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ENDNOTES The lecture was originally followed by a performance of Bach's B Minor Mass, given by the Yale Camerata and conducted by Marguerite Brooks. This published version of the talk maintains the lecture's introductory character. 1. A short survey on Nägeli and his commitment to Bach's music is given by Karen Lehmann: "Nägeli, Hans Georg," in Das Bach-Lexikon: Bach-Handbuch 6, ed. Michael Heinemann (Laaber: Laaber-Verlag, 2000), 382-83. 2. George B. Stauffer, Bach: The Mass in B Minor: The Great Catholic Mass (New Haven: Yale University Press: 2003), IX. 3. See Walter Blankenburg, Einführung in Bachs h-moll-Messe, 5th ed. (Kassel: Bärenreiter, 1996), 16-18. 4. Samuel J. Rogal, "For the Love of Bach: The Charles Burney-Samuel Wesley Correspondence." Bach 23 (1992): 31-37; and Michael Kassler, Philip Olleson, Samuel Wesley (1766-1837): A Source Book (Aldershot: Ashgate, 2001). 5. See Stauffer, Bach, 190. 6. See Klaus Engler, Georg Poelchau und seine Musikaliensammlung: Ein Beitrag zur Überlieferung Bachschen Musik in der ersten Hälfte des 19. Jahrhunderts. Ph.D. diss., University of Tübingen, 1974. 7. See Stauffer, Bach, 190. 8. Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: Norton, 2000), 471. 9. This is true, for example, of an edition of Bach's smaller Masses in A major (BWV 234) from 1818 and G Major (BWV 236) from 1828, both edited by Poelchau; they were not intended as enrichments of the repertoire of liturgical music but as compositional models. 10. See Karen Lehmann, Die Anfänge einer Bach-Gesamtausgabe: Editionen der Klavierwerke durch Hoffmeister und Kühnel (Bureau de Musique) und C.F. Peters in Leipzig 1801-1865: Ein Beitrag zur Wirkungsgeschichte J.S. Bachs. Leipziger Beiträge zur Bach-Forschung 6 (Hildesheim: Olms, 2004), passim, and Markus Rathey, "Bach-Renaissance, Protestantismus und nationale Identität im deutschen Bürgertum des 19. Jahrhunderts," in Protestantische Identität und Erinnerung: Von der Reformation bis zur Bürgerrechtsbewegung in der DDR. Formen der Erinnerung 16, ed. Joachim Eibach and Marcus Sandl (Göttingen: Vandenhoeck & Ruprecht, 2003), 177-90. 11. See Martin Geck, Die Wiederentdeckung der Matthäuspassion im 19. Jahrhundert: Die zeitgenössischen Dokumente und ihre ideengeschichtliche Deutung. Studien zur Musikgeschichte des 19. Jahrhunderts 9 (Regensburg: Bosse, 1967). 12. The piece was performed by Karl Riedel and the Riedel-Verein, Leipzig; see Gerhard Herz, "The Performance History of Bach's B minor Mass." Studies in Musicology 73 (1985): 202. 13. In a letter of 1730 to his friend Georg Erdmann, who was at this time Imperial Russian Residence agent in Danzig, Bach complained about his situation in Leipzig, and asked if he could find him a decent position. The whole text is published in The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, ed. Hans T. David and Arthur Mendel, revised and enlarged by Christoph Wolff (New York: Norton, 1998), 151-52. 14. The New Bach Reader, 158. 15. Wolff, Johann Sebastian Bach: The Learned Musician, 371. 16. The Court Society, trans. Edmund Jephcott (New York: Pantheon Books, 1983), 41-45. 17. See Blankenburg, Einführung (note 3), 59. 18. Rolf Dammann, Der Musikbegriff im deutschen Barock, 2d ed. (Laaber: Laaber-Verlag, 1984), 80-86. 19. See Nors S. Josephson. "Formale Symmetrie und freizyklische Gesamtstruktur in einigen Vokalkompositionen Johann Sebastian Bachs." Jahrbuch des Staatlichen Instituts für Musikforschung 2000: 150-74; and Werner Breig. "Bemerkungen zur zyklischen Symmetrie in Bachs Leipziger Kirchenmusik." Musik und Kirche 53 (1983): 173-79. 20. See Christoph Wolff, Der stile antico in der Musik Johann Sebastian Bachs: Studien zu Bachs Spätwerk. Archiv für Musikwissenschaft, Beihefte 6. (Wiesbaden: Steiner, 1968). 21. Wolfgang Horn. Die Dresdner Hofkirchenmusik 1720-1745: Studien zu ihren Voraussetzungen und ihrem Repertoire (Kassel/Basel: Bärenreiter; Stuttgart: Carus, 1987), 97-99, 150-53. 22. Christoph Wolff has pointed out this similarity in his article "Origins of the Kyrie in the B Minor Mass," in Bach: Essays on his Life and Music (Cambridge: Harvard University Press, 1991), 141-51. 23. Kirsten Beisswenger, Johann Sebastian Bachs Notenbibliothek. Catalogus Musicus 13 (Kassel: Bärenreiter, 1992), 322-23, and "Bachs Eingriffe in Werke fremder Komponisten. Beobachtungen an den Notenhandschriften aus seiner Bibliothek unter besonderer Berücksichtigung der lateinischen Kirchenmusik." Bach Jahrbuch 77 (1991): 127-58. 24. On Bach's knowledge of the opera see Wolfgang Osthoff. "Bach und die Oper," in Festschrift Heinz Becker zum 60. Geburtstag, ed. Jürgen Schläder and Reinhold Quandt (Laaber: Laaber-Verlag, 1982), 38-55; and Georg von Dadelsen. "Wenn Bach Opern geschrieben hätte," in Johann Sebastian Bachs Spätwerk und dessen Umfeld (Kassel: Bärenreiter, 1988), 177-83. 25. Stauffer, Bach (note 2), 57. 26. Regarding Bach's use of duets in his sacred music see the overview by Mary J. Greer, The Sacred Duets and Terzets of Johann Sebastian Bach: A Study of Genre and Musical Text Interpretation. Ph.D. diss., Harvard University, 1996. 27. See the description of the piece in Greer, 298-302. 28. John Butt, Bach: Mass in B Minor (Cambridge: Cambridge University Press, 1991), 60-69. A more critical position on Bach's use of concerto-form in his vocal music was recently taken by Miriam K. Whaples in "Bach's Recapitulation Forms." Journal of Musicology 14 (1996): 475-513. 29. See Robert L. Marshall, "Bach the Progressive: Observations on His Later Works." Musical Quarterly 62 (1976): 341; and Stauffer, Bach, 72. 30. Quoted by Charles Burney in A General History of Music from the Earliest Ages to the Present (London 1776-1789; reprint, ed. Frank Mercer, New York: Harcourt, Brace, 1935). 2:736-37. 31. See Alfred Dürr. Die Kantaten von Johann Sebastian Bach, 6th ed. (Kassel: Bärenreiter, 1995), 808-11. 32. Regarding Bach's parody-technique see Hans-Joachim Schulze. "The Parody Process in Bach's Music: An Old Problem Reconsidered." Bach 20 (1989): 7-21. 33. Only the text of this cantata has come down to us, but Klaus Häfner has convincingly argued that the common structure of the texts of the Domine Deus and the duet Ich will/Du sollst rühmen points to a relationship between these two pieces. See Häfner, "Über die Herkunft von zwei Sätzen der h-moll-Messe." Bach-Jahrbuch 63 (1977): 56-64. 34. Martin Luther. "Heidelberg Disputation (1518)," in Martin Luther: Basic Theological Writings, ed. Timothy F. Lull (Minneapolis: Fortress Press, 1989), 43-44; see Jos E. Vercreysse, "Luther's Theology of the Cross at the time of the Heidelberg Disputation." Gregorianum 57 (1976): 523-48. 35. See Elke Axmacher, Johann Arndt und Paul Gerhardt: Studien zur Theologie, Frömmigkeit und geistlichen Dichtung des 17. Jahrhunderts. Mainzer hymnologische Studien 3 (Tübingen/Basel: Francke, 2001), 217-20. 36. "Der Apostel Paulus vermahnet seinen Thimotheum / dass er stets solle im Gedächtniss tragen Jesum / den Gecreutzigten. [...] Daran erkennen wir seine Liebe / dass er sein Leben hat für uns gelassen / uns zwar / da wir seine Feinde waren. So ists je billich / dass wir Liebe mit Liebe vergelten. Das ist aber der Liebe Art / dass sie das Geliebte stets trage im Gedächtniss. Wie sie gehet und stehet / da erbildet sich das Geliebte in ihren Gedancken. Die wir den HErrn Jesum lieben / sollen ihn auch stets im Gedächtniss tragen. Der gecreutzigte Jesus ist der einzige wahre Trost unserer Seelen" [translated by MR]. Heinrich Müller, "Der Leidende Jesus / Oder Das Leiden unsers Herrn und Heylandes Jesu Christi," in Evangelischer Hertzens=Spiegel / Jn Offentlicher Kirchen=Versammlung / bey Erklärung der Sonntäglichen und Fest=Evangelien / Nebst beygefügten Passions=Predigten (Frankfurt: Wust, 1679), 981, quoted by Renate Steiger, "Vom Sieg Singen - den Frieden austeilen. Die Kantate 'Halt im Gedächtnis Jesum Christ' BWV 67 auf den Sonntag nach Ostern." in Gnadengegenwart. Johann Sebastian Bach im Kontext lutherischer Orthodoxie und Frömmigkeit. Doctrina et Pietas II/2 (Stuttgart-Bad Cannstatt: Frommann-Holzboog, 2001), 6. 37. See Stauffer, Bach (note 3), 82-83 regarding the changes Bach made. 38. See Stauffer, Bach, 85. 39. Philipp Spitta. Johann Sebastian Bach: His Music and Influence on the Music of Germany, 1685-1750, trans. Clara Bell and J. A. Fuller-Maitland (London: Novello, 1889; reprint, New York: Dover, 1979), 3:50. 40. Martin Luther, "The Small Catechism," in Basic Theological Writings, 480. 41. Regarding putative performances in Leipzig or Dresden see Stauffer, Bach, 34-37. 42. Peter Wollny, "Ein Quellenfund zur Entstehung der h-Moll-Messe." Bach-Jahrbuch 80 (1994): 163-69. 43. It is possible that the cantata was composed in the following years; see Dürr, Die Kantaten (note 31), 188. 44. See Blankenburg, Einführung, 85-87; and Stauffer, Bach, 131-35. 45. Eduard van Hengel and Kees van Houten have recently contradicted this assumption and proposed that the Et incarnatus was not added but was already a part of Bach's original version: "'Et incarnatus': An Afterthought? Against the 'Revisionist' View of Bach's B-Minor-Mass." Journal of Musicological Research 23 (2004): 81-112. 46. Christoph Wolff, "The Agnus Dei of the B Minor Mass: Parody and New Composition Reconciled," in Bach. Essays on his Life and Music (Cambridge: Harvard University Press, 1991), 332-39. Markus Rathey is Assistant Professor of Music History at the Institute of Sacred Music, the Yale School of Music, and the Divinity School. Before he joined the Yale Faculty in 2003 he was a research fellow at the Bach Archive in Leipzig. Professor Rathey has published extensively on Johann Sebastian Bach and European music of the 17th and 18th centuries. His research focuses especially on the relationship between music, theology, and intellectual history in the 18th century. |
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