7. Henry Mayhew, German Life and Manners as Seen in Saxony at the Present Day (1864), Vol. 1, p. 178.
8. Hans Carl von Carlowitz, Sylvicultura oeconomica, oder haußwirthliche Nachricht und Naturmäßige Anweisung zur wilden Baum-Zucht (1713).
9. Karl Hasel and Ekkehard Schwartz, Forstgeschichte: Ein Grundriss für Studium und Praxis (2006), pp. 62, 318–9.
10. Richard Wagner, Gazette Musicale, 23 and 30 May 1841.
11. WA, Vol. 12, p. 219.
12. Thomas Kaufmann, Dreißigjähriger Krieg und westfälischer Friede. Kirchengeschichtliche Studien zur lutherischen Konfessionskultur (1998), pp. 34–6, 124.
13. Geistliche Concerten (1643).
14. Heinrich Schütz, Gesammelte Briefe und Schriften, Erich Hermann Müller (ed.) (1976), No. 83, p. 230; and Letters and Documents of Heinrich Schütz, Gina Spagnoli (ed.) (1990), Docs. 5, 143 and 145.
15. Claus Oefner, ‘Eisenach zur Zeit der jungen Bach’, BJb (1985), p. 54; and Christoph Wolff, Johann Sebastian Bach: The Learned Musician (2000), p. 16.
16. Eberhard Matthes, Eisenach zur Zeit von Telemanns dortigem Wirken 1708–1712 (1974), p. 6.
17. George Steiner, Grammars of Creation (2001), p. 177.
18. Missbrauch der freyen Künste, insonderheit der Musik (1697), pp. 13, 23, quoted by Tanya Kevorkian, Baroque Piety: Religion, Society, and Music in Leipzig 1650–1750 (2007), p. 137.
19. Stephen Rose in The Worlds of Johann Sebastian Bach, Raymond Erickson (ed.) (2009), p. 181, and ‘The Bear Growls’, Early Music, Vol. 33 (Nov. 2005), pp. 700–702.
20. Robin A. Leaver, ‘Bach and Pietism: Similarities Today’, Concordia Theological Quarterly, Vol. 55 (1991), p. 12.
21. Manfred Wilde, Die Zauberei- und Hexenprozesse in Kursachsen (2003), pp. 535ff.; and Kevorkian, Baroque Piety, pp. 116–17.
22. Robin A. Leaver, Luther’s Liturgical Music: Principles and Implications 2007), p. 74.
23. Georg Schünemann, Geschichte der Deutschen Schulmusik (1928), p. 93.
24. The opening sentence of Daniel Friderici’s Musica figuralis (1618).
25. WA TR, No. 6248; Jan Chiapusso, Bach’s World (1968), p. 295, n. 9.
26. Foreword to Johann Reusch’s Tsalms of 1552’ (Zehen deudscher Psalm Davids), (1553), cited in John Butt, Music Education (1994), p. 3.
27. C. Friccius, Music-Büchlein oder nützlicher Bericht (1631), p. 90.
28. Jan Chiapusso, Bach’s World, pp. 3–4.
29. Ibid., p. 4.
30. Johann Buno, Historisches Bilder, darinnen Idea historiae universalis (1672).
31. James Ussher, The Annals of the World (1658), Vol. 4.
32. Œuvres de Descartes, C. Adam and P. Tannery (eds.) (1897–1909), Vol. 6, p. 5.
33. Johann Amos Comenius, Latinitatis vestibulum sive primi ad Latinam linguam aditus (1662), cited in Frank Mund, Lebenskrisen als Raum der Freiheit (1997), p. 130.
34. Wolff, Bach: The Learned Musician, p. 26.
35. ‘ “Ut probus et doctus reddar” ’, BJb (1985), p. 22, im wesentlichen Stabilität und Qualität der Schule … garantierten.
36. Rainer Kaiser, ‘Neues über Johann Sebastian Bachs Schulzeit in Eisenach von 1693 bis 1695’, Bachfest-Buch (76, Bachfest der Neuen Bachgesellschaft Eisenach, 2001), pp. 89–98, and ‘Johann Sebastian Bach als Schüler einer “deutschen Schule” in Eisenach?’, BJb (1994), pp. 177–84.
37. Stadtarchiv Eisenach, Eisenachsche Stadtraths: Akten Die ehmaligen deutschen Schulen 1676–1680 betreffend, B. XXVII.1a, pp. 9–10.
38. Eisenacher Archiv, Konsistorialsachen Nr. 929, p. 1.
39. Petzoldt, ‘ “Ut probus et doctus reddar” ’, p. 22; and Claus Oefner’s dissertation ‘Das Musiklebe in Eisenach 1650–1750’ (Halle), pp. 36, 105.
40. Jonathan Israel, Radical Enlightenment (2001), pp. 20, 544–6.
41. Giambattista Vico, On the Most Ancient Wisdom of the Italians (1710), L. M. Palmer (trs.) (1988), p. 2–10.
42. Lorenz Mizler, Musikalische Bibliothek, Vol. 2, quoting Leibniz. see W. Blankenburg, ‘J. S. Bach und die Aufklärung’, Bach Gedenkschrift, K. Matthaei (ed.) (1950), p. 26.
3 THE BACH GENE
1. Christoph Wolff, Bach: Essays on His Life and Music (1991), p. 15.
2. BD I, No. 184/NBR, pp. 283–94.
3. Erfurt town records, Ratsprotokolle of I Dec. 1716.
4. George Steiner, Grammars of Creation (2000), pp. 93–4.
5. NBR, p. 298.
6. Isaiah Berlin, Roots of Romanticism (2000), p. 61.
7. BD I, No. 184/NBR, p. 283.
8. Karl Geiringer, The Bach Family (1954), p. 10.
9. Ibid., p. 21.
10. M. Praetorius, Syntagmatis music (1618), Vol. 2, p. 89.
11. Geiringer, The Bach Family, pp. 66–7.
12. Erfurt town records, Ratsprotokolle of 1682.
13. Stadtarchiv Eisenach, B. XXV, C1.
14. Percy M. Young, The Bachs 1500–1850 (1970), p. 35.
15. Peter Wollny, Altbachisches Archiv (CD liner notes).
16. Stadtarchiv Eisenach, 10 – B. XXVI.C.II, Vol. 6, ‘Gymnasialmatrikel’ (1713).
17. Nekrolog, BD III, No. 666 / NBR, p. 299.
18. Ibid., p. 300.
19. Letter by C. P. E. Bach dated 13 Jan. 1775 in answer to questions by Forkel, BD III, No. 803/ NBR, p. 398.
20. Ibid.
21. Wolff, Bach: Essays on His life and Music, p. 15.
22. J. N. Forkel, Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke (1802), p. 17; and NBR, p. 423.
23. Recorded on SDG 715.
24. Letter from C. P. E. Bach to J. N. Forkel, 20 Sept. 1775, BD III, No. 807.
25. Nekrolog, BD III, No. 666/ NBR, p. 298.
26. Abraham Cowley (1618–67) from preface to Poems (1656).
27. Forkel, Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke, pp. 18–19; and NBR, p. 424.
28. Christoph Wolff, Johann Sebastian Bach: The Learned Musician (2000), p. 30.
29. Graham Greene, The Ministry of Fear (1943), Book 1, Chapter 7.
30. Hans-Joachim Schulze, ‘Johann Christoph Bach (1671–1721), “Organist und Schul Collega in Ohrdruf”, Johann Sebastian Bachs erster Lehrer’, BJb (1985), p. 60.
31. Johann Mattheson, Der vollkommene Capellmeister (1739), p. 241.
32. BD II, No. 409/NBR, p. 346.
33. After three years spent combing German archives for new information about Bach, Michael Maul and Peter Wollny of the Bach-Archiv Leipzig found these manuscripts, which had survived the fire by being stored in the vaults of the Duchess Anna Amalia Library.
34. Maul and Wollny, preface to Weimar Organ Tablatures (2006).
35. Hans-Joachim Schulze, ‘Johann Christoph Bach (1671–1721)’, p. 73; Konrad Küster, Der junge Bach (1996), pp. 82–109; and Schulze’s review in BJb (1997), pp. 203–5.
36. Expedition Bach, Bach-Archiv Leipzig (2006), p. 17.
37. Lüneburg Stadtarchiv, Kloster St Michaelis, F 104 Nr. 1, ‘Acta betr. Nachrichten den ehemals auf der Abtei befindlichen Schülertisch 1558–1726’.
38. Horst Walter, Musikgeschichte der Stadt Lüneburg (1967), pp. 81–2.
39. Küster, Der junge Bach, pp. 92–3.
40. Max Seiffert, ‘Seb. Bachs Bewerbung um die Organistenstelle an St Jakobi in Hamburg 1720’ in Archiv für Musikwissenschaft, Vol. 3 (1921), pp. 123–7.
41. Nekrolog, NBR, p. 302.
42. Letter from C. P. E. Bach to Forkel, 13 Jan. 1775, BD III, No. 803/NBR, p. 398. The English version omits the key words geliebt v. studirt, ‘loved and studied’.
43. George B. Stauffer, ‘Bach the Organist’ in Christoph Wolff (ed.), The World of the Bach Cantatas (1997), p. 79.
44. BD III, No. 803/NBR, p. 398.
45. BD II, No. 7/NBR, p. 40.
46. Young, The Bachs, p. 35.
47. Wolff, Johann Sebastian Bach: The Learned Musician, p. 73.
48. BD III, No. 800/NBR, p. 396.
4 THE CLASS OF ’85
1. Foreword to
Georg Falek, Idea boni cantoris (1688), cited in John Butt, Music Education and the Art of Performance in the German Baroque (1994), p. 25.
2. Mattheson, Grundlage einer Ehren-Pforte (1740), p. 189.
3. Mattheson, Der musicalische Patriot, (1728), p. 178.
4. B. Baselt, ‘Handel and His Central German Background’ in Handel: Tercentenary Collection, S. Sadie and A. Hicks (eds.) (1987), p. 49.
5. Newman Flower, George Frideric Handel: His Personality and His Times (1923), p. 40; John Mainwaring, Memoirs of the Life of the Late George Frederic Handel (1760), p. 28.
6. Mattheson, Grundlage, p. 93.
7. Ibid.
8. NBR, p. 426.
9. Philipp Spitta, The Life of Bach, Clara Bell and J. A. Fuller Maitland (trs.) (1899 edn), Vol. 1, p. 200.
10. Christoph Wolff, Johann Sebastian Bach: The Learned Musician (2000), p. 65.
11. Spitta, The Life of Bach, Vol. 1, p. 468.
12. F. Blume, ‘J. S. Bach’s Youth’, MQ, Vol. 54, No. 1 (Jan. 1968), p. 7.
13. Iain Fenlon, ‘Monteverdi’s Mantuan Orfeo’, Early Music, Vol. 12, No. 2 (May 1984), p. 170.
14. Anonymous treatise, Il Corago, quoted by Lorenzo Bianconi, Music in the Seventeenth Century, D. Bryant (trs.) (1987), pp. 170–80, and by Roger Savage and Matteo Sansone, ‘Il Corago and the Staging of Early Opera’, Early Music, Vol. 17, No. 4 (Nov. 1989), pp. 495–511.
15. G. F. Anerio’s dedication to Neri in his Teatro armonico spirituale (1619).
16. André Maugars, Response faite à un curieux (1639).
17. Le Cerf de la Viéville, Comparaison de la musique italienne et de la musique française (1704).
18. H. Wiley Hitchcock, ‘The Latin Oratorios of Marc-Antoine Charpentier’, MQ, Vol. 41, No. 1 (Jan. 1955), p. 45.
19. Latin preface to Schütz’s Symphoniae sacrae (1629), Vol. I.
20. Bettina Varwig, ‘Seventeenth-Century Music and the Culture of Rhetoric’, JRMA (2007).
21. Imogen Holst, Tune (1962), p. 97.
22. Ibid., p. 92.
23. Ibid., p. 103.
24. Franklin B. Zimmerman, Henry Purcell (1967), p. 213.
25. Ellen Rosand, Monteverdi’s Last Operas (2007), p. 380.
26. Descartes, Œuvres: Correspondance (1969), Vol. 1, p. 204.
27. G. E. Scheibel, Zufällige Gedancken von der Kirchen-Music, wie sie heutiges. Tages beschaffen ist (1721), Joyce Irwin (trs.) in Bach’s Changing World, Carol K. Baron (ed.) (2006), p. 221.
5 THE MECHANICS OF FAITH
1. Bhagavad-Gita, Chapter 17.
2. Martin Luther, WA TR, No. 2545b.
3. Michael Praetorius, preface to Polyhymnia caduceatrix et panegyrica of 1619.
4. Diarmaid MacCulloch, A History of Christianity: The First Three Thousand Years (2009), p. 612.
5. M. J. Vogt, Conclave thesauri magnae artis musicae (1719).
6. John Butt, Music Education and the Art of Performance in the German Baroque (1994), p. 47; and Dietrich Bartel, Musica poetica (1997), p. 84.
7. Joachim Burmeister, Musica poetica (1606), p. 56.
8. Johannes Susenbrotus, Epitome troporum ac schematum et grammaticorum et rhetorum (1566).
9. Henry Peachum the Elder, The Garden of Eloquence (1593), p. 143.
10. Joachim Burmeister, Hypomnematum musicae poeticae (1599), entry on pathopoeia.
11. John Milton, Paradise Lost, Book 10, ll. 504–9.
12. Isaiah Berlin, Three Critics of the Enlightenment (2000), p. 94.
13. BD I, No. 1/NBR, p. 57.
14. BD II, Nos. 19–20/NBR, pp. 49–50.
15. Georg Thiele, ‘Die Familie Bach in Mühlhausen’, Mülhäuser Geschichtsblätter, Vol. 21 (1920/21), pp. 62–5.
16. Auff Begehren Tit: Herrn D: Georg Christ: Eilmars in die Music gebracht von Joh. Seb. Bach Org. Molhusino.
17. Johann Gottfried Olearius, Biblische Erklärung (1678–81), Vol. 5, col. 532b; see also M. Petzoldt, ‘Liturgical and Theological Aspects’ in The World of the Bach Cantatas, Vol. 1 Christoph Wolff (ed.) (1997), p. 113.
18. I am grateful to Dr George Steiner for this formulation of the prevalent mood of Luther’s psalm translations.
19. See Robert L. Marshall, ‘Toward a Twenty-First-Century Bach Biography’, MQ, Vol. 84, No. 3 (Fall 2000), p. 504.
20. Martin Luther, ‘Second Lecture on Psalm 90 [3 June 1535]’, LW, Vol. 13, p. 116.
21. Robin A. Leaver, Bach’s Theological Library (1983).
22. Montaigne, Essais (1580), M. A. Screech (ed.) (1991), Book I, Section 29, p. 96.
23. Martin Luther, ‘A Sermon on Preparing to Die’, LW, Vol. 42, p. 101.
24. Jacques Gardien, Jean-Philippe Rameau (1949), p. 57.
25. Martin Luther, LW, Vol. 13, p. 83.
26. Ibid.
27. See Eric Chafe, Tonal Allegory in the Vocal Music of J. S. Bach (1991), p. 52.
28. Quoted in Hannsdieter Wohlfarth, Johann Sebastian Bach (1985), p. 96.
29. A. N. Wilson God’s Funeral (1999), p. 329.
30. Ibid.
31. György Kurtág, Three Interviews and Ligeti Homages, Bálint Andras Varga (ed.) (2009).
32. BD I, No. 123.
33. Leaver, Bach’s Theological Library, pp. 22–5. See also his ‘Luther’s Theology of Music in Later Lutheranism’ in Luther’s Liturgical Music (2007).
34. Ibid., p. 14.
35. John Butt, Bach’s Dialogue with Modernity: Perspectives on the Passions (2010), p. 53.
36. ‘Entwurff’, BD I, No. 22/NBR, p. 149.
37. Rainer Kaiser, ‘Johann Ambrosius Bachs letztes Eisenacher Lebensjahr’, BJb 1995), pp. 177–82.
6 THE INCORRIGIBLE CANTOR
1. BD II, Nos 280–81/NBR, p. 145.
2. Martin Geck, J. S. Bach: Life and Work (2006), p. 175.
3. Arnold Schering, Musikgeschichte Leipzigs (1926), Vol. 2, p. 46.
4. Philipp Spitta, The Life of Bach, Clara Bell and J. A. Fuller Maitland (trs.) (1899 edn), Vol. 3, pp. 303–5.
5. Andreas Glöckner, BJb (2001), pp. 131–8.
6. BD I, No. 23/NBR, p. 151.
7. NBR, p. 77; Max Seiffert, ‘Joh. Seb. Bach 1716 in Halle’ in Sammelbände der Internationalen Musikgesellschaft (July–Sept. 1905); and C. H. Terry, Bach: A Biography (1928), pp. 109–10.
8. George B. Stauffer, ‘Leipzig: A Cosmopolitan Trade Centre’ in The Late Baroque Era: From the 1680s to 1740, George J. Buelow (ed.) (1993), p. 258.
9. NBR, p. 151.
10. BD I, No. 23/ NBR, p. 152.
11. BD II, No. 139.
12. Michael Maul, ‘Dero berühmbter Chor’: Die Leipziger Thomasschule und ihre Kantoren 1212–1804 (2012).
13. BD I, No. 91/NBR, p. 102.
14. Statutes of the Thomasschule (1634), Schulordnung, Para. VII/i, quoted by Michael Maul, ‘Dero berühmbter Chor’, p. 66, and their dilution from 1723 onwards, pp. 784–91.
15. Howard H. Cox, ‘Bach’s Conception of His Office’, JRBI, Vol. 20, No. 1 (1989), pp. 22–30.
16. Howard H. Cox (ed.), The Calov Bible of Bach (1985), p. 418.
17. Hans-Joachim Schulze, ‘Johann Sebastian Bach – Thomaskantor: Schwierigkeiten mit einem prominenten Amt’, Bach-Tage Berlin (Festbuch) (1991), pp. 103–8.
18. Rainer Kaiser, ‘Neues über Johann Sebastian Bachs Schulzeit in Eisenach von 1693 bis 1695’, Bachfest-Buch (76, Bachfest der Neuen Bachgesellschaft Eisenach, 2001), pp. 89–9.
19. Joel Chandler Harris, Tales from Uncle Remus (1895), ‘How Mr Rabbit was Too Sharp for Mr Fox’, p. 11.
20. J. N. Forkel, Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke (1802), p. 82.
21.…eine völlig turbulente und ungeordnete Situation dieser sonst sehr angesehenen Bildungsstätte in M. Petzoldt, ‘ “Ut probus et doctus reddar” ’, BJb (1985), p. 24.
22. Ob turbas, a Domino Cantore Arnoldo excitatas, scholae nostrae vale-dixerun, cited in J. Böttcher, Die Geschichte Ohrdrufs (1959), Vol. 3, p. 34.
23. Ob intolerabilem disciplinam Domini Cantoris
Arnoldi in hanc classem translati sunt, cited in ibid., p. 34.
24. Terry, Bach: A Biography, pp. 26–7.
25. Lyceum Matrikel, quoted in F. Thomas, ‘Einige Ergebnisse über Johann Sebastian Bachs Ohrdrufer Schulzeit in Jahreshericht des Gräflich Gleichenschen Gymnasiums 24 Ohrdruf für das Schuljahr 1899/1900 (1900), p. 9.
26. J. Böttcher, Die Geschichte Ohrdrufs, p. 34.
27.…die Soldatesque darzuzihen und den seinigen schutz verschaffen, letter of 3 Dec. 1660, in Horst Walter, Musikgeschichte der Stadt Lüneburg (1967), p. 79.
28. ‘Die Untersuchung und Bestraffung des Schülers Herda’, quoted in ibid., this page.
29. NBR, p. 43, excerpts from the proceedings of the Arnstadt Consistory for 5 Aug. 1705/BD II, No. 14.
30. BD II, No. 14/NBR, p. 45.
31. Ibid.
32. J. H. Zedler, Universal-Lexicon (1732–54), Sächsisches Duell-Mandat.
33. BD II, No. 16/ NBR, p. 46.
34. Stephen Rose, The Musician in Literature in the Age of Bach (2011), p. 74.
35. BD III, No. 801/ NBR, p. 397.
36. Rose, The Musician in Literature in the Age of Bach, p. 63.
37. Christoph Wolff, Johann Sebastian Bach: The Learned Musician (2000), p. 113.
38. BD I, i./NBR, p. 57.
39. Ibid.
40. Terry’s translation, Bach: A Biography, p. 83; and NBR, p. 57.
41. NBR, p. 58.
42. Konrad Küster, Der junge Bach (1996), p. 186.
43. Georg Mentz, Weimarische Staats- und Regentengeschichte (1936), p. 22.
44. Peter Williams, The Life of Bach (2004), p. 55.
45. Johann Beer, Die kurtzweiligen Sommer-Täge (1683), pp. 418–19, 510.
46. BD II, No. 66.
47. Laurel E. Fay, Shostakovich (2000), p. 77.
48. Peter Williams, J. S. Bach: A Life in Music (2007), p. 108; and Richard D. P. Jones, The Creative Development of J. S. Bach (2007), p. 245.
49. Andreas Glöckner, ‘Von seinen moralischen Character’ in Über Leben, Kunst und Kunstwerke: Aspekte musikalischer Biographie, Christoph Wolff (ed.) (1999), pp. 121–32.
50. BD II, No. 84.
51. Staatsarchiv Weimar, akt.B,26 436, fol. 126 r+v.
52. Wolff, The Learned Musician, pp. 210–110
53. Ibid., pp. 101–2.
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