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of the Joachimsthal Gymnasium, Berlin, contains one of the most important Bach collections, but it has long been superseded by the Royal Library there as the chief repository of Bach’s Autographs.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