Bach: Music in the Castle of Heaven

by Gardiner, John Eliot

  54. BD II, No. 124/NBR, p. 101.

  55. BD II, No. 138/NBR, p. 106.

  56. Williams, The Life of Bach, p. 106.

  57. Ulrich Siegele, ‘Bachs politisches Profil oder Wo bleibt die Musik?’ in Bach Handbuch, Konrad Küster (ed.) (1999), pp. 5–30; and ‘Bach and the Domestic Politics of Electoral Saxony’ in The Cambridge Companion to Bach, John Butt (ed.) (1997), pp. 17–34.

  58. BD II, No. 145/NBR, p. 104.

  59. Otto Kaemmel, Geschichte der Leipziger Schulwesens (1909), p. 236.

  60. F. W. Marpurg, Historisch-Kritische Beyträge zur Aufnahme der Musik (1754); D I, No. 5.

  61. Johannes Riemer, Der politische Maul-Affe (1680), quoted in Rose, The Musician in Literature in the Age of Bach, p. 91.

  62. BD I, No. 23/NBR, p. 152

  63. Hector Berlioz, Selected Letters, Hugh Macdonald (ed.) (1995).

  64. Robin A. Leaver (ed.), J. S. Bach and Scripture (1985), pp. 121–2.

  65. Carl Ludwig Hilgenfeldt, Johann Sebastian Bachs Leben, Wirken und Werke (1850), p. 172.

  66. Geck, J. S. Bach: Life and Work, p. 175.

  67. BD I, No. 34/ NBR, p. 175.

  68. John Butt, introduction to Bach (short biography) by Martin Geck (2003), p. viii.

  7 BACH AT HIS WORKBENCH

  1. John Butt, Music Education and the Art of Performance in the German Baroque (1994), pp. 66, 202; J. E. Sadler, J. A. Comenius and the Concept of Universal Education (1966), pp. 196–206.

  2. The title page of a volume of keyboard pieces, Aufrichtige Anleitung of 1723 (BWV 772–801).

  3. BD III, No. 803/NBR, p. 399.

  4. Robert L. Marshall, The Compositional Process of J. S. Bach (1972), Vol. 2, Sketch No. 50.

  5. Letter by C. P. E. Bach comparing Bach and Handel, 27 Feb. 1788, BD III, No. 927 / NBR, p. 404.

  6. Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, Mus. ms. Bach, p. 13, and reproduced in Alfred Dürr, The Cantatas of J. S. Bach (2005), p. 127.

  7. Laurence Dreyfus, Bach and the Patterns of Invention (1996), p. 22.

  8. Ibid., pp. 78–83; also his ‘Bach the Subversive’, Lufthansa Lecture, 14 May 2011.

  9. Christoph Wolff, Bach: Essays on His Life and Music (1991), p. 394.

  10. Ibid., pp. 391–7; and BD III, No. 87.

  11. NBR, pp. 396–400.

  12. BD II, No. 499/NBR, pp. 333–4.

  13. John H. Roberts, ‘Why Did Handel Borrow?’ in Handel Tercentenary Collection, S. Sadie and A. Hicks (eds.) (1987), pp. 83–92.

  14. Bettina Varwig, ‘One More Time: Bach and Seventeenth-Century Traditions of Rhetoric’, Eighteenth-Century Music, Vol. 5, No. 2 (Sept. 2008), pp. 179–208.

  15. BD III, No. 801/NBR, p. 396.

  16. BD II, No. 441.

  17. BD II, No. 409/ NBR, p. 345.

  18. This was the subject of a paper given by Michael Maul: ‘Ob defectum hospitiorum: Bachs Weggang aus Ohrdruf’ in Symposium: Die Musikerfamilie Bach in der Stadtkultur des 17. und 18. Jahrhunderts (Belfast, July 2007).

  19. BD I, No. 68.

  20. BD II, No. 316.

  21. BD I, No. 22.

  22. BD II, Nos. 420, 336/NBR, pp. 349–50.

  23. John Butt, Playing with History (2002), p. xii.

  24. Albert Schweitzer, J. S. Bach (1911), Vol. 2, p. 199.

  25. Yoshitake Kobayashi, ‘Zur Chronologie der Spätwerke Johann Sebastian Bachs: Kompositions- und Aufführungstätigkeit von 1736 bis 1750’, BJb (1988), p. 52.

  26. Ludwig Finscher, ‘Zum Parodieproblem bei Bach’ in Bach-Interpretationen, Martin Geck (ed.) (1969), pp. 99ff.

  27. An Essay of Dramatic Poesy (1668).

  28. Bach Cantata No. 140: Wachet auf, ruft uns die Stimme, Gerhard Herz (ed.) (1972), pp. 102–5.

  29. D. Yearsley, Bach’s Feet (2012), p. 264.

  30. BD II, No. 332; NBR, pp. 328–9; and in shortened form by Charles Burney for his article on J. S. Bach in Rees’s Cyclopaedia of 1819. See also BD III, No. 943.

  31. Johann Christian Kittel, Der angehende praktische Organist (1808), Vol. 3, p. 33; and NBR, p. 323.

  32. BD III, No. 666/NBR, pp. 305–6.

  33. BD II, No. 409/NBR, pp. 344–5.

  34. Gesetze der Schule zu S. Thomae (1733), Chapter 6 (‘Von der Musik’), Section 3, p. 23.

  35. Leipzig State Archives, Stift. VIII. B. 10: ACTA (1775–1845), ‘Die Abstellung derer allzu vielen Feyertage auf der Schule zu St Thomae alhier betr’.

  36. BD III, No. 801/NBR, p. 396.

  37. Dreyfus, Bach and the Patterns of Invention, p. 98.

  8 CANTATAS OR COFFEE?

  1. W. Goethe, letter to his sister, Dec. 1765.

  2. Tanya Kevorkian, Baroque Piety: Religion, Society, and Music in Leipzig 1650–1750 (2007), p. 24.

  3. Julio Bernhard von Rohr, Einleitung zur Ceremoniel-Wissenschafft der Privat-Personen (1728), p. 246.

  4. Bornemann, Das wohlangelegt- und kurtz gefasste Haußhaltungs-Magazin (1730).

  5. Joyce Irwin, ‘Bach in the Midst of Religious Transition’ in Bach’s Changing World, Carol K. Baron (ed.) (2006), pp. 110–11, 121.

  6. Picander, Ernst-Schertzhaffte und Satyrische Gedichte, Heft 1 (1727).

  7. Quoted by Tim Blanning in ‘The Culture of Feeling and the Culture of Reason’, The Pursuit of Glory: Europe 1648–1815 (2007), p. 500.

  8. Karl Czok, ‘Zur Leipziger Kulturgeschichte des 18. Jahrhunderts’ in J. S. Bach und die Aufklärung, Reinhard Szekus (ed.) (1982), p. 26.

  9. Martin Geck, J. S. Bach: Life and Work (2006), p. 139.

  10. BD II, No. 129.

  11. BD I, No. 148/NBR, p. 80.

  12. Joachim Meyer, Unvorgreiffliche Gedancken über die neulich eingerissene theatralische Kirchen-Music (1726).

  13. Friedrich Erhard Niedt, Musicalische Handleitung, oder gründlicher Unterricht (1700).

  14. Reproduced in supplement to NBA (BA 5291) (2011), pp. 2–36.

  15. Ibid. and BD II, No. 433; English version by John Butt, The Cambridge Companion to Bach (1997), p. 53.

  16. Butt, The Cambridge Companion to Bach, p. 53.

  17. Peter Williams, The Life of Bach (2004), p. 152; cf. NBR, p. 305.

  18. Heinrich Zernecke, writing of his visit in Leipzig on 17 Sept. 1733.

  19. BD II, No. 350/NBR, pp. 163–4.

  20. Johann Kuhnau, Der musicalische Quack-Salber (1700), Chapter 1.

  21. Michael Maul, Barockoper in Leipzig 1693–1720 (2009), Vol. 1, pp. 475ff., 58–9.

  22. Ibid., pp. 211–12.

  23. Das jetzt lebende und jetzt florirende Leipzig (1736), pp. 58–9.

  24. Hans Rudolf Jung, Musik und Musiker im Reußenland (reprinted 2007), pp. 122–3.

  25. George B. Stauffer, ‘Music for “Cavaliers et Dames” ’ in About Bach, Gregory G. Butler et al. (eds.) (2008), pp. 135–56.

  26. Hans-Joachim Schulze, ‘ “Ey! How sweet the coffee tastes” ’, JRBI, Vol. 32, No. 2 (2001), p. 3. For the alternative view see Burkhard Schwalbach’s review of The Worlds of J. S. Bach in Early Music, Vol. 38, No. 4 (4 Nov. 2010), p. 600.

  27. This is the Nutzbares, galantes und curiöses Frauenzimmer-Lexicon of 1715 (p. 285) by Gottlieb Siegmund Corvinus, a Leipzig lawyer and dandy, who, according to Katherine R. Goodman, is likely also to have attended the salon of Christiane Mariane von Ziegler (Bach’s Changing World), pp. 204, 217.

  28. Von Rohr, Einleitung zur Ceremoniel-Wissenschafft der Privat-Personen, p. 515.

  29. This information, based on a council memorandum to the Elector (Zucht-Armen- und Waisen-Haus, 9–10v, 12 Nov. 1701) and Codex Augusteus, oder Neuvermehrtes Corpus Juris Saxonici, Johann Christian Lünig (ed.) (1724), Vol. 1, pp. 1,857–60, is reported by Tanya Kevorkian, Baroque Piety, p. 212. Criticism of a similar kind came from Johann Kuhnau, Bach’s predecessor, in 1709; see Arnold Schering, Musikgeschichte Leipzigs (1926), Vol. 2, p. 196.

  30. Daniel Duncan, Von dem Missbrauch heißer und hitziger Speisen und Getränke (1707).

  31. Katherine R. Goodman, ‘From Salon
to Kaffeekranz’ in Bach’s Changing World, pp. 190–218.

  32. Georg Witkowski, Geschichte der literarischen Lebens in Leipzig (1909), p. 355.

  33. BD II, No. 410/NBR, pp. 334–5.

  34. David Yearsley, Bach’s Feet (2012), Chapter 6, pp. 27!, 261.

  35. E. L. Gerber, Historisch-biographisches Lexicon der Tonkünstler (1790), Vol.I, col. 90.

  36. Yearsley, Bach’s Feet, pp. 265, 276–7.

  37. Leipziger Kirchen-Staat, Das ist, deutlicher Unterricht vom Gottesdienst in Leipzig (1710).

  38. Anton Weiz, Verbessertes Leipzig; oder vornehmsten Dinge … (1728), pp. 2–3, quoted in Günther Stiller, J. S. Bach and Liturgical Life in Leipzig, Robin A. Leaver (ed.) (1984), p. 44.

  39. Kevorkian, Baroque Piety, pp. 198–222.

  40. Gottsched, No. 9, Feb. 1725, p. 68, quoted in ibid., p. 73.

  41. Georg Motz, Abgenöthigte Fortsetzung der vertheidigten Kirchen-Music (1708), p. 93, quoted by Joseph Herl, Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict (2004), p. 165.

  42. St Augustine, Confessions, Book 10, quoted by Christian Gerber, Die unerkanten Sünden der Welt (1712), Vol. 1, Chapter 81, trs. Herl, Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict, pp. 123, 202.

  43. Irwin, ‘Bach in the Midst of Religious Transition’, pp. 115, 237–8.

  44. M. H. Fuhrmann, Die an der Kirchen Gottes gebaute Satans-Capelle (1729), pp. 41, 45, quoted in Bettina Varwig, ‘Seventeenth-Century Music and the Culture of Rhetoric’, JRMA (2007), p. 33.

  45. Christian Gerber, Historie der Kirchen-Ceremonien in Sachsen (1732) pp. 352–3, paraphrased in Kevorkian, Baroque Piety, p. 34.

  46. Kevorkian, Baroque Piety, p. 24.

  47. Von Rohr, Einleitung zur Ceremoniel-Wissenschafft der Privat-Personen, pp. 258–9, 263.

  48. F. G. Leonhardi, Geschichte und Bescheibung der Kreis- und Handelsstadt Leipzig (1799), pp. 424–5, quoted in Stiller, J. S. Bach and Liturgical Life in Leipzig, p. 63.

  49. Leipziger Kirchen-Andachten, J. F. Leibniz (ed.) (1694), pp. 91–2, reproduced in ibid., p. 63.

  50. BD I, No. 19/NBR, p. 138.

  51. WA, Vol. 46, p. 495.

  52. WA, Vol. 5, p. 46.

  53. Bernd Wannenwetsch, ‘Caritas Fide Formata’, Kerygma und Dogma, Vol. 45 (2000), pp. 205–24.

  54. Johann Mattheson, Critica musica, Band I (Apr. 1723), p. 347.

  55. Winfried Hoffmann, ‘Leipzigs Wirkungen auf den Delitzscher Kantor Christoph Gottlieb Fröber’, Beiträge zur Bachforschung (1982), Vol. 1, pp. 72–3.

  56. Johann Christian Edelmann, Selbstbiographie (1749–52), facsimile reprinted 1976, p. 41.

  57. From a poem by Christian Friedrich Hunold (known as Menantes) on the subject of a collegium musicum performance in 1713 (Christian Friedrich Hunold, Academische Nebenstunden allerhand neuer Gedichte (1713), pp. 69–72).

  58. Peter Gay, The Naked Heart (1995), p. 13.

  59. Stauffer, ‘Music for “Cavaliers et Dames” ’, p. 137.

  60. Johann Andreas Cramer, Der Jüngling, Achtes Stück (eighth issue) (1747–8), pp. 108–23.

  61. John Butt, ‘Do Musical Works Contain an Implied Listener?’, JRMA, Vol. 135, Special Issue 1 (2010), pp. 5–18.

  62. Jacques Rochette de La Morlière, Angola: Histoire indienne (1746), Vol. 1, p. 69, quoted in Gay, The Naked Heart, p. 15.

  63. Ibid., p. 22.

  64. Friedrich Blume, ‘Outlines of a New Picture of Bach’, Music and Letters, Vol. 44, No. 3 (1963), pp. 216–18.

  65. Ibid., pp. 226–7.

  66. Much of this can be found in contributions to the 2008 BJb by Peter Wollny, Tatjana Schabalina and Marc-Roderich Pfau, and by Andreas Glöckner to the 2009 edition.

  67. A. Glöckner, ‘Na, die hätten Sie aber auch nur hören sollen’, Bach und Leipzig (2001), p. 388.

  68. Kuhnau, ‘A Treatise on Liturgical Text Settings’ (1710), in Bach’s Changing World, pp. 219–26.

  69. Johann Christoph Gottsched, Critischer Dichtkunst (1730) Vol. 2, Chapter 13

  9 CYCLES AND SEASONS

  1. Richard Taruskin, The Oxford History of Western Music (2005), Vol. 2, p. 364, 370.

  2. Charles Rosen, Critical Entertainments (2000), p. 26.

  3. Anton Webern, Der Weg zur Neuen Musik, 1933/1960.

  4. John Butt, Bach’s Dialogue with Modernity (2010), p. 103.

  5. BD I, No. 34/NBR, p. 176.

  6. BD II, No. 409/NBR, p. 344.

  7. Eric Chafe, Tonal Allegory in the Vocal Music of J. S. Bach (1991), p. 248.

  8. Isaiah Berlin, The Proper Study of Mankind (1998), pp. 346, 354–6, 405, 426–8.

  9. Michael Maul, Barockoper in Leipzig 1693–1720 (2009).

  10. Laurence Dreyfus, ‘Bach the Subversive’, Lufthansa Lecture, 14 May 2011.

  11. Heinrich Müller, Der leidende Jesus / nach den vier Evangelisten erkläret und vorgetragen: die erste Passions-Predigt (1681).

  12. BD II, No. 129/ NBR, p. 103.

  13. BD II, No. 179/NBR, p. 116.

  14. J. A. Westrup, Bach Cantatas (BBC Music Guides) (1966), p. 60.

  15. LW, Vol. 14, p. 189.

  16. Wilfrid Mellers, Bach and the Dance of God (1980), p. 232.

  17. K. and I. Geiringer, Johann Sebastian Bach: The Culmination of an Era (1966), p. 201.

  18. Joshua Rifkin, ‘The Chronology of Bach’s Saint Matthew Passion’, MQ, Vol. 61, No. 3 (July 1975), pp. 360–87.

  19. Eric Chafe, J. S. Bach’s Johannine Theology: The St John Passion and the Cantatas for Spring 1725 (forthcoming).

  20. Kuhnau, quoted in Arnold Schering, Johann Sebastian Bach und das Musikleben Leipzigs im 18. Jahrhundert (1941), Vol. 2, p. 18.

  21. T. S. Eliot, Murder in the Cathedral (1935), Part II,

  10 FIRST PASSION

  1. Elke Axmacher, ‘Aus Liebe will mein Heyland sterben’ (1984), p. 164.

  2. Johann Jakob Rambach, Betrachtungen über das ganze Leiden Christi, p. 5, the first two parts published in 1722, forming part of Bach’s theological library.

  3. Philipp Spitta, The Life of Bach, Clara Bell and J. A. Fuller Maitland (trs.) (1873; 1899 edn), Vol. 2, p. 528.

  4. Quoted in Martin Geck, Johannes-Passion (1991), p. 102.

  5. John Butt, Bach’s Dialogue with Modernity (2010), p. 292.

  6. Alfred Dürr, Johann Sebastian Bach’s St John Passion: Genesis, Transmission and Meaning (2000), pp. 3–10.

  7. Christian Gerber, Historie der Kirchlichen Ceremonien in Sachsen (1732); BR, p. 324.

  8. Telemann, Briefwechsel (1972), p. 20.

  9. Albrecht Christian Ludwig, foreword to the text of the Hunold-Keiser Passion (1719), quoted in Axel Weidenfeld, liner notes to Stözel, Brockes-Passion (CPO 999 560–62).

  10. G. E. Scheibel, Zufällige Gedancken von der Kirchen-Music (1721), p. 30.

  11. Axmacher, ‘Aus Liebe’, p. 156.

  12. Arnold Schering, Musikgeschichte Leipzigs (1926), Vol. 2, pp. 23–6.

  13. Johann Mattheson, Der vollikommene Capellmeister (1739), quoted in Weidenfeld.

  14. Ludwig, quoted in Weidenfeld.

  15. Georg Bronner, Geistliches Oratorium oder der gottliebenden Seelen Wallfahrt zum Kreuz und Grabe Christi (1710).

  16. R. H. Bainton, Erasmus of Christendom (1970), p. 285.

  17. Raymond Brown, The Gospel According to John: XIII–XX (1966); and Eric Chafe, Tonal Allegory in the Vocal Music of J. S. Bach (1991), pp. 308–15.

  18. Eric Chafe, J. S. Bach’s Johannine Theology: The St John Passion and the Cantatas for Spring 1725 (forthcoming).

  19. Martin Dibelius, ‘Individualismus und Gemeindebewusstsein in Jh. Seb.Bachs Passionen’, Archiv für Reformations-geschichte, Vol. 41 (1948), pp. 132–54.

  20. Oeffentliche Reden über die Passions-Historie (1716 and 1719).

  21. Michael Marissen, Lutheranism, Anti-Judaism, and Bach’s St John Passion (1998), pp. 28–9.

  22. Axmacher, ‘Aus Liebe’, p. 160.

  2
3. Laurence Dreyfus, Bachian Poetics in the ‘St John Passion’ (2009).

  24. The Calov Bible of J. S. Bach, Howard H. Cox (ed.) (1985), pp. 249, 449.

  25. Chafe, J. S. Bach’s Johannine Theology: The St John Passion and the Cantatas for Spring 1725.

  26. Johann David Heinichen, Neu erfundene und Gründliche Anweisung zu vollkommener Erlernung des General-Basses (1711).

  27. Eric Chafe, The Concept of Ambitus in the John Passion. I am again grateful to Dr Chafe for kindly showing me chapters of his forthcoming book in draft from which these remarks are taken.

  28. John Butt, ‘St John Passion (Johannes-Passion)’ in J. S. Bach (Oxford Composer Companions), Malcolm Boyd (ed.) (1999) p. 427.

  29. Chafe, J. S. Bach’s Johannine Theology: The St John Passion and the Cantatas for Spring 1725.

  30. F. Smend, ‘Die Johannes-Passion von Bach’, BJb (1926), pp. 104–28; and Bach in Kothen (1985), pp. 132–4.

  31. J. G. Ballard, Crash (1973).

  32. BD II, No. 180/NBR, pp. 114–15.

  33. Günther Stiller, Johann Sebastian Bach and Liturgical Life in Leipzig, Herbert J. A. Bouman et al. (trs.), Robin A. Leaver (ed.) (1970; trs. 1984), p. 60.

  34. Chafe, J. S. Bach’s Johannine Theology: The St John Passion and the Cantatas for Spring 1725.

  35. Rudolf Bultmann, Theologie des Neuen Testaments (1959), p. 406.

  36. Luther’s preface to the New Testament in John Dillenberger, Martin Luther: Selections from His Writings (1961); and LW, Vol. 35, pp. 361–2.

  37. Gustaf Aulén, Christus Victor: An Historical Study of the Three Main Types of the Idea of the Atonement, A. G. Hebert (trs.) (1931; trs. (1969), pp. 107–8. I am grateful to Eric Chafe for drawing my attention to this important study.

  38. Jaroslav Pelikan, Bach among the Theologians (1986), pp. 102–15.

  39. BD II, Nos. 338–9/NBR, p. 204.

  40. BD V, No. 82a.

  41. See BJb 200 and revised NBA of the last versions of the Johannespassion.

  42. Butt, Bach’s Dialogue with Modernity, p. 35.

  43. T. S. Eliot, ‘Tradition and the Individual Talent’ in Selected Essays (1932).

  44. J. Gage, Goethe on Art (1980), pp. 207–9.

  11 HIS ‘GREAT PASSION’