Johann Sebastian Bach (87 page)

13.
For the original specification, identical with that of the organ contract of 1699, and a detailed description of the authentic console of the Wender organ (removed in 1864, now kept in the Bach Memorial at the Arnstadt Museum), see Wenke 1995; all previous descriptions of the organ contain numerous errors.

14.
Werckmeister's
Erweiterte und verbesserte Orgelprobe
(Quedlinburg, 1689), p. 79, deemed the tuning system “a good adequate temperament” the term “wohl temperiret” appears already on the title page of the 1681 edition of his
Orgelprobe
. Cf. Williams 1984, III, p. 184.

15.
The exact pitch and the actual tuning are not known.

16.
Harmonologia musica
(Quedlinburg, 1702).

17.
Schiffner 1985, p. 51.

18.
Biblische Erklärung
(Leipzig, 1679–81); cf. NBR, no. 279. The son of the Arnstadt superintendent, Johann Christoph Olearius, served before Bach's time as preacher at the New Church and also wrote a town chronicle,
Historia Arnstadiensis
(Arnstadt, 1701).

19.
Excerpts in
BJ
1995: 101–2.

20.
See Petzoldt 1997, pp. 129–31.

21.
Schiffner 1985, p. 15. Gleitsmann's appointment letter required him to present new compositions for all Sundays and feast days and to rehearse those extensively.

22.
NBR
, no. 19.

23.
For the ages of the other Lyceum students involved in the Geyersbach affair, see
BD
II, no. 14.

24.
NBR
, no. 20.

25.
Ibid.

26.
Ibid.

27.
Schiffner 1995, pp. 24f.

28.
NBR
, no. 7.

29.
Fuhrmann 1995, p. 28.

30.
BD
II, no. 14, p. 17.

31.
In 1705, the capelle numbered twenty-two, but in the absence of name lists, its exact membership during the Gleitsmann years (1701–10) cannot be determined; see
Arnstädter Bachbuch,
pp. 68–78.

32.
Composer(s) and performers are unknown; see
Arnstädter Bachbuch, p. 75.

33.
Schiffner 1995, p. 5.

34.
NBR
, no. 21.

35.
Spitta I, p. 328, hypothetically identified Maria Barbara as the
frembde Jungfer.

36.
Schiffner 1995, p. 51.

37.
Arnstädter Bachbuch
, p. 38.

38.
BD
II, no. 26.

39.
NBR
, no. 22a.

40.
NBR
, no. 26.

41.
NBR
, no. 303.

42.
Spitta I, p. 369 proposes as occasion for this work the wedding of Johann Lorenz Stauber and Regina Wedemann in Dornheim; Küster 1996, p. 171, dates BWV 196 for stylistic reasons to the early Weimar years.

43.
The text includes, for example, the names “Salome” and “Dominus Johannes,” which may refer to Bach's sister Marie Salome and the parson Johann Lorenz Stauber; “ancillam in corona aurea” may refer to a maid (any of the Michael Bach daughters?) at the Golden Crown
(Güldene Krone
), the house of Burgomaster Feldhaus.

44.
NBR
, no. 306, p. 300.

45.
NBR
, no. 395.

46.
See repertoire in Andreas-Bach-Book and Möller Manuscript (Hill 1991) as well as Bach's elaborations on Legrenzi and Corelli, BWV 574 and 579.

47.
NBR
, no. 395.

48.
The most prominent autograph is that of BWV 739; see
NBR
, no. 286.

49.
Ever since Spitta I, book 2.

50.
Included in Neumeister Collection; see Wolff,
Essays
, p. 120.

51.
Johann Mattheson,
Grundlage einer Ehrenpforte
(Hamburg, 1740); reprint, ed. M. Schneider (Kassel, 1969), p. 94.

52.
Proceedings,
NBR
, no. 20.

53.
BD
, no. 1; the calculation of c. sixteen weeks (about four times four weeks) is based on the rebuke to Bach for his prolonged absence,
NBR
, no. 20.

54.
NBR
, no. 21.

55.
Walther to Johann Mattheson; Johann Gottfried. Walther,
Briefe,
ed. Klaus Beckmann and Hans-Joachim Schulze (Leipzig, 1987), pp. 219f.

56.
J. G. Ahle received his laureateship in 1680 from Emperor Leopold I.

57.
In the concluding chorale of cantata BWV 60, “Es ist genung” (1723), Bach makes use of J. R. Ahle's aria melody, including its ascent to the augmented fourth (A/B/C-sharp/D-sharp), from the latter's
Drittes Zehn Neuer Geistlicher Arien
(Mühlhausen, 1662).

58.
NBR, no. 22a.

59.
The sources of the first Leipzig re-performance of this piece reflect a number of substantive changes, such as the apparent replacement of the original final movement by a newly composed four-part chorale; see BC A 54a–b.

60.
NBR
, no. 24.

61.
BDII, nos. 22–23.

62.
Bach started with a rather busy weekend, for the festival of Visitation (July 2) fell on a Saturday. M. Petzoldt (1992, pp. 135f.) makes a case for Bach having performed the cantata BWV 223 on the Marian feast day, based on some connections between the (incomplete) text of the (fragmentary) cantata and the outline of a sermon held on this day by pastor Eilmar. The question is, however, whether there was really sufficient time for communicating with Eilmar, moving from Arnstadt to Mühlhausen, and preparing a performance.

63.
Cf.
BDII, commentary to no. 26 and nos. 34–35.

64.
Petzoldt 1992, p. 130.

65.
Ibid., p. 138.

66.
NBR
, no. 23.

67.
NBR, no. 22b.

68.
Cf. Ernst 1987.

69.
The nunnery was torn down after 1884, but the Wender organ survives in part at the village church of Dörna near Mühlhausen, Wender's birthplace; cf. Ernst 1987, pp. 80f.

70.
Ibid., p. 77.

71.
For example, the organist's fee at St. Blasius's for a wedding Mass with a piece of concerted music (“so figural musiciret wird”) amounted to 9 groschen; see ibid.

72.
Walther,
Lexicon
, p. 557.

73.
Reported by Forkel,
NBR, p. 456.

74.
Exemplars of both formularies are to be found in the Mühlhausen church archives; cf. Petzoldt,
WBK1: 131–33.

75.
BD
I, p. 154; Petzoldt 1992, pp. 142f.

76.
NBR
, no. 31.

77.
NBR, no. 358b.

78.
Cf. the historical description of the ceremony (1705) in
NBA
/
KBI/32.1, pp. 59f.

79.
NBR
, no. 28a.

80.
NBR
, no. 28d.

81.
NBR
, no. 27.

82.
NBR
, comments to no. 54.

83.
Rondeau from Jean-Baptiste Lully's 1686 opera
Armide, also disseminated after 1700
as a keyboard suite; cf. Wolff 1995a, p. 27.

84.
BD
III, p. 638. Eilmar was present in Weimar on December 29, 1708, at the christening of Catharina Dorothea Bach, along with godmothers Martha Catharina Lämmerhirt (widow of Bach's late uncle Tobias Lämmerhirt) and Johanna Dorothea Bach, wife of his Ohrdruf brother Johann Christoph. See
BD
II, no. 42.

85.
Jauernig 1950, pp. 53f.; Schrammek 1988, pp. 100f.

86.
NBR
, no. 306, p. 300.

87.
Jauernig 1950, p. 55. Effler died 1711 in Jena, where his children lived.

88.
NBR
, no. 35.

89.
This view, summarized by W. Emery in
New Grove,
1: p. 58, goes back to Spitta I, pp. 358–64. Petzoldt 1992, pp. 133–35, corrects the picture of a supposedly anti-orthodox Frohne but does not draw any conclusions about Bach's move from Mühlhausen to Weimar.

90.
Petzoldt 1992, pp. 133f.

91.
See Bunners 1966.

92.
Beißwenger 1992, pp. 46ff. The only very early example, albeit a secular one, is the autograph copy of a cantata by Biffi; see above, p. 88. Peter Wollny has made a plausible case for the transmission of what constitutes today the bulk of the
Alt-Bachisches Archiv
Alt-Bachischesvia the Arnstadt cantor Heindorff, a close friend of the Bach family (see Wollny 1998).

93.
NBR
, no. 33.

94.
NBR
, no. 34.

95.
BD
II, no. 51.

96.
BD
II, no. 365.

C
HAPTER
5

1.
NBR
, no. 36.

2.
BD
II, no. 45. 1709 census listing: “The organist Johann Sebastian Bach, with his sweetheart and her sister.”

3.
For Bach's total compensation and ducal gifts, 1708–13, see
NBR
, nos. 35–39;
BD
II, no. 48; cf. also Jauernig 1950, pp. 51–58.

4.
Jung 1985, p. 11.

5.
BD
II, no. 56.

6.
BD
II, no. 58.

7.
Jung 1985, pp. 5f.; Glöckner,
Bachfest1985.

8.
NBR
, no. 38.

9.
His collections included, for example, a viola da gamba by the famous Hamburg instrument builder Joachim Tielke, with marvelous ornamental inlay of ivory; see Günther Hellwig,
Joachim Tielke, ein Hamburger Lauten-und Violenmacher der Barockzeit
(Frankfurt, 1979), p. 97.

10
.
NBR
, no. 43.

11.
S. E. Hanks,
New Grove
, 9: 659.

12.
NBR
, no. 395.

13.
NBR
, no. 39f–g. Bach's base salary was paid by the joint ducal treasury.

14.
Jung 1985, p. 36.

15.
Walther,
Lexicon, p. 331.

16.
Jauernig 1950, p. 52, suggests that he may be related to the Hoffmann family of musicians from Suhl (Thuringia), who were in turn related to several Bach family members by marriage. The godmother of Bach's daughter Maria Sophia, born in 1713, was the wife of Johann Christoph Hoffmann from Suhl, great-grandson of the old town piper of Suhl (
NBR
, no. 303, pp. 286f).

17.
Küster 1996, pp. 190f. Bach's appointment in 1703 may have been facilitated by the younger Drese's absence.

18.
Dimensions: height: 7 + 7.5 + 5m (ceiling); 4.75 + 3.5m (
Capelle
+ cupola). Jauernig 1950, p. 60; Schrammek 1988, p. 99. See also Chapter 12, footnote 24, regarding the “echo tower” effect of the
Capelle.

19.
Gottfried Albin Wette,
Historische Nachrichten von der berühmten Residenz-Statt Weimar
, vol. 1 (Weimar, 1737).

20.
In 1638, Compenius built the large instrument for Johann Bach at the Prediger Church in Erfurt. For details regarding the history of the Weimar palace organ, see Schrammek 1988.

21.
Schrammek 1988, pp. 103–5.

22.
Jauernig 1950, p. 73. J. Adlung (
Anleitung zu der musikalischen Gelahrtheit,
Erfurt, 1758, p. 425) reports that the carillon of the Weimar court organ extended through all keys of one manual.

23.
Jauernig 1950, p. 74.

24.
NBR
, no. 312c.

25.
The full contractual payment for the organ, however, did not occur until September 15, 1714.

26.
For a student list, see
NBR
, pp. 315–16; for J. B. and J. L. Bach, see BDII, nos. 82 and 277.

27.
Schulze,
Bach-Überlieferung
, pp. 158–59; on the de Graaf connection, pp. 156–58.

28.
Also works by Dieupart and other French masters; see Horn 1986.

29.
NBR
, no. 69.

30.
Chronology according to Wolff, Stinson 1996.