Johann Sebastian Bach (92 page)

28.
BDII, no. 156.

29.
According to the index in Johann Adolph Scheibe,
Critischer Musikus (Leipzig, 1745),
“ein elender Componist.”

30.
BD
II, no. 226; nos. 225–228 cover the pertinent squabble.

31.
NBR
, no. 135.

32.
NBR
, no. 136.

33.
Professor Jöcher, a philosopher, historian, and bibliographer, had in 1714 been a respondent to a medical dissertation on the effect of music on man.

34.
BD
II, no. 415; see also nos. 422, 424, and 424a; NBR, nos. 199–201.

35.
An instrument acquired in 1678–79 (Dähnert 1980, p. 184) and, like the organs in the Leipzig main churches, tuned to choir pitch, a whole tone above chamber pitch; the organ part of BWV 228 is therefore notated in A-flat major.

36.
The instrument cost more than 3,000 talers (the original organ contract with Scheibe of 1711 refers to a purchase price of 2,926 talers); for specifications, see
BD
I, p. 167, and Dähnert 1980, pp. 183–84. Gottfried Silbermann received the sum of 2,000 talers for the thirty-one-stop organ at St. Sophia's in Dresden, completed in 1720.

37.
BDI
, pp. 166f.

38.
Unlike the old small choir organ, the new Scheibe organ was tuned to chamber pitch.

39.
The organ fugue BWV 537/2 makes use of a not fully evolved da capo form, whereas the lute fugue BWV 998/2 from the mid-1730s picks up the strict da capo principle from BWV 548/2.

40.
NBR
, no. 118.

41.
All other hypothetical “original” solo instruments heretofore proposed for this work present serious problems; if the finale movement, for example, is played by a transverse flute or oboe, there is hardly a spot for taking a breath.

42.
Like the Scheibe organ at St. Paul's, the Silbermann organ at St. Sophia's was tuned to chamber pitch.

43.
The scholarly careers and publications of the academics are described in Jöcher 1750–51.

44.
Schering 1941, p. 101.

45.
NBR
, no. 328.

46.
Dichtung und Wahrheit
(1811), book VI.

47.
See Lloyd Espenschied, “The Electrical Flare of the 1740s,”
Electrical Engineering 74
(1955): 392–97, and Cohen 1990, pp. 64, 113.

48.
See note 46.

49.
Referred to above; see Söhnel 1983, p. 16.

50.
BD
II, no. 162.

51.
Ibid.; Petzoldt 1985.

52.
See
BD
II, nos. 405a, 418, 426, 577.

53.
BD
II, no. 249; see also no. 483.

54.
Stiller 1976.

55.
BD
II, no. 309. The Partita in C minor, BWV 826, in this collection contains a capriccio.

56.
The canonic voice responds at half speed;
NBR
, no. 220.

57.
Neumann 1970.

58.
BD
II, no. 505.

59.
According to 1756 statistics, five in the Faculty of Theology, fourteen in Law, eight in Medicine, and seventeen in Philosophy; see Müller 1990, p. 60.

60.
Numbers vary greatly. The 1723–50 matriculations: maximum, 338 (winter 1727) and 165 (summer 1727); minimum, 215 (winter 1749) and 65 (summer 1734); see Schulze 1802, pp. 70–71.

61.
Rent from seats, pews, and boxes (built-in and often heatable, called “chapels”) were the churches' major source of income.

62.
The numerous published sermons by Deyling provide welcome insight into the learned exegetical and hermeneutical approach and polished pulpit rhetoric. The collection of essays in Petzoldt 1985 deal with sermon styles and interpretive traditions in Bach's time.

63.
It must be noted that the population nearer the bottom of the social scale attended services at the churches with “free” seating and with no musical program, such as St. Peter's in Leipzig.

64.
NBR
, no. 151.

65.
Bach referred to it as privat information; see
NBR
, no. 231.

66.
See the list in
NBR, pp. 316–17.

67.
NBR
, no. 148.

68.
NBR
, no. 252.

69.
NBR
, no. 395.

70.
See
NBA/KBIII
/2.1 (Frieder Rempp, 1991), pp. 21ff.

71.
See BC I/4, pp. 1271ff.

72.
NBR
, no. 378.

73.
See Chapter 8, p. 263.

74.
NBR
, no. 315.

75.
See Dürr 1978.

76.
The “canon” of six
English
and six
French Suites
was established only after 1724.

77.
Begun November 21, 1725.

78.
Published in Spitta II, appendix, pp. 1–11.

79.
Abhandlung vom harmonischen Dreiklang
(unpublished treatise, announced in 1758 in Leipzig newspapers); manuscript (begun c. 1754) lost.

80.
NBR
, no. 168.

81.
NBR
, no. 306, p. 302.

82.
“Good store [
apparat
] of the choicest church compositions” (
NBR, no. 32); “artfully
composed things [
Sachen
]” (J. S. Bach,
Precepts and Principles, ed. Poulin, p. 66).

83.
Listed 1697 in a
Catalogus Librorum Musicorum Scholae Thomanae by Johann Schelle,
with a 1702, supplement by Johann Kuhnau. A substantial addition had occurred in 1712, when on Kuhnau's recommendation the musical estate (375 items) of cantor Johann Schelle was purchased for 40 talers, with funds from the city. For a historical inventory, see Schering 1919.

84.
In 1729 and later, however, Bach used municipal funds to acquire new editions of Erhard Bodenschatz's classic motet collection,
Florilegium Portense
(1618), for regular use at St. Nicholas's and St. Thomas's; see
BD
II, nos. 271–272.

85.
Küster 1991.

86.
A reconstruction has been attempted by Beißwenger 1992; see also Wolff 1968.

87.
As in the case of Lotti's
Missa sapientiae
, which Bach seems to have obtained from him; see Beißwenger 1992, p. 304.

88.
Wolff 1968, p. 227.

89.
NBR
, no. 279.

90.
The only extant hymnal from Bach's library (University of Glasgow); see BC I/4, p. 1273.

91.
NBR
, no. 228.

92.
The
Großes vollständiges Universal Lexicon aller Wissenschafften und Künste,
the largest and most influential eighteenth-century German scholarly reference work (Leipzig, 1732–52), appeared almost twenty years earlier than the great French
Encyclopédie,
begun in 1751.

93.
Volume 22 (Leipzig, 1739), col. 1388, article “Musik.”

94.
NBR
, no. 306, p. 305.

95.
Cf. the canons BWV 1073–1078;
NBR
, nos. 45, 133, 166, 242, 251, 259.

96.
NBR
, no. 259.

97.
Athanasius Kircher,
Musurgia universalis
(German edition) (Schwäbisch Hall, 1662), p. 364.

98.
“Avertissement” of
The Art of Fugue
, May 1751;
NBR
, no. 281.

99.
Analogous to
scientia possibilium
, the science of the possible, as propagated by Christian Wolff; see H. Seidl, “Möglichkeit,”
Historisches Wörterbuch der Philosophie,
ed. Joachim Ritter and Karlfried Gründer, vol. 6 (Basel, 1984), col. 86.

100.
Johann Abraham Birnbaum on Bach, 1739;
BD
II, no. 441, p. 353.

101.
Westfall 1995, p. 357.

102.
Jacob and Wilhelm Grimm,
Deutsches Wörterbuch, vol. 1 (Leipzig, 1854), article “An
dacht, andächtig (attentus, intentus, pius, devotus),” cols. 302–3.

C
HAPTER
10

1.
The actual birthday was February 23, but Bach, like other musicians, was provided lodging “for several days,” suggesting lavish festivities. Guest musicians included Anna Magdalena Bach; her sister and sister's husband, the Zeitz court trumpeter Johann Andreas Krebs; Carl Gotthelf Gerlach as alto singer; and three others (see
BD
II, no. 254).

2.
Bach's biography (completed before August 1729) in Walther
Lexicon, p. 64, contains
the first reference to the new title. On January 18, 1729, Bach still used his Cöthen title (
BJ1994: 15), indicating that he did not receive the appointment in conjunc
tion with the duke's January visit in Leipzig.

3.
In the 1720s, the court capelle under the direction of Johann Gotthilf Krieger employed thirty musicians, among them Anna Magdalena Bach's father, Johann Caspar Wilcke.

4.
BD
II, no. 278.

5.
Spitta II, p. 256.

6.
NBR
, no. 152.

7.
NBR
, no. 121.

8.
Franz Keßler, “Freißlich,”
MGG
16: cols. 355–358.

9.
NBR
, no. 151, p. 150.

10.
Minutes of the meeting in
NBR
, no. 150.

11.
BD
II, no. 282.

12.
Spitta II, p. 242.

13.
Gesner wrote a new set of school regulations,
Gesetze der Schule zu St. Thomae (Leipzig,
1733), which contained a separate section on music and illuminates his interest in musical education and practice;
Thomana Ordnungen, pp. 22–23.

14.
BDII, no. 291; Braun 1995, p. 58.

15.
NBR,
no. 328. As for the hypothetical postulation of different and much smaller numbers, see my brief comments in
Early Music, 26 (1998): 540 and 27 (1999): 172.

16.
NBR, no. 151, p. 147.

17.
Leipzig town musicians received an annual salary of 42 florins and free housing, adding up to about 50 talers; see Richter 1907, p. 36.

18.
NBR, no. 151, p. 150.

19.
Johann Friedrich Köhler, after 1776;
BD
III, p. 315.

20.
BD
II, no. 355.

21.
NBR
, no. 183.

22.
According to the school regulations, the cantor was regularly assisted by three prefects from the Sunday after Easter through the first Sunday in Advent and by four prefects during the busy season from Christmas through Easter.

23.
NBR
, nos. 181–186, 192–196; for an analysis of the affair pertaining to the school regulations, see
Thomana Ordnungen, Nachwort
(Schulze), pp. 2–3.

24.
Johann August Abraham (baptized November 5, 1733) and Johann Christian (baptized September 7, 1735).

25.
NBR
, no. 196.

26.
NBR
, no. 180.

27.
NBR
, no. 130.

28.
In Johann Mattheson,
Grosse General-Baß-Schule
(Hamburg, 1731), p. 173.

29.
Glöckner,
WBK
3: 106f.

30.
Ibid., p. 111.

31.
NBR
, no. 186, p. 184.

32.
NBR
, no. 132.

33.
NBR
, no. 315.

34.
Connections with the Collegium predated Bach's Leipzig years. In Cöthen, Bach performed with Gottfried Riemschneider (member of the Collegium under Hoffmann) and with Johann Gottfried Vogler, director of the Collegium, 1716–18. Moreover, it is conceivable that Bach performed at Collegium concerts during visits to Leipzig from Cöthen.

35.
NBR
, no. 187.

36.
NBR
, no. 207.

37.
Neumann 1960, pp. 6f.

38.
In 1737–39, Bach was involved with
Clavier-Übung
III, the Eighteen Chorales, The Well-Tempered Clavier II, and other projects, apart from his regular Sunday and feast day performance schedule.