Grosser (P. E.). Lebensbeschreibung. Nebst einer Sammlung interessante Anekdoten. Breslau, 1834.
Hauptmann (M.). Erlauterungen zu J. S. Bach’s Kunst der Fuge. 1841.
Hilgenfeldt (C. L.). Leben Wirken und Werke.
Hiller (J. A.). Lebensbeschreibungen berühmter Musikgelehrten und Tonkünstler. Part I. 1784.
Hirschung. Historisch-literarisches Handbuch berühmter Personen. Vol. i. 1794.
His (W.). Johann Seb. Bach: Forschungen über dessen Grabstätte. 1895.
Iliffe (F.). The Forty-eight Preludes and Fugues of J. S. Bach, analysed 1897.
Johnston (H. F. H.). Passion Music. 1858.
Junghaus (W.). J. S. B. als Schüler der Partikularschule in Lüneburg.
Kuhnau (J. C. W.). Die blinden Tonkünstler. 1810.
Ludwig (C. A). J. S. B. in seiner Bedeutung für Cantoren.
Mangold (C. A.). Bach’s Passion, Ein Beitrag zur Characteristik der Bachschen Compositionsweise. 1860.
Mendel. Musikalisches Conversations Lexicon. 2nd edition, 1881. Berlin.
Meyer (Dr P.). Joh. Seb. Bach. Vortrag in “Oeffentliche Vorträge gehalten in der Schweiz.” 1871.
Minerva. Zur Erinnerungsfeier an J. S. Bach’s Todestag. Jena, 1850.
Mizler (L. C.). Musikalische Bibliothek, vol. iv., Part I., pp. 158-176. Leipsic, 1754. An article compiled by P. Emanuel Bach and J. F. Agricola.
Mosewius (J. T.). J. S. B. in seinen Kirchen-Cantaten und Choralgesangen. 1845.
—— J. S. B.’s Matthäus-Passion Musikalisch-æsthetisch dargestellt. 1852.
Oordt (A. M. van). Een Kort Woord over Bach. 1873.
Polko (E.). Unsere Musikklassiker.
Poole (R. L.). Life of Bach, in Hueffer’s “The Great Musicians.” 1881.
Reissmann (A.). Leben Johann Sebastian Bach’s.
Riemann (H.). Analysis of J. S. Bach’s Wohltemperirtes Clavier. 1893.
Rochlitz (A. F.). Allg. Musik Zeitung, 1831, (article in).
Schaeffer. J. Seb. Bach’s Cantata, “Sie werden aus Saba alle kommen” in den Ausgaben von R. Franz und den leipziger Bach-Verein Kritisch beleuchtet. 1877.
Schauer (Dr J. K.). Lebensbild. Jena, 1850.
Schick (M.). J. S. B. Lebensbild.
Schiffner (A.). Sebastian Bach’s Nachkommenschaft. 1840.
Schilling (Dr G.). Universallexicon der Tonkünst. Stuttgart, 1835. (Article by A. B. Marx.)
Shuttleworth (Miss Kay). “Life of Bach.”
Siebigke. Museum berühmter Tonkünstler. 1801.
Spitta (P.). John Sebastian Bach. 2 vols. 1873-80.
—— The above, translated by Clara Bell and J. A. Fuller Maitland. Novello, London, 1884. 2nd edition, 1899.
—— Die Passions-Musiken von Seb. Bach, 1893, in “Sammlung gemeinverstandlicher wissenschaftlicher Vorträge.” Serie 8, Heft 176.
—— Ueber die Beziehungen S. Bach’s zu C. F. Hunold und Mariane von Ziegler, in Curtius E. Historische und Philologische Aufsätze. 1884. Berlin.
Taylor (Sedley). The Life of J. S. B. in relation to his work as a Church Musician and Composer. 1897.
Todt (B.). Vademecum durch die Bachschen Cantaten. 1895.
Tudor (H.). Das Heroentum in der Deutschen Musik. An essay on the music of Bach, Beethoven and Wagner. 1891.
Walther (J. G.). Musikalisches Lexicon. 1732. Contains a short article on J. S. Bach.
Westphal (R.). Allgemeine Theorie der Musikalischen Rhythmik. Mit besonderer Berücksichtigung von Bach’s Fugen, &c. 1880.
Winterfeld (C. von). Der evangelische Kirchengesang.
The performance of a Church Cantata From Walther’s Lexicon, Leipsic, 1732
Glossary
AHLE, JOH. RUDOLPH, WAS BORN 1625, AND, AFTER HOLDING A POST AT ERFURT, BECAME ORGANIST AND BURGOMASTER OF HIS NATIVE TOWN MÜHLHAUSEN. HIS CHORALE TUNES ARE STILL POPULAR IN THURINGIA. ON HIS DEATH IN 1673 HE WAS SUCCEEDED BY HIS SON JOH. GEORG, WHO WAS A MEMBER OF THE TOWN COUNCIL, AND POET LAUREATE TO THE EMPEROR LEOPOLD I.
BÖHM, GEORG. IS DESCRIBED BY WALTHER AS A FINE COMPOSER AND ORGANIST OF ST JOHN AT LÜNEBURG. BACH MODELLED SOME OF HIS EARLY CHORALE-PRELUDES, NOTABLY “WIR GLAUBEN ALL’ AN EINEN GOTT” ON BÖHM’S STYLE.
BRUST-POSITIV. THE NAME GIVEN TO THE CHOIR MANUAL WHEN ITS PIPES STAND IN FRONT OF THE REST OF THE ORGAN, AS IN MANY OF THE OLD ENGLISH CATHEDRAL ORGANS.
BUXTEHUDE, DIETRICH, 1637-1707, ORGANIST AT THE MARIEN-KIRCHE AT LÜBECK. HIS ORGAN FUGUES, TOCCATAS, &C., ARE OF GREAT IMPORTANCE AS HAVING FURNISHED BACH WITH HIS EARLIEST MODELS. THE FUGUES ARE USUALLY IN THREE PORTIONS, AS IN BACH’S GREAT E FLAT FUGUE (PETERS, 242). MANY OF HIS ORGAN WORKS HAVE BEEN PUBLISHED BY SPITTA.
CALDARA, ANTONIUS. BORN AT VENICE 1678, A PUPIL OF LEGRENZI AND FUX, AND THE WRITER OF MANY OPERAS, AND MUCH CHURCH MUSIC. HE WAS SUCCESSIVELY CAPELLMEISTER AT ST MARK’S, THE COURT OF MANTUA, AND TO CHARLES VI. AT VIENNA. HE WAS A CLEVER IMITATOR, BUT HAD LITTLE INVENTIVE GENIUS. ON COMING TO GERMANY, HIS STYLE IMPROVED IN VIGOUR. BACH ADMIRED HIM SUFFICIENTLY TO COPY HIS MAGNIFICAT IN C.
CANTOR, CHOIRMASTER. THE OFFICE IS RARELY HELD BY THE ORGANIST AS IN ENGLAND, SINCE THE CANTOR HAS TO CONDUCT THE “HAUPTMUSIK” WITH A BATON WHILE THE ORGANIST PLAYS.
CEMBALO, OR CLAVICYMBAL, OR CLAVESSIN, OR CLAVECIN, FOR WHICH BACH WROTE HIS CLAVIER WORKS, WAS IN SHAPE LIKE THE MODERN GRAND PIANO, BUT ITS INTERIOR CONSTRUCTION WAS SOMETHING AFTER THE MODEL OF THE ORGAN. IT HAD, IN COMMON WITH THE ORGAN, THE DEFECT OF BEING UNABLE TO PRODUCE PIANO OR FORTE BY THE TOUCH ALONE, THIS BEING DONE BY STOPS. A COMPLETE CEMBALO HAD THE COMPASS OF
TO
AND TWO MANUALS. EACH NOTE HAD FOUR STRINGS PRODUCING 4, 8, AND 16 FT. TONE, TWO BEING OF 8 FT. THE STRINGS WERE SOUNDED BY PLECTRA MADE OF QUILL, CALLED JACKS. THE INSTRUMENTS WERE SOMETIMES ALSO PROVIDED WITH ORGAN PEDALS. IT WILL BE SEEN AT ONCE THAT A PIECE PLAYED ON 16, 8 AND 4 FT. STOPS WOULD SOUND FAR FULLER THAN WHEN PLAYED ON THE MODERN PIANO WITH ONLY UNISON STRINGS.
THE CEMBALO WAS USED TO PLAY THE BASSO CONTINUO IN ALL CONCERTED MUSIC OUTSIDE THE CHURCH; AND EVEN IN A CONCERTO FOR CLAVIER, A SECOND CEMBALO APPEARS TO HAVE ACCOMPANIED. THE LUTE OR REGAL, HOWEVER, SOMETIMES TOOK ITS PLACE, FOR CONVENIENCE OF PORTERAGE.
TRANSPOSING CLAVICYMBALS, AND CLAVICYMBALS WITH KEYBOARDS AT BOTH ENDS WERE IN USE. THE TUNING WAS VERY TROUBLESOME, AND HAD TO BE DONE BEFORE EACH PERFORMANCE. OTHER NAMES WERE GRAVECYMBALUM, FLÜGEL, SCHWEINSKOPF, STEERTSTÜCK. THE CLAVIORGANUM WAS A COMBINATION OF CLAVICYMBAL AND POSITIVE.
CHORAL IS THE GERMAN NAME FOR THE PLAINSONG OF THE ROMAN CHURCH. AFTER THE REFORMATION THE NAME CHORAL (ENGLISH “CHORALE”) WAS GIVEN TO THE HYMNS WHICH WERE EITHER TRANSLATED FROM THE LATIN, OR ORIGINALLY WRITTEN IN THE FOURTEENTH CENTURY BY JOHANNES OF SALZBURG, MUSCATBLÜET, HANS FOLTZ, MICHEL BEHEIM, JOHANNES GOSSELER, JÖRG BREINING, AND HEINRICH VON LAUFENBERG, AND WHICH TOOK A FIRM HOLD ON THE GERMAN PEOPLE THROUGH THE EFFORTS OF MARTIN LUTHER, MICHAEL VEHE, W. HEINTZ, JOH. HOFMANN, AND OTHERS. THE PECULIAR VARIETY TO BE OBSERVED IN THE METRICAL CONSTRUCTION OF THE GERMAN CHORALE IS DIRECTLY TRACEABLE TO THE INFLUENCE OF THE VOLKSLIED, FOR LUTHER HIMSELF WROTE SACRED WORDS FOR SECULAR MELODIES. OTHER NAMES CONNECTED WITH THE CHORALE ARE VALENTIN TRILLER, VEIT HEEFEN, COUNT ALBRECHT THE YOUNGER OF BRANDENBURG, CULMBACH, SPERATUS, SPENGLER, HANS SACHS, SCHENSING, DECIUS GRAUMANN, JOH. WALTER, A FRIEND AND FELLOW-WORKER OF LUTHER, L. SENFL, VON BRUCK AND FINK. LATER POETS WERE NIC. HERMANN, P. NICOLAI, CALVISIUS HASSLER, &C., H. AND J. PRÆTORIUS, NEUMARK, FLEMMING, TESCHNER, GERHARD AND CRÜGER. THE MUSIC OF THE CHORALE WAS BROUGHT TO PERFECTION BY J. S. BACH.
CHORALE-CANTATAS, THOSE IN WHICH A COMPLETE HYMN IS CARRIED OUT, EACH VERSE FORMING AS A RULE A SEPARATE MOVEMENT, WHETHER FOR CHORUS OR SOLO VOICES, THOUGH OCCASIONALLY A VERSE IS OMITTED IN THE LONGER HYMNS. SOMETIMES RECITATIVES BREAK THE COURSE OF THE CHORALE MELODY, OR THE MELODY IS PLAYED BY THE INSTRUMENTS AND ACCOMPANIED BY VOCAL RECITATIVE. THE CHORALES CHOSEN ARE ALWAYS WELL-KNOWN ONES, AND AMONG THE FINEST OF THE SIXTEENTH AND SEVENTEENTH CENTURIES.
CHURCH MUSIC. THE SERVICES AT LEIPSIC WERE REGULA
TED BY AN ACT PASSED IN 1540 BY DUKE HEINRICH APPLYING TO ALL SAXONY. A MORNING SERVICE CALLED MATINS WAS CELEBRATED AT ST NICHOLAS EVERY SUNDAY AT 5.30 A.M., IN WHICH THE VENITE, PSALMS, TE DEUM AND BENEDICAMUS DOMINO WERE SUNG BY THE CHOIR, AND DIRECTED BY THE ST NICHOLAS CANTOR.
MORNING SERVICE TOOK PLACE AT 7 AT BOTH ST THOMAS AND ST NICHOLAS; A LATIN MOTET WAS SUNG, FOLLOWED BY THE KYRIE, GLORIA IN EXCELSIS, COLLECT IN LATIN, AND AT ST THOMAS A LITANY WAS SUNG BY FOUR BOYS AND THE CHOIR ALTERNATELY. THE GOSPEL AND EPISTLE AND CREED WERE INTONED BY THE PRIEST, AND ON CERTAIN DAYS THE NICENE CREED WAS SUNG IN LATIN BY THE CHOIR. THE “HAUPTMUSIK” (THE CANTATA) FOLLOWED THE INTONING OR SINGING OF THE CREED IN LATIN, AND AFTER IT WAS FINISHED THE CREED WAS SUNG BY THE CONGREGATION IN GERMAN. THIS WAS FOLLOWED BY A SERMON OF AN HOUR’S DURATION. THE SERVICE CONCLUDED WITH THE GENERAL CONFESSION, THE LORD’S PRAYER AND BLESSING. CHORALES WERE SUNG BY THE CONGREGATION DURING THE COURSE OF THE SERVICE.
AT THE MID-DAY SERVICE THERE WERE ONLY A SERMON AND TWO CONGREGATIONAL HYMNS WITHOUT THE CHOIR. IT BEGAN AT A QUARTER TO TWELVE. AT VESPERS, THE CHOIR SANG A MOTET, AND THE MAGNIFICAT IN GERMAN, BESIDES LEADING THE CONGREGATION IN SOME HYMNS. AT CHRISTMAS, EASTER AND WHITSUNTIDE, SIMILAR SERVICES WERE PERFORMED FOR THREE CONSECUTIVE DAYS, MATINS BEGINNING AT FIVE INSTEAD OF HALF-PAST TO ALLOW MORE TIME FOR THE FESTIVAL SERVICES.
CITHARA, CITHER, A FAVOURITE INSTRUMENT IN THE SIXTEENTH CENTURY OF THE GUITAR FAMILY, BEARING 4, 5 OR 6, OR EVEN 12 METAL STRINGS. PRÆTORIUS CONDEMNS THE FOUR-STRINGED CITHARA AS BEING “A VULGAR INSTRUMENT ONLY USED BY COBBLERS AND TAILORS.” IN ENGLAND IT WAS KEPT AT BARBERS’ SHOPS FOR THE AMUSEMENT OF CUSTOMERS WAITING THEIR TURN.
CLARINO. LICHTENTHAL C. DIZIONARIO DELLA MUSICA, MILAN, 1826, SAYS “THE CLARINO IS, ACCORDING TO SOME, A SPECIES OF SMALL TRUMPET, OF WHICH THE TUBE IS NARROWER THAN THAT OF THE ORDINARY TRUMPET, AND WHICH GIVES A MORE ACUTE SOUND; BUT NORTHERNERS HOLD THAT THE WORD MEANS THE ORDINARY TRUMPET.” THE WORD FREQUENTLY OCCURS IN BACH’S SCORES.
CLAVICHORD. A KEY-BOARD INSTRUMENT HAVING BRASS STRINGS WHICH WERE NEITHER PLUCKED WITH A QUILL AS IN THE HARPSICHORD, NOR STRUCK WITH A HAMMER AS IN THE PIANOFORTE, BUT MADE TO SOUND BY A BRASS BLADE CALLED A TANGENT, WHICH PRESSED AGAINST THE STRING AS LONG AS THE KEY WAS HELD DOWN. ALTHOUGH ITS TONE HAD LITTLE POWER, THE EFFECTS OF CRESCENDO, DIMINUENDO, AND VIBRATO, CALLED IN GERMANY “BEBUNG,” WERE ENTIRELY UNDER THE PLAYER’S CONTROL, AND ON THIS ACCOUNT IT WAS A FAVOURITE INSTRUMENT WITH BACH. THE CLAVICHORD WAS SOMETIMES PROVIDED WITH PEDALS FOR THE USE OF ORGAN STUDENTS.
CLAVICYMBAL. SEE CEMBALO.
CLAVIER, LITERALLY KEYBOARD. THE GERMAN NAME FOR ALL KEYBOARD INSTRUMENTS, SUCH AS THE CLAVICHORD, HARPSICHORD, SPINET, INSTRUMENT, &C. THE TERM IS ALSO APPLIED TO BOTH THE MANUALS AND PEDALS OF THE ORGAN.
CLAVIERBÜCHLEIN, LITTLE CLAVIER BOOK FOR BACH’S SON W. FRIEDEMANN, WHEN NINE YEARS OLD, IN 1720. A DIAGRAM SHOWS THE KEYS AND PRINCIPAL ORNAMENTS, AND ONE OF THE PIECES IS FIGURED AND CALLED “APPLICATIO, IN NOMINE JESU.” SOME OF THE PIECES ARE COMPOSED BY THE BOY HIMSELF. ELEVEN OF THE PRELUDES OF THE WOHLTEMPERIRTE CLAVIER FIRST APPEARED IN THIS BOOK; SOME OF THE PIECES ARE BY OTHER COMPOSERS AS J. C. RICHTER AND G. H. STÖLZEL OF GOTHA, AND THERE ARE MANY OF BACH’S OWN FUGUES.
CLAVIERBÜCHLEIN, VOR ANNA MAGDALENA BACH IN 1720 AND 1725. SEE P. 57.
CLAVIERÜBUNG, CLAVIER PRACTICE. A WORK IN FOUR PARTS, CONSISTING OF PRELUDES, ALLEMANDS, THE ITALIAN CONCERTO, THE FRENCH OVERTURE, CHORALVORSPIELE, &C., INTENDED, AS THE NAME IMPLIES, FOR EDUCATIONAL PURPOSES. THE WORK INCLUDES THE WELL-KNOWN PRELUDE AND FUGUE FOR ORGAN IN E FLAT, PETERS 242, AND THE AIR IN G WITH THIRTY VARIATIONS WRITTEN FOR GOLDBERG.
COLLEGE OF INSTRUMENTAL MUSICIANS OF UPPER AND LOWER SAXONY. THE FULL TEXT IS GIVEN BY SPITTA, VOL. I. P. 145, ET SEQ. THE STATUTES ENACTED THAT NO MEMBER WAS TO SETTLE IN ANY TOWN WHERE ANOTHER MEMBER WAS ALREADY SETTLED; NO MEMBER WAS TO TAKE LOWER FEES THAN HIS PREDECESSOR; NO MEMBER WAS TO BOAST THAT HE PLAYED ON A SUPERIOR INSTRUMENT TO OTHERS; OFFICES WERE ONLY TO BE OBTAINED BY PROPER EXAMINATION; NO MEMBER WAS TO SING IMMORAL SONGS; EVERY MEMBER MUST CONDUCT HIMSELF WITH PROPRIETY IN SOCIAL “ATTENDANCES,” AND TO SEE THAT HIS ASSISTANTS DID THE SAME; NO MEMBER WAS TO BRING HIS ART TO DISREPUTE BY PLAYING ON BAGPIPES, HURDY-GURDIES, TRIANGLES, &C.
NO BAD LANGUAGE WAS TO BE ALLOWED, AND ALL LOW COMPANY TO BE AVOIDED; APPRENTICES MUST, BEFORE BINDING, PRODUCE CREDENTIALS OF RESPECTABILITY, AND MUST SERVE FOR FIVE YEARS WITH INDUSTRY AND CONSTANT PRAYER. AFTER AN APPRENTICE HAS SERVED HIS FIVE YEARS HE IS TO SERVE ANOTHER THREE AS AN “ASSISTANT,” EXCEPT WHEN HE MARRIES HIS MASTER’S DAUGHTER, IN WHICH CASE HE SHALL ONLY SERVE ONE YEAR AS ASSISTANT. IN CASE OF DISSENSION ARISING, THE MATTER MUST BE BROUGHT BEFORE SIX MASTER-MUSICIANS, WHO SHALL DECIDE IT. NO MAN IS TO SEEK TO OUST AN OLD MASTER; BUT IF A MAN BECOMES TOO OLD TO DO HIS WORK, AN ASSISTANT SHALL BE APPOINTED WHO SHALL RECEIVE HALF THE SALARY. EVERY MASTER IS TO SEE THAT HIS ASSISTANTS ARE PROPERLY PAID FOR SERVICES RENDERED. IN ORDER THAT THE ART OF MUSIC MAY NOT BE BROUGHT INTO CONTEMPT BY INADEQUATE PERFORMANCE, NO MAN SHALL BE ALLOWED TO KEEP MORE THAN THREE APPRENTICES AT ONE TIME (FOR THIS WOULD COMPEL HIM TO EMPLOY PROPERLY QUALIFIED ASSISTANTS TO CARRY OUT CONCERTED MUSIC). A MASTER NEGLECTING TO TEACH HIS APPRENTICES COULD BE PUNISHED; AND AN APPRENTICE RUNNING AWAY COULD NEVER BECOME A MEMBER OF THE COLLEGE. HOWEVER GREAT THE NUMBER OF MEMBERS, NO MAN WAS TO BE REFUSED MEMBERSHIP WHO WAS FOUND, AFTER DUE TRIAL, TO BE PROPERLY QUALIFIED. QUESTIONS OF EVIL MORALS ARISING AMONG MEMBERS WERE TO BE DECIDED BY A BOARD OF ELDERS.
CONCERTMEISTER, THE LEADER OF AN ORCHESTRA WHO RANKS IMMEDIATELY AFTER THE CONDUCTOR. IN EARLY TIMES HE WAS ALSO THE CONDUCTOR OF PURELY INSTRUMENTAL MUSIC, WHILE THE CAPELLMEISTER CONDUCTED WHENEVER VOICES WERE EMPLOYED. THE TITLE IS ALSO BESTOWED AS A MARK OF RESPECT ON MUSICIANS OF EMINENCE WHO ARE NOT CONNECTED WITH AN ORCHESTRA.
CONCERTO. A TERM APPLIED TO BOTH VOCAL AND INSTRUMENTAL CONCERTED MUSIC. SEVERAL OF BACH’S CANTATAS ARE THUS NAMED; THUS “EIN HERZ DAS SEINEN JESUM LEBEND WEISS” IS ENTITLED “CONCERTO À QUATTRO VOCI, 2 OBOI, 2 VIOLINI, VIOLA E CONTINUO DI J. S. BACH.” CONCERTOS FOR INSTRUMENTS WERE IN SEVERAL MOVEMENTS, BUT USUALLY THREE. THERE WAS SOMETIMES A SINGLE SOLO INSTRUMENT, BUT MORE FREQUENTLY THERE WERE SEVERAL. THE FINE CONCERTO IN G IN TWO MOVEMENTS IS FOR THREE VIOLINS, THREE VIOLAS, THREE VIOLONCELLOS AND BASS WITHOUT A SOLO INSTRUMENT. THE CONCERTOS OF HANDEL AND VIVALDI, &C., ARE ORCHESTRAL COMPOSITIONS IN SEVERAL MOVEMENTS WITH OR WITHOUT WIND INSTRUMENTS. THE ITALIAN CONCERTO IS A PIECE IN THREE MOVEMENTS FOR CLAVECIN WITHOUT ACCOMPANIMENT.
CONSISTORY. THE AUTHORITIES OF AN IMPORTANT CHURCH, SOMEWHAT ANALOGOUS TO THE DEAN AND CHAPTER OF AN ENGLISH CATHEDRAL.
CONTINUO = BASSO CONTINUO, THE BASS OF A COMPOSITION FOR VOICES OR INSTRUMENTS OR BOTH. IT WAS ALWAYS THE LOWEST PART, AND WAS USUALLY PROVIDED WITH FIGURES, THAT THE ACCOMPANIST MIGHT BE ABLE TO FILL IN THE HARMONIES AND KEEP THE BODY OF PERFORMERS TOGETHER. IT WAS PERFORMED ON THE ORGAN, OR CEMBALO OR REGAL, ACCORDING TO CIRCUMSTANCES. THE CONTINUO OF MOST OF BACH’S CANTATAS WAS WRITTEN OUT IN TWO KEYS, TO SUIT THE TWO PITCHES IN USE, “CHORTON” BEING A TONE HIGHER THAN “KAMMERTON.” ALL CHAMBER MUSIC REQUIRED THE ACCOMPANIMENT OF A CEMBALO IN FIGURED BASS; AND EVEN IF THERE WERE ONE OR MORE “CEMBALI” OBBLIGATI A SEPARATE INSTRUMENT WOULD BE EMPLOYED FOR THE CONTINUO. IN ALL BACH’S CHURCH COMPOSITIONS IN WHICH THERE IS AN ORGAN OBBLIGATO PART, THERE IS ANOTHER ORGAN PART FOR THE CONTINUO. THE CONDUCTOR STOOD NEAR THE ORGANIST, AS MAY BE SEEN IN THE FRONTISPIECE TO WALTHER’S LEXICON.
CORNET, CORNETTO, ZINK, CONSISTED OF A CURVED WOODEN TUBE COVERED WITH LEATHER AND HAVING HOLES FOR THE FINGERS WITH A CUP MOUTHPIECE LIKE A TRUMPET. TWO CORNETS HANG ON THE WALL NEAR THE ORGAN IN WALTHER’S ILLUSTRATION.
DRESE, JOHANN SAMUEL, 1654-1716, WAS ORGANIST OF THE COURT AT JENA, AND AFTERWARDS CAPELLMEISTER AT WEIMAR. HE COMPOSED SONATAS FOR THE CLAVIER, MOTETS AND OPERAS.
ESTOMIHI. QUINQUAGESIMA SUNDAY.
FIGURAL MUSIC. FLORID MUSIC, OR ALL CHURCH MUSIC THAT IS NOT PLAINSONG, OR ITS LUTHERAN EQUIVALENT THE CHORALE-MELODY.
F
LORILEGIUM PORTENSE, A WORK CONTAINING 115 “CANTIONES SELECTISSIMAS” OF FROM FOUR TO EIGHT VOICES, WITH FIGURED BASS FOR ORGAN. A SECOND PART CONTAINED 150 “CONCENTUS SELECTISSIMAS” OF FROM FIVE TO TEN PARTS. PUBLISHED 1603 AND 1621 BY BODENSCHATZ, CANTOR OF SCHULPFORTA, AND PASTOR AT REHAUSEN. A COMPLETE CATALOGUE IS GIVEN IN GROVES’ DICTIONARY, VOL. I. P. 253.
FRENCH OVERTURE. A FORM OF OPERA OVERTURE CONSISTING OF A SLOW INTRODUCTION, FOLLOWED BY A FUGUE OR FUGATO, AND CONCLUDING WITH A SLOW MOVEMENT. THIS FORM WAS APPLIED TO THE CLAVIER BY BACH IN THE “OVERTURE IN THE FRENCH STYLE” (E. P. 208) OF THE B MINOR SUITE OR PARTITA.
FUX, JOH. JOSEPH, BORN IN STYRIA, 1660, ORGANIST, COURT COMPOSER, AND CAPELLMEISTER AT VIENNA. A PROLIFIC COMPOSER OF CHURCH MUSIC AND OPERA, BUT HE IS BEST KNOWN BY HIS THEORETICAL WORKS, AMONGST WHICH IS HIS LATIN “GRADUS AD PARNASSUM,” A TREATISE ON COMPOSITION, WHICH HAS BEEN THROUGH MANY EDITIONS.
GÖRNER, J. GOTTLIEB, WAS APPOINTED ORGANIST OF THE NICOLAI CHURCH AT LEIPSIC IN 1721 AND WAS ALSO HEAD OF A “COLLEGIUM MUSICUM” OR MUSICAL SOCIETY. IN 1729 HE SUCCEEDED GRÄBNER AS ORGANIST OF ST THOMAS. HE WAS A MEDIOCRE MUSICIAN, BUT PUT HIMSELF IN RIVALRY WITH BACH, AND IS REPORTED BY SCHEIBE TO HAVE “BY HIS RUDENESS ASSERTED HIS PRE-EMINENCE AMONG A LARGE NUMBER OF HIS EQUALS.” HE GAVE BACH A GOOD DEAL OF TROUBLE BY ASSUMING THE POSITION AND EMOLUMENTS OF DIRECTOR OF MUSIC TO THE UNIVERSITY; BUT THEY APPEAR TO HAVE WORKED AMICABLY TOGETHER AFTERWARDS, AND BACH, BY WILL, APPOINTED HIM GUARDIAN OF HIS CHILDREN, AN OFFICE WHICH HE APPEARS TO HAVE SATISFACTORILY FULFILLED.
HAMMERSCHMIDT, ANDREAS, BORN IN BOHEMIA, 1611, ORGANIST OF FREIBERG, AFTERWARDS AT ZITTAU. ACCORDING TO GERBER, ONE OF THE GREATEST OF GERMAN CONTRAPUNTISTS. WALTHER GIVES A LIST OF HIS COMPOSITIONS, WHICH ARE MOSTLY FOR THE CHURCH. HIS “MUSICAL DISCOURSES ON THE GOSPEL” WERE AN IMPORTANT STEP IN THE DEVELOPMENT OF ORATORIO.
HUNOLD, CHRISTIAN FRIEDRICH. A POET, KNOWN AS MENANTES, WHO WROTE POEMS FOR THE HAMBURG THEATRE 1700 TO 1706; BECAME A PROFESSOR AT HALLE, AND WAS MUCH AT THE CÖTHEN COURT, WHERE HE WROTE TEXTS FOR BACH’S CANTATAS.
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