by James Gaines
Actus tragicus (Bach), 92–95, 125
Adorno, Theodor, 270
affections, doctrine of, 83, 84–87, 115, 116, 311, 313
Albert Achilles, elector of Brandenburg, 29
Albert of Hohenzollern, 32–33
Albert of Mainz, Cardinal, 17, 30–31
Albert the Bear, 28
Albinoni, Tomaso Giovanni, 126
alchemy, 46–47, 53
Algarotti, Count Francesco, 152–53, 198, 200, 206
Amadis (Lully), 57–58
Amalia, Princess of England, 69, 100
ambitus, 87, 311
American Revolution, 247
Anabaptists, 23, 44, 96, 241
anabasis (ascensus), 81–82
Anti-Machiavel (Frederick II), 157–58, 194, 196, 198
“Aria with Different Variations” (Goldberg Variations) (Bach), 214, 215–16, 748–49
Aristotle, 14, 141
Arnstadt: consistory of, 24–25
J SB’s career in, 78–79, 87–88, 91
Arouet, Françcois-Marie, see Voltaire
art, intellectual basis vs. sensual effect of, 130
Art of the Fugue, The (Bach), 248, 250, 254
Ascanian family, 28
ascensus (anabasis), 81–82
Aufklärung, 153, 154–55, 182
augmentation, 234–35, 236, 248, 311
Augustine, Saint, 43, 45, 49, 50
Augustus II (the Strong), king of Poland, 99, 152, 172, 184
court musicians of, 175, 146 death of, 148, 177
hedonism of, 72–73, 76
JSB’s career and, 164, 171
Augustus HI (Friedrich), king of Poland, 177–80, 182
Austrian Succession, War of the, 201
Bach, Anna Magdalena Wilcke (JSB’s second wife), 165–66, 167, 188, 215, 254
Bach, Carl Philipp Emanuel (JSB’s son), 8, 257
as composer, 10, 11, 214, 218, 224, 256, 261–62
as court musician, 6, 10, 146, 213–14, 222, 224, 256
on family background, 22, 40, 168
fatherhood of, 221, 222
godfather of, 253, 262
as Hamburg music director, 217–18, 226
homophony espoused by, 124
on JSB’s musicianship, 114, 167, 216–18, 229, 251, 252, 254, 262
as keyboard player, 6, 217
musical aesthetic of, 124, 191, 217, 218–20, 254
“natural” music favored by, 191
Bach, Catherina Dorothea (JSB’s daughter), 112
Bach, Christoph (JSB’s second cousin), 14, 25, 41–42, 112, 238
Bach, Gottfried Bernhard (JSB’s son), 162, 189–90, 192
Bach, Johann Ambrosius (JSB’s father), 241
childhood of, 22–23
death of, 43, 163
household of, 14, 25–26, 39
marriage of, 23
as musician, 13, 40–41, 78, 79
as twin, 22, 24
Bach, Johann Balthasar (JSB’s brother), 39
Bach, Johann Christoph (JSB’s brother), 44, 45, 52, 53, 54, 138, 163
Bach, Johann Christoph (JSB’s uncle), 22–23, 24–25, 44, 78, 241
Bach, Johann Jakob (JSB’s brother), 86, 138
Bach, Johann Michael (JSB’s cousin), 112
Bach, Johann Sebastian: administrative politics and, 77–79, 87, 89, 91, 162, 164–65, 170–72, 173–75, 177, 180–82, 237
burial of, 253, 254, 268–69
childhood of, 30–40, 41–47
church musical positions of, 77–80, 87–89, 91, 96–97, 113–14, 126, 138, 162, 163, 164–65, 173–75, 189, 253
composing desk of, 11, 168
as court musician, 77, 97–98, 113, 114, 125, 126–27, 128–29, 132, 133, 135, 165
death of, 51, 189, 248, 250, 251, 252, 253–54
education of, 42–43, 44–45, 53, 54–55, 77, 125, 164, 185, 187
eyesight problems of, 250, 251
family background of, 7, 13–14, 21–26, 78
family deaths and, 39–40, 43–44, 45, 135, 137, 138, 163, 187–88, 190
as father, 7, 11, 40, 112, 113, 135, 138, 162, 166–67, 187–91, 214, 221
on fortepiano development, 223
Frederick II’s meetings with, 5, 6, 8–10, 222–24, 227–28, 238
improvisational skills of, 226–27, 238
income of, 78, 79, 92, 126, 162, 171–72, 174, 175, 216
independence of, 241–42
Leipzig home of, 167–68
marriages of, 7, 79, 89, 91–92, 112, 135, 165–66
musical influences on, 40–42, 45, 55–56, 58–59, 89–91, 98, 125–26, 129, 176, 263
as organist, 91, 114–15, 127–28, 163, 217, 228, 253
productivity of, 113, 127, 165, 168–69, 190
religious belief of, 7–8, 19, 44, 96–97, 136, 169, 188, 221, 237–38, 239, 241, 272
as representative of tradition, 5–6, 7–8, 124, 191, 220
Romantic aesthetic theory and, 186, 241
sightreading skills of, 114
spirituality joined with secular life of, 135–37, 272
students of, 87–88, 113, 173–74, 180–81, 192
temperament of, 88, 130, 217, 237–38, 241
theological library of, 169–70
title obtained by, 177, 180, 187
Bach, Johann Sebastian, music of: canons, 115, 116–22, 124, 215, 216, 230, 248–49
civic events marked by, 95
consistory prescriptions on, 91
critics of, 162–64, 173, 186–87, 191–92, 216
dedicatees of, 86, 117, 133–34, 177–78, 209, 228, 232, 249
final masterpiece of, 249
five annual cycles of, 168–69
Frederick II’s challenge and, 9–12, 124, 221, 223–39
funeral cantatas, 92–95, 184–85
German cultural espousal of, 265–67
“Great Eighteen” organ chorales of, 251
humor in, 216
ineffability of, 240
instrumental hierarchy overturned by, 129, 130–31, 132–33
JSB’s work process and, 11–12, 168, 229, 232, 241, 251, 252
librettists of, 184–85
lost works of, 113
mixture of styles in, 129–30, 134, 185
Mozart’s work compared with, 256–57
musical-rhetorical figures in, 82, 86–87, 95–96, 115, 240
numerical codes in, 51, 137, 232, 237
passions, 169, 172–73, 175, 263–65
posthumous reputation of, 254–55, 256, 260, 261, 262–65, 269–71
publication of, 95, 216
as response to Enlightenment aesthetics, 8, 12, 192–93, 216, 248, 273
sacred vs. secular, 7–8, 136–37, 173, 179
secular cantatas of, 178–79, 312–13
songs, 166
sons’ attitudes toward, 6, 216–18, 254, 262
stylistic development of, 175–77, 185–86, 190, 191, 240
triumph over death as theme of, 45, 93–94
see also specific musical works
Bach, Maria Barbara (JSB’s first wife), 112–13, 134, 166, 167, 190
death of, 135, 137, 138, 163, 164, 165
Bach, Maria Elisabeth (JSB’s mother), 23, 25, 26, 163, 241
Bach, Wilhelm Friedemann (JSB’s son), 138, 177, 214, 215, 221–22
childhood of, 138
church musical positions of, 188, 253
as favored son, 167, 217, 262
JSB’s manuscripts taken by, 254, 262n
on JSB’s music, 217, 218
musical aesthetic of, 191
Bach and the Meanings of Counterpoint (Yearsley), 192
Bach and the Patterns of Invention (Dreyfus), 185
Bach family, musical tradition of, 7, 13, 21, 23, 40–42, 78, 163, 167
Bach-Gesellschaft, 266
Bainton, Roland, 18–19, 238
Beethoven, Ludwig van, 260, 261
Benda, Franz, 146, 214, 222
Bend
a, Johann, 146, 214, 222
Berlin, Isaiah, 240
Berlin, wartime devastation of, 242–43
Berlin Opera, 201, 204–5, 244, 268
Bernard of Clairvaux, Saint, 44
B-flat minor, key of, 93, 233
Bible:
Enlightenment views on, 182–83
Lutheran, 169
Birnbaum, Johann Abraham, 191, 192, 220, 250
Bismarck, Otto von, 267
“Blasphemy of Talking Politics During Bach Year, The” (McClary), 132–33
Boethius, Ancius Manlius Severinus, 48, 116
Böhm, Georg, 251
Boileau, Nicolas, 58
Bokemeyer, Heinrich, 46, 124
Boyd, Malcolm, 231
Boyle, Robert, 14
Brahe, Tycho, 14
Brahms, Johannes, 239
Brandenburg, 28–30, 33–34, 35, 188
Brandenburg Concertos (Bach), 95, 129–31, 132–33, 134
bubonic plague, 19
Burney, Charles, 218, 220, 262
Buxtehude, Dietrich, 55–56, 88–91, 95, 249, 251
cadenza, 311
Calov, Abraham, 169, 170, 175, 221
Calvinism, 23, 34, 44, 66, 134
Candide (Voltaire), 156, 258, 259
canon, 7, 115–16
crab, 236, 248, 312
critics of, 122–23, 124, 218–20
defined, 311
fugue vs., 116, 118, 224
in Goldberg Variations, 215, 216 248–49
of Musical Offering, 230, 232, 234–35, 236–37
perpetual, 52, 117, 121, 122, 236, 249, 313
puzzle, 117–21, 234, 236, 313
on Royal Theme, 230, 236
canonic imitation, 311
canon per tonos (spiral canon), 311
cantatas, 92–96, 97, 168–69, 311
cantus firmus, 94, 226, 311
Capriccio on the Departure of the Beloved Brother (Bach), 86–87, 138, 233, 240
Carlyle, Thomas, 27–28, 64, 152, 160, 268
catabasis (descensus), 82, 311
Catt, Henri de, 109
celestial music, 7, 48, 49, 250
Celle, dukedom of, 56
Chafe, Eric, 235
Charles VI, Holy Roman Emperor, 197, 198
Charles VII, Holy Roman Emperor, 207
Charles XII, king of Sweden, 86
chorales, 80–81, 94, 311
choral prelude, 311
Christiane Eberhardine, electress, 184
Christianity:
Anabaptist, 23, 44, 96, 241
Calvinist, 23, 34, 44, 66, 134
on crucifixion of Jesus, 183
Pietist, 44, 96–97, 169, 260
predestination doctrine of, 66, 142, 242
as target of Enlightenment, 154
see also Lutheranism
Christian Ludwig, Margrave of Brandenburg, 132
Christmas Oratorio (Bach), 179
chromaticism, 57, 225, 229, 311–12
church sonatas, 235–36, 237
clavichord, 222
Clavierubung (Bach), 176, 192–93, 216
collegium musicum, 124, 312
Comenius, Jan Amos, 53
concerto, social implications of, 131–33
continuo, 312
contrapuntist, 312
Corelli, Arcangelo, 126
cosmological harmony, 49–52, 116–17, 122
counterpoint, 46–52, 248–49, 311
accompanied melody vs., 187
alchemy vs., 46–47
criticism of, 122–24, 187, 191, 218–20
defined, 312
development of, 46
metaphysical aspects of, 7, 46–47, 49, 51–52 116, 117, 122
rhetorical function of, 93–94
in twentieth century, 9
Counter-Reformation, 19
countersubject, 312
Couperin, François, 176
crab canon, 236, 248, 312
creative process:
rationalist approach to, 184, 185
Romantic conception of, 260–61
Critica Musica, 123, 163–64
Critique of Pure Reason (Kant), 260
Critischer Musikus, 162, 186, 220
crucifixion scene, rationalist interpretation of, 183
da capo arias, 125, 172, 184, 312 democracy, 247
Descartes, René, 83
descensus (catabasis), 82, 311
Dessauer, General, 149, 158–59, 160
Devrient, Edward, 263
Diderot, Denis, 154, 203
Diet of Worms (1521), 15, 16
diminution, 248, 312
Discours sur I’homme (Voltaire), 156
dramma per musica, 178, 312
Drese, Samuel, 127
Dreyfus, Laurence, 129, 185
Duhan, Jacques, 68, 101, 107, 145, 197, 211
Eisenach, 13, 14, 25, 39, 40, 44
Elizabeth Christina, Queen, 144–46, 248
Emerson, Ralph Waldo, 27–28
empfindsamer Stil, 217
empiricism, 8, 154, 257, 260, 271–72
Encyclopedia (Diderot), 203–82
England, international alliances of, 70, 100, 198, 207
Enlightenment:
aesthetic theories in, 184, 185, 193, 256
belief vs. reason in, 8, 12, 182–83, 272
cultural benefits derived from, 271–72
defined, 153–54
disillusion with, 257–60
encyclopedic impulse of, 184, 185
generational conflicts in, 180
German, 153, 154–55
optimistic certitude of, 257–59, 260
on spirituality vs. secular life, 135
Erdmann, Georg, $6n
Ernesti, Johann August, 180–83, 184, 254
Escher, M. C, 235
Essay on Man (Pope), 258
Essay on the True Art of Playing Keyboard Instruments C. P. E. Bach), 217
Euclid, 47–48
Eugene, Prince of Savoy, 149, 150
Euler, Leonhard, 194
extremum enharmonium, 93, 233
“eye music,” 230, 252
Fay, Sidney, 29–30
Feldhaus, Martin, 78, 79, 89, 91–92
Fénelon, François de Salignac de La Mothe-, 67
First Silesian War, 198–201, 205, 207, 214
Flemming, Count von, 127, 128, 164
Fleury, André-Hercule de, 200, 205, 207
flute player, mechanical, 202–3, 252
Fontaine, Abbé de, 202
Fontenelle, Bernard Le Bovier de, 202
Forkel, Johann Nikolaus, 40, 114, 226
fortepiano, 222–23
France:
German adoption of culture of, 3, 36, 59
music in, 56–59, 131–32
Prussian relations with, 198, 200, 208, 242
revolution of, 259, 260
Franck, Salomo, 98
Frankfurt an der Oder, 188–89
Frederick I, elector of Brandenburg, 29
Frederick I, king of Prussia, 27, 28, 36–38, 70, 267
Frederick II (the Great), king of Prussia: ambition of, 142, 199
christening of, 27–28
correspondence of, 151–52, 156–57
court musicians of, 4, 6, 146, 151, 209, 213–14, 254, 256
cultural fashions set by, 5
death of, 247, 248
deceitfulness of, 140–41, 143, 197–98, 200, 206
diplomatic strategies of, 4, 141, 197–98, 200–201, 205, 207, 244, 245, 247
domestic policies of, 196, 199, 212, 245
dual life of, 147, 157–58, 244
education of, 65–68, 101, 141, 142–43, 151
on elected government, 247
Enlightenment stance of, 272
escape plots of, 102–8
finances of, 100–101, 103, 151, 153, 196, 205, 212, 244
flute played by, 3, 4, 60, 73, 75, 107, 109, 141, 151, 209, 230, 244
Frederick William
I’s persecution of, 4, 11, 60, 71–72, 73–76, 99–100, 101–2, 103–9, 110, 111, 139–44
French culture admired by, 3, 60, 73, 75–76, 99, 156, 206, 236
on German literature, 7
Hohenzollern ancestry of, 17, 28, 29–30, 32–38
intellectual interests of, 4, 5, 68, 151, 152, 155–57, 194, 201–4, 244
JSB’s meeting with, 5, 6, 8–10, 222–24, 227–28, 238
JSB’s response to musical challenge of, 9–12, 124, 221, 223–39
last years of, 243–44, 246–48
library of, 68, 100, 107, 151
marriage of, 7, 69–70, 99–100, 144–46, 147, 152, 248
as militarist, 4, 67, 142, 143, 147–48, 149–50, 157–58, 195, 196–97, 200, 207, 208, 210, 242–43, 245, 246, 247, 248, 268
musical aesthetic of, 5, 7, 8, 213, 220, 233, 236, 244–45
musical instruments collected by, 222, 223
nihilism of, 210–11, 246
as opera enthusiast, 4, 5, 73, 201, 203–4, 209, 244
philosophical interests of, 5, 155, 203–4
physical appearance of, 3, 145, 243, 246–47
on political theory, 4, 34, 68, 148, 157–58, 194, 196, 198, 247
posthumous reputation of, 266, 267–68
on Prussian history, 34, 246
religious beliefs of, 7, 66, 142, 155, 242, 257
royal residence of, 223, 229, 248, 268
sadistic aspects of, 10, 11, 248
sexuality of, 7, 73, 102, 152–53, 204, 268
succession of, 106, 151, 159–61, 246
territorial expansion under, 4, 142, 148, 197, 198–99, 244
work habits of, 212
writings of, 141, 148, 152, 157–58, 196, 206, 246
Frederick III (the Wise), elector of Saxony, 15–16, 17–19, 30, 31
Frederick William (the Great Elector), elector of Brandenburg, 34–36, 62, 70, 132, 158
Frederick William I, king of Prussia: administrative improvements of, 60–62
death of, 151, 158–60
as father, 65–68, 70–76, 99–100, 101–2, 103–8, 139–44, 146, 147, 153, 158, 211, 212
foreign policy of, 62–63, 70, 148–49, 150, 195, 197
Frankfurt downgraded by, 188
French culture despised by, 3, 4, 60, 75–76
Katte’s execution ordered by, 108–9, 110, 111, 139, 140, 160
marriage of, 68–69, 70, 100, 105, 159
military under, 62–63, 138, 148–49, 158
on monarchy, 67–68, 71
musicians fired by, 27
ornamental guard of, 63–64, 72, 185
Protestantism of, 44, 60, 66, 159
succession of, 38, 60–61, 77
temperament of, 3–4, 11, 64, 65, 71–72, 99, 153, 158, 211, 216, 224
thrift of, 60–61, 69
Frederick William II (Henry), king of Prussia, 247, 248
free will, 15
French Overture (Bach), 176
French Revolution, 259, 260