Page 22. Schmücke dich, O liebe Seele (P. bk. 246 p. 50).
Page 26. Herr Jesu Christ, dich zu uns wend’ (P. bk. 245 p. 70).
Page 32. O Lamm Gottes unschuldig (P. bk. 246 p. 45).
Page 40. Nun danket alle Gott (ib. 34).
Page 43. Von Gott will ich nicht lassen (ib. 70).
Page 46. Nun komm, der Heiden Heiland (ib. 38).
Page 49. Do. do. do. (ib. 40).
Page 52. Do. do. do. (ib. 42).
Page 56. Allein Gott in der Höh’ sei Ehr’ (P. bk. 245 p. 26).
Page 60. Do. do. do (ib. 22).
Page 66. Do. do. do. (ib. 17).
Page 74. Jesus Christus, unser Heiland, der von uns (ib. 87).
Page 79. Do. do. do. (ib. 90).
Page 82. Komm, Gott, Schöpfer, heiliger Geist (P. bk. 246 p. 2).
Page 85. Wenn wir in höchsten Nöthen sein, or, Vor deinen Thron tret’ ich allhier (ib. 74).
Novello: Book XVIII. Miscellaneous Chorale Preludes (Part I.).
Page 1. Ach Gott und Herr (P. bk. 2067 p. 38).
Page 2. Do. do. (P. bk. 245 p. 3).
Page 3. Do. do. (P. bk. 2067 p. 39).
Page 4. Allein Gott in der Höh’ sei Ehr’ (not in P.).
Page 5. Do. do. do. (P. bk. 245 p. 6)
Page 7. Do. do. do. (ib. 30).
Page 11. Do. do. do. (ib. 8).
Page 13. An Wasserflüssen Babylon (ib. 32).
Page 16. Christ lag in Todesbanden (ib. 43).
Page 19. Do. do. (ib. 40).
Page 23. Christum wir sollen loben schon, or, Was fürcht’st du, Feind Herodes, sehr (P. bk. 244 p. 9).
Page 24. Das Jesulein soll doch mein Trost (P. bk. 2067 p. 47).
Page 26. Der Tag der ist so freudenreich (not in P.).
Page 28. Durch Adams Fall ist ganz verderbt (P. bk. 245 p. 66).
Page 30. Ein’ feste Burg ist unser Gott (ib. 68).
Page 35. Erbarm’ dich mein, O Herre Gott (not in P.).
Page 37. Gelobet seist du, Jesu Christ (P. bk. 244 p. 102).
Page 38. Do. do. do. (ib. 20).
Page 39. Do. do. do. (P. bk. 245 p. 61).
Page 41. Gottes Sohn ist kommen (P. bk. 244 p. 22).
Page 42. Do. do. (P. bk. 245 p. 64).
Page 43. Herr Christ, der ein’ge Gottes-Sohn (P. bk. 244 p. 25).
Page 44. Herr Gott, dich loben wir (Te Deum Laudamus) (P. bk. 245 p. 65).
Page 60. Herr Jesu Christ, dich zu uns wend’ (P. bk. 244 p. 28).
Page 52. Do. do. do. (not in P.).
Page 53. Herzlich thut mich verlangen (P. bk. 244 p. 30).
Page 54. Ich hab’ mein’ Sach Gott heimgestellt (P. bk. 245 p. 74).
Page 58. Do. do. do. (not in P.).
Page 59. In dich hab’ ich gehoffet, Herr (P. bk. 245 p. 94).
Page 61. In dulci jubilo (P. bk. 244 p. 103).
Page 64. Jesu, meine Freude (P. bk. 245 p. 78).
Page 69. Jesus, meine Zuversicht (P. bk. 244 p. 103).
Page 70. Liebster Jesu, wir sind hier (ib. 105).
Page 71. Do. do. (ib. 105).
Page 72. Do. do. (ib. 39).
Page 73. Lob sei dem allmächtigen Gott (ib. 41).
Page 74. Lobt Gott, ihr Christen, allzugleich (ib. 106).
Page 75. Meine Seele erhebt den Herren (Magnificat) (P. bk. 246 p. 29).
Page 80. Nun freut euch, lieben Christen g’mein, or, Es ist gewisslich an der Zeit (ib. 36).
Page 83. Nun komm, der Heiden Heiland (P. bk. 244 p. 45).
Novello: Book XIX. Miscellaneous Chorale Preludes (part II.) And Variations.
(a) Preludes.
Page 2. Valet will ich dir geben (P. bk. 246 p. 53).
Page 7. Do. do. (ib. 56).
Page 12. Vater unser im Himmelreich (ib. 66).
Page 14. Vom Himmel hoch, da komm ich her (ib. 67).
Page 16. Do. do. do. (ib 68).
Page 19. Do. do. do. (P. bk. 244 p. 106).
Page 21. Wer nur den lieben Gott lässt walten (ib. 56).
Page 22. Do. do. do. (ib. 56).
Page 23. Wie schön leuchtet der Morgenstern (not in P.).
Page 28. Wir Christenleut’ (P. bk. 2067 p. 52).
Page 30. Wir glauben all’ an einen Gott, Vater (P. bk. 246 p. 82).
Page 32. Wo soll ich fliehen hin (P. bk. 2067 p. 48). (6) Variations.
Page 36. Christ, der du bist der helle Tag (P. bk. 244 p. 60).
Page 44. O Gott, du frommer Gott (P. bk. 244 p. 68).
Page 55. Sei gegrüsset, Jesu gütig (ib. 76).
Page 73. Vom Himmel hoch, da komm ich her (ib. 92).
The Peters volumes 244, 245, 246, 2067 contain movements excluded from the Novello edition, viz.: —
Book 244: the figured Choral (Herr Christ, der ein’ge Gottes-Sohn) on p. 107, and the Variant texts on pp. 108-112.
Book 245: the Variant texts on pp. 96-113.
Book 246: the Variant texts on pp. 86-103 (excepting the B version of “Komm, Gott, Schöpfer, heiliger Geist”).
Book 2067: the Choral Preludes on pp. 39 (Auf meinen lichen Gott), 40 (Wir glauben all’ an einen Gott), 42 (Jesu Leiden, Pein und Tod), 44 (Ach Gott, vom Himmel sieh darein), 54 (Aus der Tiefe ruf ich), 56 (Christ lag in Todesbanden), and the “Kleines harmonisches Labyrinth” on p. 16.
APPENDIX VI. GENEALOGY OF THE FAMILY OF BACH
ENDNOTES.
1
“Seiner Excellenz dem Freyheren van Swieten ehrerbietigst gewidmet von dem Verfasser.”
2
So far the New Bachgesellschaft has published only a single Cantata overlooked by the old Society. See infra, p. 280.
3
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.
4
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.
5
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.
6
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.
7
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.
8
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.
9
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 t
o the Courts of Berlin and Dresden.
10
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.
11
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.
12
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.
13
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.
14
The Nekrolog. See supra, p. xxiv.
15
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.
16
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)).
17
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.
18
i.e. Hoffmeister and Kühnel’s project.
19
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.
20
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.
21
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.
22
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).
23
In the Genealogy Johann Sebastian calls the instrument a Cythringen.
24
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.
25
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.
26
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.
27
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.
28
Eldest son of Heinrich Bach (see Table VI.). Whether he was Court as well as Town Organist at Eisenach cannot be stated positively.
29
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.
30
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).
31
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).
Delphi Masterworks of Johann Sebastian Bach (Illustrated) (Delphi Great Composers Book 3) Page 42