Johann Sebastian Bach (93 page)

39.
NBR
, no. 346.

40.
BD
II, no. 457.

41.
Rudolf Eller, “Leipzig,”
MGG
8: col. 555. The Grand Concerts were the immediate forerunner of the Gewandhaus concerts that began in 1781.

42.
After 1743, the Grand Concerts presented Passion oratorios regularly during Lent; the Riemer chronicle mentions, for example, the performance on March 31, 1749, of a “passionalisches Oratorium” for an audience of more than three hundred (Wustmann 1889, p. 430). It seems likely that Bach's performances of works that did not meet the liturgical requirements for the Leipzig main churches, such as Handel's
Brockes Passion
(1746–47), a Keiser-Handel Passion pasticcio (1747–49), a Passion oratorio by Graun (~1750), and a Graun-Telemann-Bach-Kuhnau-Altnickol Passion pasticcio (before 1750), were presented at the Grand Concerts. See Glöckner 1977, p. 107.

43.
NBR
, no. 197.

44.
Glöckner 1990, pp. 89f.

45.
See Ranft, BzBf 6: 10. Bach lent Büchner the parts of a solo cantata (probably BWV82);
NBR
, no. 219.

46.
Glöckner 1981, pp. 68ff.

47.
BD
II, no. 425.

48.
After Carl Gotthelf Gerlach's death in 1761, the Leipzig printer Gottlob Immanuel Breitkopf acquired his extensive music library, which formed the early nucleus of Breitkopf's music business. Since Gerlach seems to have functioned for a long time as the Collegium's librarian, the Breitkopf music catalogues published from 1762 may give a reasonable overview not only of what was available in Leipzig by that time (even though the Gerlach provenance is not always clear) but also what was likely to be performed at the Collegium series from the 1720s on.

49.
See BC G 46.

50.
See Wolff,
Essays, Chapter 17.

51.
NBR, nos. 172 and 201.

52.
See BC I/4, pp. 1487–1500.

53.
NBR
, no. 173.

54.
Ibid.

55.
A sole example of an outdoor processional piece by Bach has survived in the
Marche
of cantata BWV 207.

56.
BD
II, no. 352, p. 251.

57.
NBR
, p. 461.

58.
Dreyfus 1987, p. 60. Ulrich Leisinger (private communication) suggests a performance of
Jahrgang
II, 1732–33, up to the state mourning period (February 15), and the composition of new chorale cantatas for 1734–35.

59.
Princess Maria Amalia, born in 1724, stood out as a particularly accomplished performer on the keyboard.

60.
Fürstenau 1862, pp. 180f.

61. Single Sanctus settings (from 1720s) appended, for completion of Latin repertoire:

62.
NBR
, no. 307.

63.
Horn 1987, p. 121.

64.
Aside from the Magnificat, his Latin pieces consisted solely of individual Sanctus settings he needed in 1723–24 for the main services on high feast days in Leipzig. For the concerted Kyrie and Gloria likewise required for Leipzig (Table 8.3), he usually turned to works by other composers. For the Leipzig repertoire of the 1720s (which included works by Johann Christoph Pez and Johann Hugo von Wilderer), see Wolff 1968, pp. 159–72, and Beißwenger 1992.

65.
The more private but also suspended Collegium concert series was permitted to start earlier, on July 17, 1733;
NBR
, no. 160.

66.
See the report in the Riemer chronicle, Wustmann 1889, 2:286–89.

67.
Facsimile edition, with a commentary by Hans-Joachim Schulze (Leipzig, 1983).

68.
NBR
, no. 161, with facsimile of the title wrapper.

69.
Facsimile,
BJ
1994: 11. In exact juxtaposition, the two dedications read:

For similar dedications, see
BD
II, nos. 221, 402.

70.
St. Sophia's was the church generally frequented by the Lutheran court officials. In 1737, the Lutheran court service was officially moved there after the old palace church had been converted into apartments.

71.
The coronation as king of Poland would take place on January 17, 1734.

72.
NBR
, no. 162.

73.
BDI
, p. 75.

74.
BDI
, no. 36.

75.
NBR
, no. 190.

76.
NBR
, no. 191.

77.
It is also possible that BWV 906 was added to the library at a later point. See commentary by Hans-Joachim Schulze, facsimile edition of BWV 906 (Leipzig, 1984).

78.
Ibid., pp. 6f.

79.
Handel's Organ Concertos Op. 4 (1738) and Op. 7 (1761), originally performed by the composer during oratorio intermissions, reflect a similar idea but don't develop a comparable kind of concerto structure and texture.

80.
See Stauffer 1996, p. 1.

81.
NBR
, no. 179.

82.
For the printing history and other details, see the commentary to the facsimile edition of the entire
Clavier-Übung,
ed. Christoph Wolff (Leipzig, 1984).

83.
BD
II, no. 224.

84.
NBR
, no. 343.

85.
NBR
, no. 331.

86.
The revision of the Eighteen Chorales, largely during the years 1739–42, may have been prompted by
Clavier-Übung
III.

87.
Dorian: “Wir glauben all an einen Gott” “Christ unser Herr zum Jordan kam” “Vater unser im Himmelreich” “Jesus Christus, unser Heiland.” Phrygian: “Kyrie, Gott Vater” (three strophes); “Aus tiefer Not.” Mixolydian: “Dies sind die heilgen zehn Gebot.” In his discussion of
Clavier-Übung
III, Johann Philipp Kirnberger stressed in 1771 that “the most delicate of modern composers, J. S. Bach, considered it necessary to know the method of composing in the old church modes” (
BD
III, no. 767, p. 221).

88.
NBR
, no. 333.

89.
NBR
, no. 342.

90.
NBR
, pp. 464–65.

91.
See Wolff 1996a, pp. 119–21.

92.
NBR
, no. 306, p. 305.

93.
Corroborated by known figures from the
Musical Offering
of 1747 (front matter, two hundred copies; first print run of engraved music, one hundred copies); see
NBR
, nos. 246, 257.

94.
See
NBR
, no. 385.

95.
NBR
, pp. 474–76.

96.
The “Confiteor” setting was written in the late 1740s.

97.
NBR
, no. 395, p. 399.

98.
The high proportion of gallic acidity in Bach's ink is primarily responsible for the phenomenon of ink bleeding through the page; this is gradually destroying the paper on which his compositions are written.

99.
NBR
, no. 394, p. 396.

100.
A one-time contender for the Heinichen succession in Dresden; see Walther,
Lexicon,
p. 488.

101.
NBR
, no. 394, p. 397.

102.
Yet another arrangement from 1736–37 transcribes the work for lute, as the opening movement of the Suite in E major, BWV 1006a.

103.
BDII, no. 436.

104.
NBR
, no. 344, p. 343.

C
HAPTER
11

1.
BD
IV, p. 160.

2.
The portrait survives in two authentic versions. The earlier one, painted in 1746 and now at the Stadtgeschichtliches Museum in Leipzig (formerly at the St. Thomas School), suffered serious damage over the years and bears several layers of problematic restorations. The replica of 1748, which is very well preserved, is owned by William H. Scheide (of Princeton, New Jersey), who has kindly permitted me to reproduce it as a frontispiece for this book.

3.
1726–27;
BD
IV, p. 234.

4.
MGG
, vol. 11 (1963), plate 81.

5.
BDI
, p. 118.

6.
See Odrich-Wollny 1999, no. 58.

7.
Johann Elias Bach's predecessor as tutor for the Bach children, Bernhard Dietrich Ludewig, left Leipzig in October 1737; he had studied theology at Leipzig University from 1731. In a testimonial of October 10, 1737, Bach mentioned “the diligent instruction he has given my children and the assistance he has lent to both church and other music, vocally as well as instrumentally” (
NBR
, no. 198). Ludewig may also have acted as private secretary.

8.
NBR
, no. 152.

9.
NBR
, no. 121.

10.
On October 22, he replied via Catterfeldt (“den 22 8br. per Catterfeldt beantwortet”); see facsimile,
BJ
1985: 84.

11.
NBR
, no. 210.

12.
NBR
, no. 223.

13.
NBR
, no. 224.

14.
See facsimile edition (with afterword) of the 1725 album, ed. Georg von Dadelsen (Kassel, 1989).

15.
NBR
, no. 217.

16.
NBR
, no. 218.

17.
NBR
, no. 258.

18.
Joint guest performance of Anna Magdalena and Johann Sebastian Bach in Cöthen, December 1725;
NBR
, no. 117.

19.
List of Anna Magdalena Bach's copies in Dadelsen 1957, pp. 34–37.

20.
She was a close friend of Christina Sybilla Bose, ten years her junior, who died in 1749. See Schulze 1997.

21.
In 1731, Anna Magdalena traveled with her husband to Kassel, where he examined the organ at St. Martin's, an unlikely occasion for her to perform.

22.
NBR
, no. 152.

23.
On the friendship between the two women, see Schulze 1997.

24.
BD
I, no. 184, p. 267;
NBR
, no. 303, p. 293.

25.
BD
II, no. 443.

26.
See facsimile edition (note 14 above), pp. 68–69, and afterword, p. 13.

27.
NBR
, nos. 175–176.

28.
BD
II, no. 365.

29.
NBR
, no. 188.

30.
NBR
, no. 203.

31.
BD
I, p. 109.

32.
NBR
, no. 305.

33.
Johann Pachelbel's daughter Amalia (1688–1723) is a notable exception in an early eighteenth-century musical family. She became a successful and well-known painter and draughtswoman in Nuremberg. See Ulrich Thieme and Felix Becker, eds.
Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart
, vol. 25. Leipzig, 1932, p. 120.

34.
Facsimile edition (New York, 1979); see also Chapter 2.

35.
BDI
, nos. 25–26.

36.
See the commentary (by H.-J. Schulze) to the facsimile edition of the autograph fair copy of BWV 541 (Leipzig, 1996), p. 5.

37.
Reference in C. P. E. Bach's autobiographical sketch (1773), facsimile ed., ed. William S. Newman (Hilversum, 1967).

38.
NBR
, no. 267. C. P. E. Bach dedicated his Trios, Wq 161 (1751), to Count Wilhelm.