Delphi Masterworks of Johann Sebastian Bach

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Delphi Masterworks of Johann Sebastian Bach Page 47

by Peter Russell


  308

  Only six are genuine. See infra, p. 141.

  309

  Of the Motets that have come down to us as his, only six are Bach’s. Forkel mentions five of them in secs. 7 and 3 of the next paragraph; he omits Lobet den Herrn, alle Heiden. In 1802-3 Breitkopf and Haertel published six Motets — the five mentioned by Forkel and another, Ich lasse dich nicht, of which Bach made a copy, but whose composer actually was Johann Christoph Bach. We know that Bach composed at least one Latin Motet for double chorus, and Friedemann’s share of his father’s autographs may have contained it and others known to Forkel but no longer extant.

  310

  The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin, contains one of the most important Bach collections, but it has long been superseded by the Royal Library there as the chief repository of Bach’s Autographs.

  311

  The Amalienbibliothek has only one Autograph, namely, Cantata 34, O ewiges Feuer. The rest are early copies.

  312

  Cantata 53. No Autograph of this Cantata exists, and the copies from which the B.G. edition was printed are in the Amalienbibliothek.

  313

  On the contrary, the Cantata belongs to the Leipzig period, 1723-34.

  314

  None of the four “short” Masses is in five parts. All have instrumental accompaniments. The autograph scores of the Masses in A major and G major are in Messrs. Breitkopf and Haertel’s possession. Copies of the other two scores, in Altnikol’s handwriting, are in the Berlin Royal Library. See Introduction to B.G. VIII.

  315

  An eight-part Mass in G was performed at a Leipzig Gewandhaus Concert on March 7, 1805, and was published later in the year by Breitkopf and Haertel. The score is admittedly, for the greater part of the work, in Bach’s hand and is in the Berlin Royal Library. The publication of the work was under consideration by the Bachgesellschaft in 1858. That it is not by Bach is generally held. It has been attributed to Johann Ludwig Bach (d. 1741). See Genealogical Table II.

  316

  The St. Matthew Passion.

  317

  A nom de plume for Christian Friedrich Henrici (1700-64), who wrote a large number of Bach’s Leipzig texts.

  318

  Perhaps Forkel indicates the short Sanctus in Richter’s edition of the Choralgesänge, No. 123, or that in B.G. XLI. p. 177.

  319

  This is the first Chorus of Cantata No. 38. It is printed as a separate Motet in Erk, No. 150.

  320

  Forkel’s list is complete except for Lobet den Herrn, alle Heiden.

  321

  The opening Chorus of Cantata 144.

  322

  Forkel refers to the Peasant Cantata, or Mer hahn en neue Oberkeet, performed on August 30, 1742. Forkel clearly was not familiar with Bach’s other secular Cantatas. See B.G. XI. (ii.), XX. (ii.), XXIX. The Autograph score of the Peasant Cantata is in the Berlin Royal Library.

  323

  Forkel’s suggestion was carried out, with varying thoroughness, in the Bachgesellschaft edition.

  324

  Forkel’s judgment is at fault. See Schweitzer, i. 336.

  325

  Also in Wilhelm Friedemann’s Clavierbüchlein. See Schweitzer, i. 279; Spitta, ii. 166.

  326

  “Since you cannot please everybody by your actions and work, strive at least to satisfy a few; popular appreciation encourages bad art.” — Schiller’s Votiftafeln

  327

  The Cantatas are classified under Appendix II.

  328

  The references are to Peters’ edition. Excepting bk. 1959, which contains pieces of doubtful authenticity, every number printed by Peters is entered in the Chronological Catalogue.

  329

  There are three other Sonatas, in A minor, C major, D minor, none of which is an original composition. They are printed in P. bk. 213. The first and second are adaptations of material in Reinken’s Hortus Musicus. The third is a transcription of the second Solo Sonata for Violin.

  330

  The references are to Novello’s twelve Books of Bach’s Organ Works, edited by J. F. Bridge and J. Higgs. The edition is complete, and contains every movement included in Alfred Dorffel’s “Thematisohos Verzeichniss” (second edition, 1882) except his No. 24 on p. 72; Nos. 6 and 8 on page 85; the “Kleines harmonisches Labyrinth” (Dörffel, p. 88, tigs. 131-33), the genuineness of which is questioned by Spitta (ii. 43); and figs. 136-37 on p. 88. The Novello edition also follows Rust, against Spitta’s judgment, in printing the “Fantasia con Imitazione” (bk. 12 p. 71) as an Organ instead of as a Clavier piece. Books 15-19 print the Choral Preludes. See the Peters and Novello editions collated in Appendix V.

  331

  Printed as a “Toccata” in E major in B.G. XV. p. 276.

  332

  Spitta (ii. 620, 718) mentions a Birthday Cantata written in 1717-1721(?), the title of which is lost.

  333

  The references are to Peters’ edition.

  334

  The D minor contains the famous Chaconne.

  335

  The references are to Peters’ edition. In the B.G. edition the Orchestral music is included in the Chamber Music volumes.

  336

  Pirro, p. 228, holds that the first two (C major and B minor) were written at Cöthen and the last two (D major and D major) at Leipzig. Schweitzer (i. 402) regards it as not clear in which period the Overtures were written.

  337

  In A minor, E major, G major. The G major figures as the fourth Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk. 248). The A minor and E major were also converted into Clavier Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier Concerto (bk. 264) preserves a lost Violin Concerto in the same key, and the one in F minor (bk. 250) corresponds with a lost Violin Concerto in G minor (bks. 3068, 3069).

  338

  Also arranged as a Concerto for two Claviers (C minor) in P. bk. 257b.

  339

  Bach wrote another Magnificat, the music of which is lost. See Spitta, ii. 374.

  340

  All except the Sanctus in D major are of doubtful authenticity. See Schweitzer, ii. 328 and Spitta, iii. 41 n.

  341

  The Concerto in C minor (P. bk. 257) is an arrangement of one for two Violins now lost. The third, also in C minor, is identical with the D minor Concerto for two Violins and is published in that key in the Peters edition. The remaining Concerto, in C major, is the only one originally written for the Clavier. See Schweitzer, i. 413.

  342

  The work is an amplification of the Prelude and Fugue in A minor, already catalogued among the Clavier works of the Cöthen period. Schweitzer (i. 340) concludes that it was rearranged as an orchestral Concerto early in the thirties, when Bach needed Concertos for the Telemann Society’s Concerts.

  343

  The scheme of the G major and C major Preludes and Fugues dates back to the Weimar period. See Spitta, iii. 208; Parry, p. 67.

  344

  These so-called “Organ” Sonatas were written for the Pedal Clavicembalo.

  345

  The Clavier Suites in E minor, E major, and C minor are arrangements of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.

  346

  In Mizler’s Nekrolog.

  347

  Supra, p. 138.

  348

  See the present writer’s Bach’s Chorals, Part II. p. 1.

  349

  Ibid., p. 4. Four more Cantatas, of doubtful authenticity, are published by the Bachgesellschaft, Jahrgang XLI.

  350

  See the Table of Cantatas set out in chronological order.

  351

  Nos. 18, 24, 28, 59, 61, 142, 160.

  352

  Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166, 168, 185, 186 (part).

  353

  Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one
version), Ehre sei Gott (incomplete).

  354

  Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.

  355

  Nos. 47, 141.

  356

  Nos. 50, 191, 196.

  357

  Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.

  358

  No. 15: Denn du wirst meine Seele nichfc in der Hölle lassen.

  359

  The intimate personal note of the opening words of the Recitative— “Mein Jesus ware tot” — reveals him.

  360

  Spitta, i. 231.

  361

  Schweitzer, i. 103.

  362

  No. 131: Aus der Tiefe rufe ich, Herr, zu dir.

  363

  No. 71: Gott ist mein Küonig.

  364

  No. 196: Dorr Herr denket an uns.

  365

  See Spitta, i. 359 ff.

  366

  Ibid., i. 374. On the other hand, Baoh’s art was visibly affected by Pietistic influences, as Schweitzer, i. 169, shows.

  367

  Eilmar died in 1715 (Spitta, i. 361).

  368

  No. 189: Meine Seele rühmt und preist.

  369

  No. 150: Nach dir, Herr, verlanget mich.

  370

  Vol. i. 456.

  371

  J.S. Bach, p. 87.

  372

  The conclusion is based on letters printed by Spitta, i. 517.

  373

  Nos. 18, 61, 142, 160, and 69. See Table.

  374

  He was born May 12, 1671 (Spitta, i. 470).

  375

  The volume is entitled Erdmann Neumeisters Geistliche Cantaten statt einer Kirchen-Musik. Die zweyte Auflage.

  376

  Entitled Herrn Erdmann Neumeisters Fünffache Kirchen-Andachten, Leipzig, 1716.

  377

  Spitta, i. 474.

  378

  Vol. i. 466 ff.

  379

  See the Aria (Duetto) of Cantata No. 28.

  380

  See particularly the Litanei in Cantata No. 18.

  381

  Telemann was Carl Philipp Emmanuel Bach’s godfather (Spitta, i. 486).

  382

  Nos. 24, 28, 69, 61.

  383

  No. 18.

  384

  Nos. 142, 160.

  385

  See Spitta, i. 630.

  386

  His influence is also detected in Nos. 27, 56, 199.

  387

  Telemann also set the libretti of Bach’s Nos. 18 and 142. See Spitta, i. 487.

  388

  Vol. i. 530.

  389

  Wustmann, Joh. Seb. Bach’s Kantaten-Texte (1913), p. xxii n. The cycle is entitled Evangelisches Andachts-Opffer.

  390

  Only Nos. 70, 147, and 186 are taken from it.

  391

  Entitled Evangelische Sonn- und Fest-Tages Andachten.

  392

  Vol. ii. 131.

  393

  For instance, the Aria in Cantata No. 168, beginning:

  Kapital und Interessen Meiner Schulden gross und klein, Mussen einst verrechnet sein.

  394

  Spitta, ii. 5; Schweitzer, i. 106.

  395

  Spitta, ii. 3.

  396

  The two Cantatas are Nos. 47 and 141.

  397

  Wustmann, p. xxiii.

  398

  Spitta, ii. 12 n.

  399

  The Choral is absent from No. 141. It should be “Christe, du Lamm Gotten.”

  400

  Schweitzer, ii. 147. The Cantata is No. 47, Wer sich selbst erhöhet.

  401

  Vol. ii. 13.

  402

  Vol. ii. 147.

  403

  No. 141: Das ist je gewisslich wahr.

  404

  Vol. ii. 15.

  405

  Vol. ii. 148.

  406

  Johann Sebastian Bach, p. 108.

  407

  Op. cit., Note 195.

  408

  Spitta, ii. 147.

  409

  Nos. 134 and 173.

  410

  No. 134: Ein Herz, das seinen Jesum lebend weiss.

  411

  No. 173: Erhötes Fleisch und Blut.

  412

  No. 75: Die Elenden sollen essen, sung on May 30, the day preceding Bach’s formal induction.

  413

  For instance, Nos. 67 and 102.

  414

  Wustmann, by implication, only associates eight libretti (Cantatas Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss. All of them belong to the early years, 1723-27.

  415

  See Nos. 75 and 105.

  416

  See Nos. 25, 42, 77. As an extreme illustration, the first Recitative of No. 25 begins with the words, Die ganze Welt ist nur ein Hospital.

  417

  Vol. ii. 388.

  418

  Cantata No. 65: Sie werden aus Saba Alle kommen.

  419

  Vol. i. 361.

  420

  Wustmann, p. xxiv.

  421

  Ibid.

  422

  See the Table.

  423

  They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171, 190,195, and the incomplete Cantata, Ehre sei Gott in der Höhe.

  424

  Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194. See the Table.

  425

  No. 4: Christ lag in Todesbanden.

  426

  Vol. ii. 393.

  427

  See the Table: No. 112, Derr herr ist mein getreuer Hirt.

  428

  Nos. 8, 20, 93.

  429

  No. 148: Bringet dem Herrn Ehre seines Namens.

  430

  No. 8: Liebster Gott, wann werd’ ich sterben.

  431

  No. 181: Leichtgesinnte Flattergeister.

  432

  Vol. ii. 340 ff.

  433

  The volume is entitled Sammlung Erbaulicher Gedancken, Bey und über gewohnlichen Sonn- und Festtags-Evangelien, Leipzig.

  434

  Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr, Leipzig, 1728. He reprinted them in 1732 in his Satyrische Gedichte.

  435

  But see Cantata No. 148 and Spitta, ii. 693. Also No. 19.

  436

  Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and the Cantata Ehre sei Gott.

  437

  No. 157.

  438

  Nos. 19, 30, 36, 84, 148, 197.

  439

  Vol. ii. 346.

  440

  Nos. 32, 48, 67, 90, 144, 181.

  441

  Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154, 194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144, 145, 148, for Bach’s collaboration with Picander.

  442

  Besides No. 80, a Choral Cantata.

  443

  Schweitzer, ii. 332 ff.

  444

  Entitled Versuch in gebundener Schreibart.

  445

  Vol. iii. 71.

  446

  Vol. ii. 331 n.

  447

  No. 85: Ich bin ein guter Hirt.

  448

  Note 60.

  449

  Vol. ii. 331 n.

  450

  No. 33: Gott färet auf mit Jauchzen.

  451

  See Table.

  452

  No. 74.

  453

  Op. cit., p. 377.

  454

  See Table.

  455

  Nos. 100 and 107, both of them c. 1735.

  456

  No. 8, for the Sixteenth Sunday after Trinity.

  457

  No. 93, for the Fifth Sunday after Trinity (1728).

  458

  Nos. 9 (? 1731
), 99 (c. 1733).

  459

  No. 122.

  460

  No. 80.

  461

  Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127, 138, 140.

  462

  Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125, 126, 130, 139, 178, 180.

  463

  Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.

  464

  Nos. 3, 38, 123, 133, 135.

  465

  P. xxiv.

  466

  Nos. 3, 123, 133, 135.

  467

  See supra, p. 180.

  468

  Nos. 17, 34, 43, 151, 197, and Herr Gott, Beherrsoher aller Dinge.

  469

  Nos. 30, 32, 48, 57, 90.

  470

  Nos. 45, 79, 110, 143.

  471

  No. 28.

  472

  No. 50.

  473

  No. 118.

  474

  Nos. 6, 11, 13, 146, 193.

  475

  See Bach’s Chorals, Part II., Introduction.

  476

  The above article and the Table that follows were communicated originally to the Musical Association on March 28, 1918.

  477

  General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6, 1728. No Cantatas were sung in the period.

  478

  The Church Cantatas are published by Peters and also by Breitkopf and Haertel. A prefixed asterisk indicates that an English edition of the Cantata or Oratorio is published by Novello or Breitkopf and Haertel.

  The Organ music is published by Novello, to whose edition references are given (N.), Peters, and Breitkopf and Haertel. collation of the Peters and Novello editions is given in Appendix V.

  The Clavier and Instrumental music is published by Peters, to whose edition references are given (P.).

  479

  A Variant of the first Invention is on p. 342 of the volume. A Variant of Sinfonia ix. is on p. vi. of the Nachtrag.

  480

  A Variant is in B.G. XI.

  481

  A Variant is in P. bk. 244 p. 109.

  482

  “If genuine, the Sonata is a youthful work,” remarks Schweitzer, i. 401 n.

  483

  Additional movements of the second, third, and fourth Suites are in Appendix II. of B.G. XXXVI.

  484

  The volume contains an Appendix of Variants, etc. See also B.G. XLV. (1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix I. of B.G. XXXVI.

  485

  See publications of the N.B.G. xiv. (2) no. 5.

  486

  See publications of the N.B.G. vii. (3) no. 3.

  487

  For this work, in its original form as a Violin Concerto, see N.B.G. XVIII. (1 and 2).

  488

  The D major (No. 3) and G minor (No. 7) Concertos are identical with the Violin Concertos in E major and A minor. See B.G. XXI. (1). No. 6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G. XIX. no. 4.

 

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