Johann Sebastian Bach (95 page)

65.
The feast of Visitation (July 2, 1750) cannot be totally excluded from consideration but is much less likely, especially in view of the greater time distance following Friedemann's performance.

66.
Wollny 1997, pp. 36–50.

67.
NBR
, no. 263; facsimile: BJ1988: p. 39.

68.
NBR
, no. 264; facsimile: BJ1988: p. 41.

69.
NBR
, no. 267.

70.
Cf. Wollny 1997, pp. 36–50, modifying the cut-off date of October 1749 proposed by Kobayashi 1988.

71.
NBR
, no. 306, p. 303.

72.
NBR
, no. 269a. Taylor published what was presumably a translation of his lectures given in Germany under the title
Tractat von Augenkrankheiten
(Frankfurt, 1751).

73.
NBR
, no. 269b.

74.
Krahnemann 1990, pp. 57f. I am indebted to Dr. Firmon Hardenbergh (Harvard University) for helping to interpret ophthalmological and pathological details.

75.
Probably written by Professor Samuel Theodor Quellmaltz;
BD
II, no. 601.

76.
Ibid.

77.
NBR
, no. 270.

78.
NBR
, no. 306, p. 303.

79.
For a more detailed discussion of this point, see Wolff,
Essays, Chapter 21.

80.
NBR
, no. 284.

81.
Johann Christoph Altnickol, Johann Nathanael Bammler, and Johann Gottfried Müthel are prime candidates.

82.
The manuscript of “Wenn wir in höchsten Nöten sein,” BWV 668, has not survived, but its version was published in 1751 as an appendix to
The Art of Fugue.

83.
Known in Bach scholarship as Anonymus Vr. His hand shows up first around 1742 in sources of
The Well-Tempered Clavier
II and later in manuscripts of BWV 195, 232, and 245. After Bach's death, he seems to have worked for C. P. E. Bach in Berlin. See Kobayashi 1988, pp. 29–31.

84.
The entry of BWV 668a in the manuscript (
P271
) is incomplete; the page containing the remainder of the chorale was removed at an early point.

85.
Including Bach's two boarding students, Johann Christian Kittel and Johann Gottfried Müthel. The absence of virtually any public reference to Bach's funeral indicates that neither city nor school, in line with precedents, were interested in mounting anything special. As this book was in page proofs, Reinhard Szeskus discovered at the Leipzig University Archives new documents on Bach's funeral and Anna Magdalena Bach's circumstances after her husband's death, to be published in
BJ
2000.

86.
See Schulze 1984, pp. 178–81, and Wollny 1997, pp. 49f.

87.
Paraphrase of the collect “Excita Domine corda nostra” for the second Sunday in Advent, probably by Martin Luther, first published in the so-called
Klugsche Gesangbuch
of 1533; Christoph Bach's motet follows the text version of Henrich Schutz's motet SWV 381 from
Geistliche Chor-Music
(1648).

88.
The oaken casket presumably containing Bach's remains (only 12 of 1,400 Leipzigers who died in 1750 were buried in oak caskets) was exhumed on October 22, 1894 (see His 1895). The remains were then reburied in a simple stone sarcophagus and placed in a tomb under the altar of St. John's. The church and the surrounding parts of the cemetery were destroyed in World War II, but the tomb remained intact. In 1950, the two-hundredth anniversary year of Bach's death, his sarcophagus was transferred to the chancel of the St. Thomas Church.

89.
NBR
, no. 272.

90.
NBR
, no. 273.

91.
NBR
, no. 274a.

92.
NBR
, no. 276, and BDII, no. 617; BDIII, no. 634. See also Schulze 1998a, p. 105.

93.
NBR
, nos. 277–288; also BDII, no. 628.

94.
NBR
, no. 279.

95.
BD
II, no. 628.

96.
BD
II, no. 503f.

97.
BD
III, no. 650.

98.
Spitta II, p. 762; Terry 1993, p. 237.

99.
C. P. E. Bach:
Letters, ed. Clark
, p. xxv.

100.
BD
II, no. 573.

101.
BD
II, no. 621.

102.
A more detailed analysis of transmission patterns is provided by Kobayashi 1989.

103.
The bulk of C. P. E. Bach's estate that remained at the Sing-Akademie, including the Old Bach Archive, had been missing since World War II but was rediscovered in Kyiv, Ukraine, by the present author in June 1999.

104.
See Wollny 1995.

105.
NBR
, p. 472.

106.
Fortunate circumstances contributed to this fact: virtually all of the Bachiana remained with C. P. E. Bach's family and were acquired, almost completely, by the collector Georg Poelchau before 1800.

107.
Major sources in his possession: autograph scores of BWV 541 and of part II of
The Well-Tempered Clavieras well as A. M. Bach's copy of part I of the WTC.

108.
About a fourth of the scores had earlier been sold to Johann Georg Nacke, cantor in Oelsnitz. See also Kobayashi 1989, p. 70.

109.
NBR
, no. 391.

110.
Kobayashi 1989, pp. 73f.

111.
For a comprehensive discussion of the Bach transmission in the eighteenth century, see Schulze 1984a.

112.
Some of these questions are pursued by Kobayashi 1989.

113.
NBR
, no. 306, p. 304.

114.
NBR
, no. 389b.

115.
NBR
, no. 385.

116.
Performances of BWV 8, 41, 94, 112, 125, and 133 can be ascertained; see
BzBF5
(1986): 83.

117.
Once again, C. P. E. Bach was among the applicants. While in 1750 Harrer was the candidate imposed on the city council by Count Brühl, in 1755 the city fathers may have been skeptical about considering a court musician for the school post. Doles had previously served as cantor at the gymnasium in Freiberg.

118.
NBR
, p. 488.

E
PILOGUE

1.
Bach personally distributed the pamphlet among his friends and acquaintances in January 1738; see
BD
II, no. 417, p. 313. Since Birnbaum's second essay of 1739 (responding to Scheibe's reply to the first defense) was published in two hundred copies at Bach's own expense (
BD
II, nos. 437–438), the same may also be true of the first essay.

2.
NBR
, no. 344. Unless noted otherwise, all subsequent Birnbaum quotes stem from this document.

3.
“Kleine Schulrede, worin man die von
GOTT
bestimmte Harmonie in der Musik beurtheilt,”
Musikalische Bibliothek
2.3 (1742): 63f.

4.
NBR
, no. 344, p. 347.

5.
Ibid., p. 345.

6.
Marpurg, preface to
The Art of Fugue
;
NBR
, no. 374.

7.
NBR
, no. 344, p. 344.

8.
Ibid., p. 342.

9.
NBR
, no. 306, p. 305.

10.
NBR
, no. 366.

11.
For a discussion of term and concept, see Schmidt 1985; see also Wolff,
Essays.

12.
C. P. E. Bach to Forkel, 1775;
NBR
, no. 395, p. 399.

13.
NBR
, no. 336.

14.
NBR
, no. 394, p. 397.

15.
NBR
, no. 395, pp. 398f.

16.
NBR
, no. 344, p. 345.

17.
BD
II, no. 441, p. 355.

18.
NBR
, no. 383.

19.
Jenaische Allgemeine Literaturzeitung,
282 (November 1805).

20.
NBR
, p. 479, slightly revised.

Music Examples

E
X
. 3.1. Toccata in D minor, BWV 565

E
X
. 3.2. Toccata in D minor, BWV 565

E
X
. 3.3. Toccata in D minor, BWV 565

E
X
. 3.4. Toccata in D minor, BWV 565

E
X
. 3.5. Toccata in D minor, BWV 565

E
X
. 3.6. Toccata in D minor, BWV 565

E
X
. 3.7. Toccata in D minor, BWV 565

E
X
. 4.1. Passacaglia in C minor, BWV 582

E
X
. 4.2a–b. Passacaglia in C minor, BWV 582

E
X
. 4.2c. Passacaglia in C minor, BWV 582

E
X
. 4.3. Cantata, “Nach dir, Herr, verlange ich,” BWV 150/4

E
X
. 4.4. Organ chorale, “Allein Gott in der Höh sei Ehr,” BWV 715

E
X
. 5.1. (a) Toccata, BWV 565; (b) Passacaglia, BWV 5