Bach: Music in the Castle of Heaven
Page 80
1. Ein starker Stoß mit Passionsmusiken – second catalogue of C. P. E. Bach’s estate (1805).
2. VEB Deutscher Verlag für Musik, Leipzig, 1974 (Lizenznummer 418–515/A 22/74 – LSV 8389).
3. ‘Die Noten machen den Text lebendig’ from WA TR, Vol. 2, p. 548.
4. From Der blutige und Sterbende Jesus – an oratorio set to music by Reinhard Keiser in Hamburg, 1706.
5. Elke Axmacher, ‘Aus Liebe will mein Heyland sterben’ (1984), p. 156.
6. Adam Bernd, Eigene Lebens-Beschreibung (1738), Winkler Verlag edition (1973), p. 302.
7. George Steiner, The Death of Tragedy (1961), p. 285.
8. Christoph Wolff, Bach: The Learned Musician (2000), pp. 299–303.
9. Albert Schweitzer, J. S. Bach (1911), Vol. 2, p. 211.
10. Johann Jacob Bendeler, Die Historia von dem Leyden und Sterben unsers Herrn … (1693).
11. ‘Meditation on Christ’s Passion’, LW, Vol. 42, pp. 7–14; WA, Vol. 2, pp. 136–42.
12. Ulrich Leisinger, ‘Forms and Functions of the Choral Movements in J. S. Bach’s St Matthew Passion’ in Bach Studies Z (1995), p. 76.
13. John Butt, Bach’s Dialogue with Modernity: Perspectives on the Passions (2010), p. 203.
14. Naomi Cumming, ‘The Subjectivities of “Erbarme Dich” ’, Musical Analysis, Vol. 16, No. 1 (Mar. 1997), p. 21.
15. John Butt, liner notes to his recording with the Dunedin Consort & Players of Bach’s last performing version of the Matthew Passion, c. 1642 (CKD 313).
16. Martin Luther, A Meditation on Christ’s Passion (1519), pp. 141–2.
17. Steiner, The Death of Tragedy, pp. 331–3.
18. Ibid., p. 285.
12 COLLISION AND COLLUSION
1. Mendelssohn, letter to Marc-André Souchay, 15 Oct. 1842, in Briefe aus den Jahren 1830 bis 1847 (1878), p. 221, translation from Felix Mendelssohn Bartholdy, Letters, Gisella Selden-Goth (ed.) (1945), pp. 313–14.
2. BD III, No. 801/ NBR p. 396.
3. Laurence Dreyfus, ‘The Triumph of “Instrumental Melody”: Aspects of Musical Poetics in Bach’s St John Passion’, Bach Perspectives, Vol. 8 (2011), p. 119.
4. Laurence Dreyfus, ‘Bach the Subversive’, Lufthansa Lecture, 14 May 2011.
5. Raymond Tallis and Julian Spalding, Art and Freedom: An Essay (2011).
6. Dreyfus, ‘The Triumph of “Instrumental Melody” ’, p. 109.
7. BD II, Nos. 400, 409/NBR, pp. 338, 344, 348, 346.
8. John Butt, Bach’s Dialogue with Modernity (2010), pp. 15, 35.
9. Johann Mattheson, Der vollkommene Capellmeister (1739); Ernest C. Harriss (trs.) (1981), p. 207.
10. Walter Benjamin, The Origin of German Tragic Drama (1928), pp. 174–7.
11. Glenn Gould, ‘So You Want to Write a Fugue?’, Glenn Gould Reader, Tim Page (ed.) (1990), p. 240.
12. Alfred Dürr, The Cantatas of J. S. Bach (2005), p. 396.
13. Albert Schweitzer, J. S. Bach (1911; 1966 edn), Vol. 2, pp. 46–7.
14. Richard Taruskin, The Oxford History of Western Music (2005), Vol. 2, p. 370.
15. Roger Scruton, The Aesthetics of Music (1997), p. 452.
16. Gottfried Ephraim Scheibel, Random Thoughts about Church Music in Our Day (1721) in Bach’s Changing World, Carol K. Baron (ed.) (2006), p. 246.
17. Julio Bernhard von Rohr, Einleitung zur Ceremoniel-Wissenschafft der Privat-Personen (1728), pp. 660, 666.
18. BD I, No. 23/NBR, p. 152.
19. Arnold Toynbee, Man’s Concern with Death (1968).
20. Simon Schama, Rembrandt’s Eyes (1999), p. 676.
21. J. G. Ballard, Crash (1973).
22. W. Gillies Whittaker, The Cantatas of Johann Sebastian Bach (1959), Vol. 1, p. 124.
23. Montaigne, Essais: Livre Premier (1580).
24. The Confessions of Jacob Boehme, Evelyn Underhill (intro.) [n.d.], p. 164.
25. The Letters of Mozart and His Family, Emily Anderson (trs. and ed.) (1988), Letter 546, p. 907.
26. Michael Maul, ‘Dero berühmbter Chor’: Die Leipziger Thomasschule und ihre Kantoren 1212–1804 (2012), pp. 88–98.
27. T. S. Eliot, Little Gidding, II.
28. Johann Mattheson, Der vollkommene Capellmeister, p. 216.
29. Friedrich Rochlitz, Allgemeine Musikalische Zeitung (1799), Vol. 1, col. 117; BD III, No. 1,009/NBR, p. 488.
30. E. Louis Backman, Religious Dances in the Christian Church (1952), pp. 21–2.
31. David Tripp, ‘The Image of the Body in the Formative Phases of the Protestant Reformation’ in Religion and the Body, Sarah Coakley (ed.) (1997), pp. 131–51.
32. Barbara Ehrenreich, Dancing in the Streets (2007), pp. 2–3.
33. Paul Halmos, ‘The Decline of the Choral Dance’ in Man Alone: Alienation in Modern Society, Eric and Mary Josephson (eds.) (1952), pp.172–9; and Wilfrid Mellers, Bach and the Dance of God (1980), p. 209.
34. Briefwechsel zwischen Goethe und Zelter. Vol. 2:1819–1827, Ludwig Geiger (ed.), p. 517, quoted in Schweitzer, J. S. Bach, Vol. 1, p. 24L
35. David Yearsley, Bach and the Meanings of Counterpoint (2002), p. 28.
36. William Leatherbarrow, Fedor Dostoevsky (1981), p. 169.
37. Richard Eyre, Utopia and Other Places (1993).
13 THE HABIT OF PERFECTION
1. J. G. Walther, Briefe, Klaus Beckmann and H. J. Schulze (eds.) (1987), p. 120.
2. BD II, No. 281/NBR, p. 145.
3. Arnold Schering, ‘Die höhe Messe in h-moll’, BJb (1936), pp. 1–30.
4. BD II, No. 294/ NBR, p. 311.
5. Nigel Spivey, Enduring Creation: Art, Pain and Fortitude (2001), p. 155.
6. Charles Burney, A General History of Music (1776).
7. Donald Francis Tovey, Essays in Musical Analysis (1937), Vol. 5, p. 34.
8. Wilfrid Mellers, Bach and the Dance of God (1980), p. 211.
9. Letter of 6 Oct. 1748 to Johann Elias Bach, BD I, p. 118/ NBR, p. 234.
10. Gregory G. Butler, ‘Johann Sebastian Bachs Gloria in excelsis Deo BWV 191: Musik für ein Leipziger Dankfest’, BJb (1992), pp. 65–71.
11. BD I, No. 27.
12. George B. Stauffer, Bach: The Mass in B minor (1997), p. 144.
13. Klaus Häfner, ‘Über die Herkunft von zwei Sätzen der h-moll-Messe’, BJb (1977), pp. 55–74.
14. Christoph Wolff, Bach: Essays on His Life and Music (1991), p. 367.
15. Mellers, Bach and the Dance of God, p. 220.
16. Tovey, Essays in Musical Analysis, p. 42.
17. C. F. D. Schubart, Ideen zu einer Ästhetik der Tonkunst (1784), p. 284.
18. Keats, ‘Fancy’.
19. Allgemeine deutsche Bibliothek (1775), Vol. 25, Part 1, p. 108.
20. Johann Philipp Kirnberger, Die Kunst des reinen Satzes in der Musik (1777), Vol. 2, Part 2, p. 172, translated as The Art of Strict Musical Composition, D. Beach and J. Thym (trs.) (1982).
21. Quoted by George Steiner, Errata: An Examined Life (1997), p. 63.
22. Robin A. Leaver, ‘How “Catholic” is Bach’s “Lutheran” Mass?’ in University of Belfast International Symposium, Discussion Book (2007), Vol. 1, pp. 177–206. See also John Butt, ‘Bach’s Mass in B Minor: Considerations of Its Early Performance and Use’. JAMS, Vol. 9, No. 1 (Winter 1991), pp. 109–2.
23. Johann Benedict Carpzov IV, Isagoge in libros ecclesiarum Lutheranum symbolicos (1725), pp. 46, 77–8, 569, quoted in ibid., p. 204.
24. W. Osthoff and R. Wiesend (eds.), Bach und die italienische Musik (1987), pp. 109–40.
25. J. N. Forkel, Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke (1802); NBR, p. 461.
14 ‘old bach’
1. Claude Lévi-Strauss, The Raw and the Cooked, John and Doreen Weightman (trs.) (1969).
2. Michael Maul, ‘Dero berühmbter Chor’: Die Leipziger Thomasschule und ihre Kantoren 1212–1804 (2012).
3. Alex Ross, ‘The Book of Bach’, New Yorker, 11 Apr. 2011.
4. BD II, No. 400/NBR, p. 338.
5. Gottfried Ephraim
Scheibel, Random Thoughts about Church Music in Our Day (1721), translated in Bach’s Changing World, Carol K. Baron (ed.) (2006), p. 238.
6. Preface to the Gradualia in O. Strunk, Source Readings in Music History (1952), p. 328.
7. BD II, Nos. 920, 336 / NBR, p. 350.
8. T. W. Adorno, Bach Defended against His Devotees (1951) in Prisms, S. and W. Weber (trs.) (1981), p. 141.
9. Forkel, Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke (1802), Chapter 2, pp. 27–8; NBR, p. 429.
10. BD I, Nos. 42, 43/NBR, pp. 203–4.
11. BD III, No. 803/NBR, p. 400.
12. BD III, No. 779/NBR, p. 366.
13. BD II, No. 448/NBR, p. 204.
14. BD II, No. 455, and BD I, No. 138.
15. BD II, No. 423/NBR, p. 199.
16. Evelin Odrich and Peter Wollny, Die Briefentwürfe des Johann Elias Bach (2000), No. 58, p. 148.
17. BD II, No. 477/NBR, p. 209.
18. BD II, No. 490/NBR, p. 213.
19. In conversation with the author, 12 Apr. 2005.
20. Earl of Shaftesbury, letter to James Harris, 13 Feb. 1750, quoted in Donald Burrows, Handel (2012), p. 441.
21. NBR, p. 412.
22. NBR, p. 240.
23. Philipp Spitta, The Life of Bach, Clara Bell and J. A. Fuller Maitland (trs.) (1873; 1899 edn), Vol. 3, p. 257.
24. BD II, No. 592 / NBR, p. 242.
25. BD II, No. 592 / NBR, p. 243.
26. The Calov Bible of J. S. Bach, Howard H. Cox (ed.) (1985), p. 436.
27. I am grateful to Michael Maul for imparting this information to me by letter ahead of his article in the forthcoming BJb (2013).
28. Norbert Wolf, Dürer (2010), p. 127.
29. Carl Sagan et al., Murmurs of Earth: The ‘Voyager’ Interstellar Record (1978).
30. Edward W. Said, Music at the Limits (2008), p. 288.
31. BD III, No. 666 / NBR, p. 303.
32. BD III, No. 666/ NBR, p. 304.
33. Luther, ‘A Sermon on Preparing to Die’ in LW, Vol. 42, pp. 95–115, at p. 101.
34. David Yearsley, Bach and the Meanings of Counterpoint (2002), p. 28.
35. The Calov Bible of J. S. Bach, p. 448.
36. Johann Philipp Förtsch, Musicalischer Compositions Tractat, Staatsbibliothek zu Berlin, Mus.ms.theor.300.
37. Andreas Werckmeister, Harmonologia musica (1707), p. 89.
38. Yearsley, Bach and the Meanings of Counterpoint, pp. 1–41.
39. Ibid., p. 36.
40. Nicholas Kenyon, Faber Guide to Bach (2010), p. 52.
Index
Musical compositions named in the index are generally filed under their composer. Those by J. S. Bach are arranged by genre and name under the heading ‘Bach, Johann Sebastian, works’, with the exception of the cantatas, the surviving Passions, and the B Minor Mass, which all receive major treatment in the book and have their own main headings in the index: ‘cantatas of J. S. Bach’, ‘John Passion’, ‘Matthew Passion’ and ‘Mass in B minor by J. S. Bach’. Page references in italic indicate illustrations within the text. These are also listed, together with the inset Plates, after the Contents.
Academy of Ancient Music
Adorno, Theodor
aesthetics
Affektenlehre 8.1, 14.1
Age of Reason (Aufklärung) 8.1, 8.2, 10.1, 13.1
Agricola, Johann Friedrich prf.1, 13.1, 13.2, 13.3
Nekrolog see Nekrolog
Ahle, J. G. n
Albertus, Erasmus n
alchemy
Alcuin n
Alt-Bachisches Archiv
Altdorfer, Albrecht
Ambrose, St
Anerio, Giovanni Francesco
angels prf.1, 3.1, 3.2, 9.1, 12.1, 13.1n
angelic choirs 9.1, 9.2, 12.1, 13.1, 14.1
archangels 3.1, 9.1, 12.1, 13.1n
Ansbach Bach Festival
Anthon Günther II, Duke of Schwarzburg
Arians
Arndt, Johann n
Arnold, Johann Heinrich 3.1, 6.1, 6.2n
Arnstadt 3.1, 3.2, 3.3, 3.4, 9.1
Bach’s employer relations in 6.1, 6.2, 6.3
Consistory 3.1, 6.1
Neukirche 3.1, 4.1, 6.1, 6.2, 8.1
Wender organ
ars moriendi, Lutheran 5.1, 12.1, 13.1, 14.1
atonement theories 10.1, 10.2
Augsburg Confession
Augustine of Hippo 2.1, 2.2, 5.1, 8.1
Augustus II the Strong, Elector of Saxony 2.1n, 8.1, 12.1, 13.1n, 13.2n, 13.3
Augustus III see Friedrich August II, Elector of Saxony (Augustus III of Poland)
Aulén, Gustaf
Axmacher, Elke n
B-A-C-H cryptograph 9.1n, 14.1n
Bach-Gesellschaft (Bach Society) edition
and Brahms n
Bach, Ambrosius (father) 2.1, 3.1, 3.2, 3.3, 3.4, 6.1
death 3.1, 14.1
portrait by Herlicius 3.1
Bach, Anna Magdalena, née Wilcke (second wife) 6.1n, 6.2, 13.1, 14.1, 14.2
Bach, Barbara Catharina (cousin)
Bach, Carl Philipp Emanuel (son) 3.1, 3.2, 3.3n, 3.4, 3.5, 3.6, 6.1, 13.1, 14.1, 14.2, 14.3, 14.4
and Bach’s B minor Mass 13.1, 13.2
correspondence with Forkel 3.1, 3.2, 3.3, 3.4, 6.1, 7.1n, 12.1, 14.1
on his father and the creative process 7.1, 7.2, 7.3, 7.4; and use of orchestral space 7.5
on Keiser n
Magnificat
Nekrolog see Nekrolog
Bach, Caspar (born c. 1578) 3.1
Bach, Caspar Jr
Bach, Christiana Sophia (daughter)
Bach, Christoph (grandson of Veit) 3.1, 3.2
Bach, Christoph Jr (uncle) 3.1, 3.2
Bach, Christoph of Eisenach see Bach, Johann Christoph of Eisenach (first cousin)
Bach, Christoph of Ohrdruf see Bach, Johann Christoph of Ohrdruf (brother)
Bach, Emanuel see Bach, Carl Philipp Emanuel (son)
Bach, Georg Christoph (uncle) 3.1, 3.2, 3.3, 14.1
Bach, Gottfried Bernhard (son)
Bach, Günther (first cousin)
Bach, Heinrich (grandson of Veit) 3.1, 3.2, 3.3n
Bach, Johann (grandson of Veit)
Bach, Johann (paternal great-uncle)
Bach, Johann Aegidius
Bach, Johann Christoph (Christoph Jr, uncle) 3.1, 3.2
Bach, Johann Christoph of Eisenach (first cousin) 3.1, 3.2, 3.3n, 3.4, 3.5, 12.1
Es erhub sich ein Streit
Fürchte dich nicht 3.1, 5.1n
Lieber Herr Gott, wecke uns auf
Meine Freundin, du bist schön 3.1, 3.2, 8.1
Mit Weinen hebt sichs an 5.1n
Bach, Johann Christoph of Ohrdruf (brother) 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 6.1, 7.1, 9.1n, 14.1
Bach, Johann Elias (secretary and live-in tutor)
Bach, Johann Ernst (first cousin) 3.1n, 3.2n
Bach, Johann Gottfried (son)
Bach, Johann Heinrich (nephew)
Bach, Johann Jacob (brother) 3.1, 3.2
Bach, Johann Ludwig (cousin) 5.1n, 8.1, 12.1
Bach, Johann Michael (cousin and father-in-law) 3.1, 3.2, 6.1
Bach, Johann Sebastian, man and musician
in Arnstadt 3.1, 6.1, 8.1, 9.1; employer relations 6.2, 6.3, 6.4
authority/employer relationships 6.1; in Arnstadt 6.2, 6.3, 6.4; in Cöthen 6.5; in Leipzig 6.6, 6.7, 6.8, 6.9, 7.1, 7.2, 8.1, 8.2, 14.1; loss of sense of propriety 6.10; in Mühlhausen 6.11; problems with anger and authority 6.12, 6.13, 6.14, 6.15, 11.1; reverence for authority prf.1, 6.16, 6.17n, 6.18; in Weimar 6.19, 6.20
baptism
biographers/biographies: assumption of correlation between the man and his genius prf.1, prf.2, 14.1; first biographer see Forkel, Johann Nikolaus; ideological and mythological conjecturing prf.3; and Johann Christoph Bach (brother) 3.1; lineage use by 3.2; reliance on Nekrolog prf.4; see also individual biographers by name
birth
burial 5.1, 14.1
chronology of life
and the Class of ’85 (major composers born around same time) 4.1, 14.1
composition and the creative process 7.1; borrowing habits 7.2; C. P. E. Bach on 7.3, 7.4, 7.5, 7.6; and consideration of his performers 7.7, 7.8, 9.1, 12.1; and copyists 7.9; elaboratio 7.10n, 7.11, 7.12, 7.13; executio 7.14, 7.15, 7.16, 7.17, 9.2, 9.3, 9.4; inventio 7.18, 7.19, 7.20; revising 10.1, 11.1, 11.2; sketching 7.21, 7.22n; tablature 7.23, 7.24; time pressures on 7.25, 7.26; Vollstimmigkeit 7.27
as conductor 7.1, 8.1, 8.2
and copyists
in Cöthen 6.1, 6.2
and Couperin n
and death: attitude to death 5.1; experiences of people dying 3.1, 6.1, 6.2, 12.1, 14.1; faith and facing up to death 12.2
death of 13.1, 14.1
Endzweck (artistic goal) 6.1, 6.2, 6.3, 9.1, 14.1, 14.2
‘Entwurff’ 7.1, 7.2
eye operations 10.1, 13.1, 14.1
faith 1.1, 1.2, 2.1, 2.2, 3.1, 8.1, 12.1, 14.1; application to working practices 5.1, 12.2, 12.3 (see also spirituality: and Bach’s works); and bridging of heaven and this world 9.1, 12.4; as ‘danced religion’ 12.5; and facing up to death 12.6; and loss of sense of propriety 6.1; music and the strengthening of Christian belief 10.1; and sense of divine appointment to office 6.2; and the value of the Bible 13.1
and the galant style 7.1, 7.2, 8.1, 8.2, 8.3, 13.1, 13.2, 14.1
and genealogy: obsession with family trees and 14.1; pride in family genealogy 3.1, 3.2, 3.3n
Generalbasslehre (1738)
and German bureaucracy
and Geyersbach 6.1, 6.2
Gotha visit
Hamburg visits 4.1, 8.1
and Handel 3.1, 4.1, 5.1, 7.1, 13.1, 14.1
Haussmann portraits: first 1.1; second 14.1, 14.2, 14.3
health problems in old age 13.1, 14.1; diabetes possibility 13.2, 14.2; eye problems 13.3, 14.3, 14.4, 14.5
influences on: Böhm 3.1, 3.2, 8.1; brother, J. C. Bach 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 14.1; cousin, J. C. Bach 3.9, 3.10, 3.11, 3.12, 12.1 (see also Bach, Johann Christoph of Eisenach); hymnal, Neues vollständiges Eisenachisches Gesangbuch 3.13; Reincken 3.14, 3.15
and Johann Christoph (brother) 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 14.1
and Johann Christoph (first cousin) 3.1, 3.2, 3.3, 3.4, 12.1
keyboard skills 3.1, 7.1
in Leipzig see Leipzig: Bach in
letters prf.1, 3.1n, 6.1, 6.2, 6.3, 9.1n, 13.1, 13.2, 14.1n