XLIII. Schau, lieber Gott. _Sunday after New Year_, ” † XLIV. Sie werden aus Saba (65) _Epiphany_, ” XLV. Mein liebster Jesus ist verloren _1st after Epiphany_, ” † XLVI. Jesus schläft (81) _4th after Epiphany_, ” XLVII. Erfreute Zeit im neuen Bunde (83) _Candlemas_, ” XLVIII. Christ lag in Todesbanden (4) _Easterday_, ” † XLIX. Weinen, Klagen, Sorgen, Zagen (12) _4th after Easter_, ” † L. Erschallet, ihr Lieder _Whitsunday_, 1724† LI. Erwünschtes Freudenlicht _Whitsun Tuesday_, ” † LII. O heilges Geist und Wasserbad _Trinity Sunday_, ” † LIII. Siehe zu, dass deine Gottesfurcht _2nd after Trinity_, ” LIV. Lobe den Herrn, meine Seele, No.I.(69) _12 thafter Trin._, ” LV. Herr Gott, dich loben wir (16) _New Year’s day_, 1721-7[90] LVI. Alles nur nach Gottes Willen (72) _3rd after Epiphany_, ” LVII. Herr, wie du willt (73) _3rd after Epiphany_, ” LVIII. Nimm, was dein ist, und gehe hin. _Septuagesima_, ” LIX. Leichtgesinnte Flattergeister _Sexagesima_, ” LX. Halt im Gedächtniss Jesum Christ (67) _1st after Easter_, ” LXI. Du Hirte Israëls (104) _2nd after Easter_, ” LXII. Wo gehst du hin _4th after Easter_, ” LXIII. Wahrlich, ich sage euch (86) _5th after Easter_, ” LXIV. Sie werden euch in den’ Bann thun (44) Sunday after Ascension_, ” LXV. O Ewigkeit, du Donnerwort (20) _1st after Trinity_, ” LXVI. Ihr Menschen, rühmet GottesLiebe _S. John Baptist_, ” LXVII. Erforsche mich, Gott (136) _8th after Trinity_, ” LXVIII. Thue Rechnung _9th after Trinity_, ” LXIX. Herr, gehe nicht in’s Gericht (105) ” ” LXX. Schauet doch und sehet (46) _10th after Trinity_, ” LXXI. Du sollst Gott, deinen Herren lieben (77) _13th after Trinity_, ” LXXII. Liebster Gott, wann werd’ ich sterben (8) _16th after Trinity_, ” LXXIII. Es erhub sich ein Streit (19) _Michaelmas_, 1725† LXXIV. Ich lasse dich nicht (_Mourning at Pomssen_) _6th February_, 1727 LXXV. Wünschet Jerusalem Glück (_Municipal_) _25th August_, ” LXXVI. Falsche Welt, dir trau ich nicht (52) _23rd after Trinity_, 1727-34 LXXVII. Widerstehe doch der Sünde (53) ” ” LXXVIII. Schlage doch, gewünschte Stunde (54) ” LXXIX. Meine Seele rühmt und preiset ” LXXX. Wer nur den lieben Gott (93) _5th after Trinity_, 1728† LXXXI. Gott, man lobei dich (120) (_Municipal_) _before_, 1730 LXXXII. Ehre sei Gott in der Höhe[91] _Christmas day_, 1729-30† LXXXIII. Gott, wie dein Name _New Year’s day_, ” † LXXXIV. Sehet, wir gehen hinauf gen Jerusalem _Quinquag._, ” † LXXXV. Auf, mein Herz _Easter Tuesday_, ” † LXXXVI. Ich steh mit einem Fuss im Grabe _3rd after Epiph._, 1730† LXXXVII. Herr Gott, Beherrscher aller Dinge (_Wedding_), ” † LXXXVIII. Ein’ feste Burg (80) (_Reformation Festival_) _31st Oct._, 1730† LXXXIX. Erhöhtes Fleisch und Blut[92] _Whitsun Monday, about_, ” XC. Schwingt freudig euch empor (36) 1st in Adv., about_ ” XCI. Ich habe meine Zuversicht _21st after Trinity_, 1730-31 XCII. Wer da gläubet und getauft wird (37) _Ascension_, 1731† XCIII. Dem Gerechten muss das Licht (_Wedding_), ” † XCIV. Es ist das Heil (9) _6th after Trinity_, ” † XCV. Herr, deine Augen sehen (102) _10th after Trinity_, ” † XCVI. Geist und Seele wird verwirret (35) _12th after Trin._, ” † XCVII. Wir danken dir, Gott (29)(_Municipal_) _27th Aug._, ” XCVIII. Es ist nichts Gesundes (25) _14th after Trinity_, ” † XCIX. Wer weiss, wie nahe mir mein Ende (27) _16th after Trinity_, ” C. Man singet mit Freuden vom Sieg _Michaelmas_, ” CI. Ich glaube, lieber Herr (109) _21st after Trinity_, ” † CII. Ich armer Mensch (55) _22nd after Trinity_, ” † CIII. Wachet auf, ruft uns die Stimme (140) _27th after Trin._, ” CIV. Ich habe genug (82) _Candlemas_, 1731-2 CV. Ich bin vergnügt (84) _Septuagesima_, ” CVI. Der Herr ist mein getreuer Hirt (112) _2nd after Easter_, ” CVII. Ich liebe den Höchsten _Whitsun Monday_, ” CVIII. Jauchzet Gott in allen Landen (51) _15th after Trin._, ” CIX. Gott soll allein mein Herze haben _18th after Trin._, ” CX. Ich will den Kreuzstab (56) _19th after Trinity_, ” CXI. Ich geh’ und suche (49) _20th after Trinity_, ” † CXII. Was Gott tut, das ist wolgetan, No I. (98) _21st after Trinity_, ” † CXIII. Gelobet sei der Herr, mein Gott _Trinity Sunday_, 1732 CXIV. Ich ruf zu dir, Herr Jesu Christ _4th after Trinity_, ” CXV. Siehe, ich will viel Fischer (88) _5th after Trinity_, 1732 CXVI. Vergnügte Ruh _6th after Trinity_, ” † CXVII. Es wartet alles auf dich _7th after Trinity_, ” CXVIII. Lobe den Herren, den mächtigen König (137) _12th after Trinity_, ” CXIX. Christus, der ist mein Leben (95) _16th after Trin._, ” † CXX. Was soll ich aus dir machen (89) _22nd after Trin._, ” † CXXI. O Ewigkeit, du Donnerwort (60) _24th after Trinity_, ” † CXXII. Ach Gott wie manches Herzeleid (58) _Sunday after New Year_, 1733 CXXIII. Was Gott thut, das ist wohlgethan, No. II. (99) _15th after Trinity_, ” † CXXIV. In allen meinen Thaten (97) 1734 CXXV. Nun danket alle Gott (_imperfect_) _about_ ” CXXVI. Lobet Gott in seinem Reichen (11) (_Oratorium_) _Ascension, about_ ” CXXVII. Was willst du dich betrüben (107) _7th after Trinity, about_ ” CXXVIII. Sei Lob und Ehr’ dem höchsten Gut (117) _about_ ” CXXIX. Was Gott thut, das ist wohlgethan, No. III.(100) _about_ ” CXXX. Es ist ein trotzig und versagt Ding _Trinity, after_ 1732 CXXXI. Unser Mund sei voll Lachens (110) _Christmas, after_ 1734 CXXXII. Wir müssen durch viel Trübsal (_Jubilee music_) _after_ ” CXXXIII. Brich dem Hungrigen dein Brod’ (39) _Trinity, after_ ” CXXXIV. Es ist dir gesagt, Mensch (45) _8th after Trin., after_ ” CXXXV. Lobe den Herrn, meine Seele, No. II. _New Year’s day_, 1735 CXXXVI. Wär’ Gott nicht mit uns (14) _4th after Epiphany_, ” CXXXVII. Erfreut euch, ihr Herzen (66) _Easter Monday_, ” CXXXVIII. Ein Herz, das seinen Jesum[93] (134) _Easter Tuesday_, ” CXXXIX. Ich bin ein guter Hirt (85) _2nd after Easter_, ” CXL. Ihr werdet weinen (103) _3rd after Easter_, ” CXLI. Es ist euch gut, dass ich hingehe (108) _4th after Easter_, ” CXLII. Bisher habt ihr nichts gebeten (87) _5th aft. Easter_, ” CXLIII. Gott fähret auf mit Jauchzen (43) _Ascension day_, ” CXLIV. Auf Christi Himmelfahrt allein (128) _Ascension day_ (_second service_), ” CXLV. Sie werden euch in den Bann tun _Sunday after Ascension_, 1735 CXLVI. Wer mich liebet, der wird mein Wort (74) _Whitsunday_, ” CXLVII. Also hat Gott die Welt geliebt (68) _Whitsun Mon._, ” CXLVIII. Er rufet seine Schafe mit Namen _Whitsun Tuesday_, ” CXLIX. Was frag’ ich nach der Welt (94) _9th after Trinity_, ” CL. Wo soll ich fliehen hin (5) _19th after Trinity_, ” CLI. Gott, der Herr, ist Sonn und Schild (79) _21st after Trinity_, ” † CLII. Ich freue mich in dir (133) _3rd Christmas day_, ” CLIII. Jesu, nun sei gepreiset (41) _New Year’s day_, 1736 CLIV. Bleib’ bei uns (6) _Easter Monday_, ” CLV. Wer Dank opfert (17) _14th after Trinity, before_ 1737 CLVI. O Jesu Christ, mein’s Lebens Licht (118) ” CLVII. Gott ist unsere Zuversicht[94] (_Wedding_), 1737-8 CLVIII. Freue dich erlöste Schaar (30) _S. John Baptist_, 1738 CLIX. O ewiges Feuer, o Ursprung der Liebe (34) _Whitsunday_, 1740-1 CLX. Du Friedefürst, Herr Jesu Christ (116) _25th after Trinity_, 1744 CLXI. Nun komm, der Heiden Heiland (62) _1st Sunday in Advent_, 1736-44 CLXII. Gelobet seist du, Jesu Christ (91) _Christmas day_, ” CLXIII. Christum wir sollen loben schon _2nd Christmas day_, ” CLXIV. Selig ist der Mann (57) ” ” † CLXV. Süsser Trost, mein Jesus kommt _3rd Christmas day_ ” † CLXVI. Das neugeborne Kindelein (122) _Sunday after Christmas_, ” CLXVII. Liebster Immanuel (123) _Epiphany_, ” CLXVIII. Liebster Jesu, mein Verlangen (32) _1st after Epiphany_, ” † CLXIX. Meinen Jesum lass ich nicht (124) ” ” CLXX. Meine Seufzer, meine Tränen (13) _2nd after Epiphany_, ” † CLXXI. Ach Gott, wie manches Herzeleid (3) ” ” CLXXII. Was mein Gott will, das g’scheh’ allzeit (111) _3rd after Epiphany_, 1736-44 CLXXIII. Mit Fried und Freud ich fahr dahin (125) _Candlemas_, ” CLXXIV. Ich hab’ in Gottes Herz und Sinn (92) _Septuag._, ” CLXXV. Herr Jesu Christ, wahr’ Mensch und Gott (127) _Quinquagesima_, ” CLXXVI. Am Abend aber desselbigen Sabbaths (42) _1st after Easter_, ” † CLXXVII. Ach Gott vom Himmel sieh darein (2) _2nd after Trinity_, ” CLXXVIII. Schmücke dich, o liebe Seele ” ” LXXIX. Christ unser Herr zum Jordan kam (7) _S. John Baptist_, ” CLXXX. Erhalt uns, Herr, bei deinem Wort (126) _6th after Trinity_, ” CLXXXI. Meine Seele erhebet den Herren (10) _Visitation of S. Mary_, ” CLXXXII. Warum betrübst du dich, mein Herz (138) _15th after Trinity_, ” † CLXXXIII. Nun ist das Heil and die Kraft (50) _Michaelmas_, ” CLXXXIV. Herr Gott, dich loben alle wir (130) ” ” CLXXXV. Ach lieben Christen, seid getrost (114) _17th after Trinity_, ” CLXXXVI. Herr Christ der ein’ge Gottessohn (96) _18th after Trinity_, ” CLXXXVII. Ich elender Mensch (48) _19th after Trinity_, ” CLXXXVIII. Aus tiefer not schrei ich zu dir (38) _21st after Trinity_, ” CLXXXIX. Mache dich, mein Geist, bereit (115) _22nd after Trinity_, ” CXC. Ach wie flüchtig, ach wie nichtig (26) _24th after Trinity_, ” CXCI. Es reifet euch ein schrecklich Ende (90) _25th after Trinity_, ” CXCII. Ihr Pforten zu Zion (_Municipal_) _composed in Leipzig_.[95] CXCIII. Ach Herr, mich armen Sünder (135) _3rd after Trinity._ CXCIV. Wo Gott der Herr nicht bei uns hält _8th after Trinity._ CXCV. Nimm von uns, Herr (101) _10th after Trinity._ CXCVI. Herr Jesu Christ, du höchstes Gut (113) _11th after Trinity._ CXCVII. Allein zu dir, Herr Jesu Christ (33) _13th after Trinity._ CXCVIII. Jesu, der du meine Seele (78) _14th after Trinity._ CXCIX. Wohl dem, der sich auf seinen Gott (139) _23rd after Trinity._ CC. Wie schön leuchtet der Morgenstern (1) _Annunciation._

FOOTNOTES:

[1] The lines on this print are given by Spitta, vol. i. p. 9:—

_Hier siehst du geigen Hansen Bachen, Wenn du es hörst, so mustu lachen. Er geigt gleichwohl nach seiner Art Und trägt einen hübschen Hans Bachens Bart._

[2] Spitta, i. 160. The genealogist, however, in a list of thirty-seven musicians, signalises one drunkard, Johann Friedrich, the third son of the great Johann Christoph: _ibid._ 139.

[3] _Ausdrückend_ was the distinctive title associated to his great-uncle by Philipp Emanuel Bach: Spitta, i. 50.

[4] According to the new style the day is the 31st. Handel was born a month earlier; and English notices, since the year in this country began on the 25th of March, place his birthday in 1684. That this should create a misconception in the minds of foreign writers was natural; but it is curious that they have all failed to detect the source of the confusion, and unanimously exposed an imaginary error.

[5] _Bach-Gesellschaft_, II. No. 15.

[6] They are a fugue in C minor, and a prelude and fugue in the same key, printed in Peters’ collected edition of the instrumental works, series v. pt. 4. 9 and 5.

[7] Dr. Spitta analyses the characteristics of Bach’s pedal-use in these early fugues as (1) incidental, for a single emphasis, (2) in cadences, and (3) as a pedal-point to strengthen a prolonged fundamental harmony: i. 243 f.

[8] To the latter part of the stay at Arnstadt are attributed the preludes and fugues in C and A minor (Peters, v. 3. 7, 9) and a fantasia in G (v. 4. 11). Another fantasia and a fugue, both in G and presumably of the same period, remain in MS., one in the Berlin library, the other in the possession of the present cantor of S. Thomas’s, Leipzig, Dr. Wilhelm Rust.

[9] Besides the pieces mentioned below, a prelude and fugue in E flat (a MS. in Dr. Rust’s possession), and a fugue in E minor seem to belong to the Arnstadt period, if indeed this latter does not date as far back as Lueneburg. It appears at No. 212, p. 12, of Peters’ cheap edition, to which, as the most generally accessible, I always refer for the clavichord works.

[10] Another _capriccio_, which may be even earlier than the preceding, has in one copy the interesting heading, _In honorem Joh. Christoph. Bachii_, his brother and old preceptor at Ohrdruf (No. 216, p. 2).

[11] Bach’s appointment is dated 14th June, 1707. The signatures of three members of the consistory are absent; they offer a pathetic excuse. Their houses had just been burnt to the ground in a great fire that had laid waste much of the town, and they were destitute even of the means of signing their names, _hätten keine Feder oder Tinte, wären wegen des Unglücks so bestürzet, dass sie an keine Music dächten; wie es die anderen Herren machten wären sie zufrieden_: Spitta, i. 851 f.

[12] The description of the scene, in somewhat sesquipedalian Latin, is quoted by Spitta, i. 801.

[13] Note to Quintilian, _Inst. Orat._ i. xii. 3, in Spitta ii. 89.

[14] Forkel, _Life of J. S. Bach_, pp. 30 f., _E. T._, London, 1820.

[15] The early works for organ have already been enumerated, above pp. 21 f.

[16] An excellent catalogue of this edition is contained in Alfred Doerffel’s _Thematisches Verzeichniss, u.s.w._, Leipzig, 1867.

[17] He might indeed just go too far, as we may see from the complaints made against Bach when at Arnstadt (above p. 25).

[18] Handel too was a student of Legrenzi, as a motive in one of his oratorios bears witness.

[19] Mattheson proposed the theme some years later, without stating its derivation, to a candidate for examination on the organ: Spitta, i. 634 f.

[20] This fugue is based upon the G minor violin-sonata, and possibly was composed at Coethen.

[21] To this period belongs also a fragmentary _Fantasia_ in C minor, preserved in MS. at Berlin.

[22] The inventory of Bach’s property at his death mentions among his books August Pfeiffer’s _Anti-Calvinismus_. He certainly possessed it at Coethen, as witnesses the inscription on a _Clavier-Büchlein_ written for his second wife.

[23] Their intimate relations may be illustrated by the fact that a child of Bach’s, born in November, 1718, was christened after the Prince and one of his brothers, who with a sister and two courtiers all stood sponsors to the boy.

[24] Bernhard Bach came to occupy his father’s old post at Muehlhausen. He afterwards studied law at Jena, but died there of a fever in 1739.

[25] Spitta, i. 665-669.

[26] A fifth, in A minor, remains in MS. at Berlin.

[27] Dr. Spitta argues in support of its genuineness, and is inclined also to accept another one, at present unpublished, of which he quotes the opening bars: vol. ii. p. 686.

[28] Add to these three detached minuets printed at 216, pp. 30 f.

[29] An early sonata and two _capriccios_ have already been noticed above, p. 23.

[30] At Weimar he had already written a concerto in C minor, which remains in MS. The arrangements for clavichord of Vivaldi’s violin concertos (217) are of singular interest, as evidence of Bach’s view of the requirements and capacities of the clavichord; but they cannot be included in a list of his original works.

[31] The other three have been already included under the _concertante_ instruments.

[32] Three of them have been excellently transcribed for the pianoforte by Joachim Raff, and published at Leipzig by Rieter-Biedermann.

[33] Another composition for these instruments is one of the endless varieties of the _Musikalische Opfer_, but its position there removes it somewhat from the field of Bach’s chamber works.

[34] Forkel, pp. 22 f.

[35] Goerner has one claim to remembrance, since he lived to draw out the stops for Mozart when he made his historical visit to the Thomaskirche in 1789.

[36] Vol. ii. p. 52.

[37] To this class we may assign without hesitation the cantatas, _Ich bin vergnügt mit meinem Glücke_ (No. 84) and _Ich habe genug_ (No. 82). The latter is printed in a form which Bach afterwards gave to it, changing the soprano into a bass _solo_. Possibly _Wer nur den lieben Gott lässt walten_ (93) had a like origin: see Spitta, ii. 274 f., 302 f., 269 ff. A secular cantata of which the subject closely resembles that of the two first-named works should seem to belong to the same category: it is printed in the Bach-Gesellschaft xi. (2) p. 105.

[38] _Ein Teuflisches Geplerr und Geleyer._ The expression occurs in his treatise on Thorough Bass, printed by Spitta, ii. 913-950.

[39] Published by the Bach-Gesellschaft, xi. (2) p. 139. The music was used again for the Coronation Festival in 1734.

[40] B.-G. xx. (2) p. 73; used again for the King’s birthday.

[41] B.-G. xi. (2) p. 3.

[42] This and the two following exist in MS. at Berlin.

[43] B.-G. xx. (2) p. 3. It was revived for a royal anniversary in 1736 or 1737.

[44] Cp. below, p. 106.

[45] The _Edifying Reflexions of a Tobacco-smoker_ are printed by C. H. Bitter in his Life of Bach, vol. i. pp. 124 f. (Berlin, 1865), and the music added in facsimile at the end. The words recall entirely the old English song, _Tobacco’s but an Indian weed_, of Tom d’Urfey’s _Pills to Purge Melancholy_, 1699, or Wither’s delicious verses, with the refrain _Thus think and drink tobacco_, of which d’Urfey’s are a _réchauffé_. But the English has not the analogy of the pipe and the human soul carried into such detail as Bach’s text; witness the lines:—

Wie oft geschieht’s nicht bei dem Rauchen, Dass, wenn der Stopfer nicht zu Hand, Man pflegt den Finger zu gebrauchen? Dann denk’ ich, wenn ich mich verbrannt, O macht die Kohle solche Pein; Wie heiss mag erst die Hölle sein.

[46] The two comic cantatas have been published by S. W. Dehn in two editions; the second is issued by C. A. Klemm at Leipzig.

[47] Three are mentioned: one is lost; the second probably dates from Coethen, and is published by the Bach-Gesellschaft, xi. (2) p. 75; and the third had already been used for certainly three occasions before it was adapted to a marriage festival, it seems in 1749.

[48] Possibly we should add a cantata which seems to belong to some court festival, and exists in private hands at Dresden: Spitta, ii. 450 f.

[49] MS. at Berlin.

[50] Afterwards absorbed into the church cantata, _Erhöhtes Fleisch und Blut_.

[51] Afterwards re-written as church cantata No. 35.

[52] The _Trauer-Ode_ is published in the Bach-Gesellschaft, xiii. p. 3.

[53] Of this sort Bach is only known to have written three cantatas, of which two remain. One, _Non sà che sia dolore_, lies in MS. at Berlin; the other, _Amore traditore_, is printed by the Bach-Gesellschaft, xi. (2) p. 93.

[54] All but No. 2 have been published at Leipzig by Breitkopf and Haertel: a few others are of doubtful genuineness.

[55] Preface to the twentieth volume, first division, of the Bach-Gesellschaft.

[56] Vol. ii. pp. 335 ff.

[57] Vol. ii. pp. 338-346.

[58] Sometimes in Italy the oratorio was actually presented with all the scenic accessories of the opera, just as Liszt’s _Saint Elisabeth_ was performed at Weimar, in 1881.

[59] The only change is by way of addition, namely, of two place from S. Matthew xxvi. 75, xxvii. 51, 52, to the distinct invigoration of the somewhat colourless narrative of the fourth Gospel.

[60] G. A. Macfarren, preface to Novello’s edition of the _Passion_, p. ii.

[61] In the interval it had apparently formed part of the Passion music written for 1725, of which indeed it remains the solitary relic. See above, p. 89.

[62] This idea had already suggested itself to Telemann, in his _S. Mark Passion_; and before him it had been used by Heinrich Schuetz in his _Seven Words_. Another method had been to give Christ’s words to a chorus, as though too great for any single voice: Spitta, vol. ii. pp. 374 f.

[63] The smaller masses are in G major and minor, A, and F; the two former are simple adaptations of pieces from the church cantatas. All are of later composition than the _S. Matthew Passion_; those in G and A apparently dating from about 1737. The four Masses are printed in the eighth volume of the Bach-Gesellschaft. A _Christe eleison_ in C minor and four _Sanctuses_ (B.-G. xi. pt. 1) complete the list of Bach’s Latin works.

[64] As already mentioned, p. 65, the _Kyrie_ and _Gloria_ of the High Mass were written for Dresden and dedicated to the king on the 27th of July, 1733; the _Credo_ may have been composed for use at Leipzig even a year or two earlier. The completion of the whole cannot be fixed later than 1738.

[65] Bach’s thankfulness has often this same emotional tenour. In the Mass it is made conspicuous by the identity of the music of the _Dona nobis_ with that of the _Gratias agimus_. The subject is an old church one. Bach had used it before in the great chorus of his Rathswahl-Cantate of 1731, _Wir danken dir, Gott_ (No. 29), where the similar, but different and less elaborate treatment of the same subject—the second subject also is all but identical—offers an instructive study.

[66] Forkel, p. 87.

[67] See above, p. 53.

[68] One good he got from it. The town having awoke to the advantage of hearing good music, it became more liberal in the arrangements, and especially the financial arrangements of the Thomaskirche. It had slept apparently through the _S. Matthew Passion_.

[69] The title is often given in French as the _Clavecin bien tempéré_; but this is confusing, for the works were never intended for the harpsichord (_clavecin_), but for the more expressive clavichord (_clavier_).

[70] “You will then,” he adds, “surely become an able musician.”

[71] An early form of the prelude and fugue in G (in the second part) will be found in No. 214, p. 42, and yet another prelude to the same fugue at p. 44. The relation of these essays to their inimitable successor is full of suggestion. Similarly the prelude and fugue in A flat (also in the second part) were at first written in F. See 214, p. 40.

[72] It is interesting to compare the great organ-fugues, as that in G which dates from 1724-5, or that in C from 1730.

[73] Pp. 57 f, cp. 68 f.

[74] The most scholarly edition of the _Wohltemperirte Clavier_ was prepared by Franz Kroll for the Bach-Gesellschaft, and appears in the fourteenth volume. Kroll has also brought out a reprint of the text in Peters’ cheap series, by far the most convenient for students, since it is unencumbered by the additions of later pianoforte-music makers, marks of _tempo_, emphasis, &c.

[75] Not, however, by his sons’ hands, as is commonly stated. The _Kunst der Fuge_ is edited by Dr. Rust in the twenty-fifth volume of the Bach-Gesellschaft (first division): its study should be accompanied by Moritz Hauptmann’s musician-like _Erläuterungen_, published by Peters.

[76] It was published in 1752. The only works that appeared in Bach’s lifetime were the five parts of the _Clavier-Uebung_ containing clavichord and organ compositions, the _Musikalische Opfer_, and a _Canon_ written for Mizler’s Musical Society.

[77] The chorale was added in the first edition of the _Kunst der Fuge_, and its place there, though musically irrelevant, is surely justified by a fine sentiment. Forkel touchingly says, “The expression of pious resignation, and devotion in it, have always affected me whenever I have played it; so that I can hardly say which I would rather miss—this chorale, or the end of the last fugue,” p. 91. The rigour of criticism has of course relegated the piece to the category of organ-works (vii. 58).

[78] Forkel, p. 78.

[79] Forkel, p. 28.

[80] See Spitta, vol. i. 713; ii. 124f.: and compare W. S. Rockstro’s article, _Orchestration_, in Mr. Grove’s _Dictionary of Music and Musicians_.

[81] A second edition appeared in London in 1878. There are few more amusing examples of ardent hero-worship than this collection contains. Bach is first “our Demi-God,” “our grand Hero,” “our Sacred Musician,” “our Apollo,” “this marvellous Man.” At length Wesley’s rhetoric fails, and his idol becomes “THE MAN (which expression I prefer to any epithet of _great_, or _wonderful_, &c., which are not only common, but _weak_, as is every other epithet applied to one whom none can sufficiently praise),” p. 36.

[82] Curiously enough, Johann Adam Hiller, a respectable musician and a successor of Bach at the Thomasschule, admired Bach’s counterpoint and part-writing, but found his melodies “odd” (_sonderbar_).

[83] The detailed arguments in favour of this arrangement will be found in Spitta, vol. i. pp. 225-230; 339-350; 369-372; 438-461; 480-507; 525-565; 790 f.; 797-801; 803-814; vol. ii. 181-306; 545-569; 774-790; 791-810; 830-838: with which compare the various prefaces in the edition of the Bach-Gesellschaft, vols. i.-xxviii.

[84] An incomplete work discovered by Dr. Spitta in the chantry at Langula near Muehlhausen: vol. i. pp. 339 f.

[85] Printed by the Bach-Gesellschaft, xiii. (1), p. 73.

[86] Printed in J. P. Schmidt’s Kirchengesänge.

[87] Printed in the same.

[88] Rewritten as No. 80 of the _B.-G._

[89] Originally intended as the _Probe-Stück_ for his post at Leipzig, but discarded in favour of the preceding number. Perhaps it was produced on the same Sunday in the following year.

[90] The dates of Nos. LVI.-LXXIII. do not admit of an exact determination.

[91] Fragment afterwards mainly absorbed into a marriage cantata (No. XCIII.) printed by the Bach-Gesellschaft, xiii. (1), p. 3.

[92] Rewritten from a Coethen serenade: see above, p. 79, n. 3.

[93] Rewritten from a secular cantata: see above, p. 79, n. 1.

[94] Printed by the Bach-Gesellschaft, xiii. (1), p. 97.

[95] This and the eight following numbers are of uncertain date.

THE END.

LONDON: PRINTED BY GILBERT AND RIVINGTON, LTD., ST. JOHN’S HOUSE, CLERKENWELL ROAD, E.C.