Chapter XIV

Bach as “Familien-Vater”--As a choirmaster--His eagerness to
learn all that was new and of value in music--He finds time to
conduct public concerts--His self-criticism--Bach was never a
poor man--His reputation was gained by his playing rather than
compositions--Portraits--Public monuments.

[Sidenote: _Bach as Familien-Vater_]

One often hears in Germany the expressions “Familien-Vater,” “Haus-Vater,” applied as terms of special commendation to public men, in the sense that their private life is of estimable character, that they do their duty well by their families instead of spending their whole energy in accumulating money or fame. To no artist could these terms be more fittingly applied than to the subject of this memoir. We have seen that he was unremitting in his efforts to give his sons and pupils the best possible education, and helped them forward in every way he could when they entered their professions, and how he secretly obtained a post for his son-in-law, Johann Christoph Altnikol, as a kind of wedding-present. Forkel says he was a “_vorzüglich guter_ (particularly excellent) _Haus-Vater, Freund_ (Friend) _und Staatsbürger_ (Citizen). His company was pleasant to everyone, whether a stranger or an intimate, and anyone visiting him was sure of a courteous reception, so that his house was seldom without guests.”

[Sidenote: _Choice of Sponsors_]

An interesting feature in his private life is his choice of persons to act as god-parents to his children. They were seldom his own relations, but persons of distinction, who might be able to help the children on in their subsequent career. Among them were Bach’s great friend, Prince Leopold of Cöthen, his brother Prince August Ludwig, his sister Princess Elenore, Privy Councillor Von Zanthier, Dr Gilmar, one of the chief men in the church at Mühlhausen; Gesner, rector of the Thomas School. Though far from seeking wealth, Bach was sufficiently a man of the world to see the value of ensuring a respectable position both for himself and his sons by any legitimate means in his power.

[Sidenote: _Bach as choirmaster_]

As a choirmaster Bach seems to have been a failure. He was far too irritable to be able to control boys, and the task was evidently extremely distasteful to him. Though he was sympathetic in the extreme with those who were in earnest in matters of art, it is very clear that he had not the tact and patience required for elementary teaching. One can well imagine how the stupidity and incompetence of many of the boys who came under him must have galled his ardent nature; and he was quite unfit to be a schoolmaster. Yet it is evident that he gained the confidence of some boys from the fact of his having trained them to assist him in the orchestra.

Of his own boyhood at Lüneburg a remarkable story is told to the effect that when his voice broke he for some days spoke and sang in octaves. It is of course quite conceivable on acoustical grounds that the first harmonic may have been prominent enough to be heard with the fundamental note; and that he, being a musician, observed a phenomenon which would escape an ordinary boy.

[Sidenote: _Bach’s eagerness to know all that was new_]

Throughout his life he was ever eager to become acquainted with everything new that was of any value. New organs, new compositions, newly-invented instruments, were all a source of interest to him. Thus, directly Silbermann of Freiburg had made a few of his “fortepianos” in imitation of the new invention of Cristofori, Bach was eager to try them. But the hammerlike blow required was quite foreign to Bach’s method of playing, in which the fingers were always kept as close as possible to the keys; and though he praised the tone, he rather freely condemned the touch. Silbermann was exceedingly angry and would not have anything to do with Bach for a long time; but he, nevertheless, set to work to improve the touch, and after some fifteen years of patient labour succeeded in producing the satisfactory instruments which Bach played on at Potsdam shortly before his death. Hilgenfeldt considers that the general use of the pianoforte took its origin from these perfected instruments.

[Sidenote: _Public concerts_]

In the midst of all his occupations Bach found time to conduct public concerts, of which Hilgenfeldt quotes the following advertisement:

“NOTICE OF THE MUSICAL CONCERTS AT LEIPSIC.”

“The two public musical concerts or assemblies, which are held here
every week, are still flourishing. One is directed by Herr John
Sebastian Bach, Capellmeister to the Grand-duke of Weissenfels,
Music director of the Churches of St Thomas and St Nicholas; and it
takes place in the Coffee-house of Zimmermann, in Catherine Street,
every Friday evening from 8 to 10 o’clock; but during the Fair
twice a week, namely, Tuesdays and Fridays. The members of these
musical concerts consist for the most part of students, and there
are always good musicians among them, so that often, as is known,
some of them become in time celebrated performers. Every musician
is allowed to perform publicly in these musical concerts, and there
are usually some among the audience who are able to judge the value
of a competent musician.”

[Sidenote: _Self-criticism_]

Bach was a severe critic of his own works. Hilgenfeldt tells us that many of those which did not come up to his ideal of what they should be were cast aside by him, and that such of his youthful works as he considered worth keeping were constantly improved by him and brought to a higher standard. Thus, the first movement of the third organ sonata, which originally belonged to the _Wohltemperirte Clavier_, was altered to the extent of having large portions cut out, and others essentially changed and improved, so that phrases of small significance obtained an importance of which no signs appeared in the earlier composition.

[Sidenote: _Teaching_]

He reserved his teaching for those who could really profit by it, and if he found that a pupil had not sufficient talent, he would, with every kindly courtesy, recommend him not to seek his living by music. The result was that a strong feeling for the dignity and value of art was spread by his pupils, who for the most part attained to important positions in their profession. One of his pupils, Doles, whose name had a place of honour in the old Gewandhaus at Leipsic, was Cantor of St Thomas for thirty-four years (after the death of Harrer), and was held in great esteem as a teacher and composer.

[Sidenote: _A good standing always maintained_]

Though at no time rich, Bach was never a poor man. The various payments in kind, such as rent-free dwelling, garden produce, etc., were almost sufficient to support him, and to make his salary available for self-improvement, for journeys, and for the education of his children. And that he was able to collect more than eighty theological works, at a time when books were an expensive luxury, and that he could give no less than three clavichords with pedals at once to his son, Joh. Christian, shows that his position was one of comfort.

[Sidenote: _Recognition on his death_]

Though the Council and the _Leipsic Chronicle_ took little notice of his death, it appears that the Society founded by Mizler caused a funeral ode by the then rector, Dr Ventzky, to be set to music and performed; and he seems to have been much mourned outside Leipsic, as the chief support of serious German music.

Not as a composer, but as a performer, however, was he mourned. It was reserved for later generations to fully appreciate what Hilgenfeldt describes as the “spiritual and everlasting” side of his genius. In those days the composer and performer were one and the same person. No one was considered an artist who could only perform, however well, if he could not also compose; and, especially on the organ, good improvisation was considered the chief qualification of a musician. He was expected to be in a position to extemporise at any time and under any conditions a fugue, or a set of variations on any theme given to him; and his ability in this respect was the criterion by which he was judged. It was natural, therefore, that Bach’s fame during his lifetime should rest more on his extempore performances than on his written compositions, which, remaining in manuscript, would probably serve chiefly as models for his pupils to work from.

[Sidenote: _Portraits and Statues_]

Four portraits of Bach are known to have been painted. One, which seems to have been the first, is a half length picture showing him in a dress coat of the fifth decade of the eighteenth century. It belonged to Kittel, and was kept by him as a kind of sacred possession, only to be shown on special occasions, or as a reward to a diligent pupil. It was in a massive gold frame, and hung behind a curtain over the harpsichord in Kittel’s study. On his death it came into the possession of the church of which he was organist.

The second was also a half-length, and belonged to his son Carl Philip Emanuel. It was painted by Hausmann.

The third, also by Hausmann, is shown in our frontispiece. It is preserved in the Thomas School, and, according to Becker, was painted on his becoming a member of the Leipsic Musical Society. A fourth, preserved in the Joachimsthal Gymnasium at Berlin, was formerly in the possession of Princess Amalie of Prussia, and seems to have been painted by Geber.

A few good copper engravings were made from the various portraits, and a number of bad lithographs from the engravings. Some successful plaster busts have also been made from the pictures.

Germany is much given to honouring those of her sons who have distinguished themselves in art by erecting memorials to them in public places: but not till nearly one hundred years after his death was such a monument thought of for Bach. In 1840, Mendelssohn gave an organ recital in the Thomas Church, with the object of opening a fund for this purpose with the proceeds, and on April 23, 1843, a medallion by Knauer was solemnly unveiled on the walls of the Thomas Church. The opportunity was taken of performing many of Bach’s compositions; and amongst those present was the last descendant of the great man, with his wife and two daughters. This was William Bach, then 81 years of age, a son of the Bückeburger Bach.

In 1864 a large new organ was erected in the New Church at Arnstadt “in honour of Johann Sebastian Bach,” containing his portrait over the keyboards: and in 1884 a Bach festival was held at Eisenach on the occasion of the unveiling of a fine bronze statue of the composer in the Market-place.

Catalogue of Bach’s Vocal Works

_Matthew Passion._ First performed, 1729. English edition,
Novello.

_St John Passion._ Probably written at Cöthen, and much
altered before it received its present form. English edition,
published by Novello.

_St Luke Passion._ Of doubtful authenticity. English edition,
Novello.

_Mass in B minor._

„ _F._

„ _A._ Written in 1737. Partly borrowed from other works.

_Mass in G minor._}
_ „ G major._} Adapted from cantatas.

These four “Missæ breves” contain the Kyrie and Gloria, the only part
of the Mass retained in the Lutheran Service in Latin.

_Magnificat in D._ Written for the Christmas Festival at St
Thomas’ Church, and sung at vespers after the sermon. Edition with
English words, Novello. It is for five voices, three trumpets, two
flutes, two oboes, strings and organ.

_Sanctus in C._ } Sung after the morning sermon, as an
_ „ D._ } introduction to the Communion Service.
_ „ D minor._}
_ „ G._}

CHURCH CANTATAS

_The numbers refer to the Bachgesellschaft Edition._

2 _Ach Gott vom Himmel sieh darein._ Second Sunday
after Trinity. Chorale Cantata.

3 _Ach Gott, wie manches Herzeleid._ Second Sunday after
Epiphany. Chorale Cantata.

58 _Ach Gott, wie manches Herzeleid._ Second Sunday after
Christmas. Solo Cantata for soprano and bass.

135 _Ach Herr, mich armen Sünder._ Third Sunday after
Trinity. Chorale Cantata, Leipsic.

162 _Ach, ich sehe, itzt, da ich._ Twentieth Sunday after
Trinity.

114 _Ach, lieben Christen, seid getrost._ Seventeenth Sunday
after Trinity. Chorale Cantata.

26 _Ach wie flüchtig, ach wie nichtig!_ Twenty-fourth
Sunday after Trinity. Chorale Cantata.

33 _Allein zu dir, Herr Jesu Christ._ Thirteenth Sunday
after Trinity. Chorale Cantata.

72 _Alles nur nach Gottes Willen._ Third Sunday after
Epiphany.

68 _Also hat Gott die Welt geliebt._ Tuesday in Whitsun-week.
English edition, “God so loved the World,” Novello.

42 _Am Abend aber desselbigen Sabbaths._ First Sunday
after Easter (Quasimodogeniti).

186 _Arg’re dich, o Seele nicht._ Seventh Sunday after Trinity.

128 _Auf Christi Himmelfahrt allein._ Ascension Day.

131 _Aus der Tiefe rufe ich, Herr, zu dir._ Composed for Dr.
G. C. Gilmar, Pastor of Mühlhausen.

38 _Aus tiefer Noth schrei ich zu dir._ Twenty-first Sunday
after Trinity. Chorale Cantata.

131 _Aus tiefer Noth schrei ich zu dir._ Composed at Mühlhausen
about 1707.

185 _Barmherziges Herze, der._ Fourth Sunday after Trinity.

132 _Bereitet die Wege, bereitet._ For no special season.
Weimar, 1715. Words by Salomo Franck.

87 _Bisher habt ihr nichts gebeten in meinem Namen._ Fifth
Sunday after Easter.

6 _Bleib’ bei uns, denn es will Abend._ Tuesday in Easter
Week. English edition, “Bide with us,” Novello.

39 _Brich dem Hungrigen dein Brot!_ First Sunday after
Trinity.

148 _Bringet dem Herrn Ehre._ Seventeenth Sunday after
Trinity.

63 _Christen, ätzet diesen Tag._ Christmas.

4 _Christ lag in Todesbanden._ Easter Day.

121 _Christum wir sollen loben schon._ Christmas. Chorale
Cantata.

7 _Christ unser Herr zum Jordan kam._ St John’s Day.
Chorale Cantata.

95 _Christus, der ist mein Leben._ Sixteenth Sunday after
Trinity.

141 _Das ist je gewisslich wahr._ Third Sunday in Advent.

122 _Das neu gebor’ne Kindelein._ First Sunday after Christmas.
Chorale Cantata.

40 _Dazu ist erscheinen der Sohn._ Christmas.

195 _Dem Gerechten muss das Licht._ Wedding Cantata.

15 _Denn du wirst meine Seele nicht in Hölle lassen._ Monday
in Easter Week. Composed at Arnstadt, probably in
1704. See p. 27.

157 _Der Friede sei mit dir._ Purification; also for Easter.

196 _Der Herr denket an uns._ Wedding Cantata.

112 _Der Herr ist mein getreuer Hirt._ Second Sunday after
Easter (Misericordias).

31 _Der Himmel lacht, die Erde jubiliret._ Monday in Easter
Week. One of the few cantatas containing a chorus for five
voices. The instrumental introduction is called “Sonata.”

75 _Die Elenden sollen essen._ First Sunday after Trinity.

76 _Die Himmel erzählen die Ehre._ Second Sunday after Trinity.

116 _Du Friedensfürst, Herr Jesu Christ._ Twenty-fifth Sunday
after Trinity. Chorale Cantata.

104 _Du Hirte Israel, höre._ Second Sunday after Easter
(Misericordias). English edition, “Thou Guide of Israel,” Novello.

77 _Du sollst Gott, deinen Herren, lieben._ Thirteenth Sunday
after Trinity.

23 _Du wahrer Gott und Davids Sohn._ Quinquagesima (Estomihi).

_Ehre sei dir Gott gesungen._ Part V. of Christmas oratorio.
English edition, Novello.

_Ehre sei Gott in der Höhe._ Christmas. Incomplete.

80 _Ein feste Burg ist unser Gott._ Reformation Festival,
English edition, “A Stronghold Sure,” Novello. Composed 1717, when
Bach went to Cöthen. This was the first cantata published in the
nineteenth century. It was also arranged to Latin words, beginning,
“Gaudete, omnes populi.”

134 _Ein Herz, das Seinen._ Wednesday in Easter Week. Cöthen,
between 1717 and 1723.

24 _Ein ungefärbt Gemüthe._ Fourth Sunday after Trinity.

136 _Erforsche mich Gott, und erfahre._ Eighth Sunday after
Trinity. Leipsic, 1737 or 1738.

66 _Erfreut euch, ihr Herzen!_ Tuesday in Easter Week.

83 _Erfreute Zeit im neuen Bunde._ Purification.

126 _Erhalt’ uns, Herr, bei deinem Wort._ Sexagesima.
Chorale Cantata.

173 _Erhöhtes Fleisch und Blut._ Tuesday in Whitsun-week. The
music was originally written for a Serenade for the birthday of
Prince Leopold of Cöthen. The MS. Serenade is in the Royal Library at
Berlin.

175 _Er rufet seinen Schafen mit._ Wednesday in Whitsun-week.
Solo Cantata for tenor and bass.

172 _Erschallet,ihr Lieder._ Whitsunday.

184 _Erwünschtes Freudenlicht._ Wednesday in Whitsun-week.

19 _Es erbub sich ein Streit._ Michaelmas Day.

9 _Es ist das Heil uns kommen her._ Sixth Sunday after
Trinity.

45 _Es ist dir gesagt, Mensch, was gut ist._ Eighth Sunday
after Trinity.

176 _Es ist ein trotzig und verzagt Ding._ Trinity Sunday.

108 _Es ist euch gut, dass ich hingehe._ Fourth Sunday after
Easter (Cantata).

25 _Es ist nichts Gesundes an meinem Leibe._ Fourteenth
Sunday after Trinity. Edition with English words, “Lo, there is
no soundness within my body.” Rieter-Biedermann.

90 _Es reifet euch ein schrecklich._ Twenty-fifth Sunday
after Trinity.

187 _Es wartet Alles auf dich._ Seventh Sunday after
Trinity, 1737. Music is used for Mass in G minor.

_Fallt mit Danken._ Part IV. of Christmas oratorio. English edition,
Novello.

52 _Falsche Welt, dir trau._ Twenty-third Sunday after
Trinity. Solo Cantata for soprano.

30 _Freue dich, erlöste Schaar._ St John’s Day, originally a
“Dramma per Musica” in honour of the Saxon Minister, Von Hennicke.
Composed in 1737, and arranged as a church cantata, 1738, after Bach
had received the title of Court Composer. It is in the “Lombardic”
style introduced by Vivaldi, consisting of frequent syncopation.

35 _Geist und Seele wird._ Twelfth Sunday after Trinity.

129 _Gelobet sei der Herr, mein Gott._ Trinity Sunday.

91 _Gelobet seist du, Jesus Christ._ Christmas. Chorale
Cantata. Words by Martin Luther.

18 _Gleich wie der Regen und._ Sexagesima. The orchestration
is unusual, consisting of four violas, fagotto, violoncello and organ.

191 _Gloria in excelsis Deo._ Christmas. Rearranged from
the B minor Mass.

79 _Gott der Herr, ist Sonn’ und Schild._ Reformation Festival.

106 _Gottes Zeit ist die allerbeste Zeit._ For no special season.
English edition, “God’s time is the best,” Novello. Called “Actus
tragicus,” probably a funeral cantata. Mühlhausen about 1708.

43 _Gott fähret auf mit Jauchzen._ Ascension Day. English
version, “God goeth up with shouting,” Novello.

71 _Gott ist mein König._ Election of Town Council at
Mühlhausen, 1708. See p. 36.

191 _Gott ist uns’re Zuversicht._. Wedding Cantata.

28 _Gottlob! nun geht das Jahr._ First Sunday after Christmas.

120 _Gott, man lobet dich in der Stille._ Election of Town
Council at Leipsic. In the score the letters J.J. (Jesu juva)
frequently occur.

169 _Gott soll allein mein Herze._ Eighteenth Sunday after
Trinity. For alto solo.

171 _Gott, wie dein Name, so ist auch dein Ruhm._ Circumcision.
The first chorus occurs with modifications as part of the “Credo”
of the B minor Mass.

67 _Halt’ im Gedächtnis Jesum Christ._ First Sunday after
Easter (Quasimodogeniti). Edition with English words, “Hold in
remembrance Jesus Christ,” Rieter-Biedermann.

96 _Herr Christ, der ein’ge Gottes Sohn._ Eighteenth Sunday
after Trinity. Chorale Cantata. Words by Elizabeth Creutzinger.

102 _Herr, deine Augen sehen nach dem._ Tenth Sunday after
Trinity.

105 _Herr, gehe nicht in’s Gericht._ Ninth Sunday after
Trinity.

_Herr Gott, Beherrscher aller Dinge._ Wedding Cantata. Incomplete.

130 _Herr Gott, dich loben alle wir._ Michaelmas Day.

16 _Herr Gott, dich loben wir._ Circumcision. Chorale Cantata.

113 _Herr Jesu Christ, du höchstes Gut._ Eleventh Sunday after
Trinity. Chorale Cantata.

127 _Herr Jesu Christ, wahr’r Mensch und Gott._ Quinquagesima
(Estomihi). Chorale Cantata.

_Herrscher des Himmels._ Part III. of Christmas oratorio.
English edition, Novello.

_Herr, wenn die stolzen Feinde schnauben._ Part VI. of Christmas
oratorio. English edition, Novello.

73 _Herr, wie du willt, so schick’s mit mir!_ Third Sunday
after Epiphany.

147 _Herz und Mund und That und Leben._ The return of Mary
from Egypt.

182 _Himmelskönig, sei willkommen._ Annunciation. Originally
composed for Palm Sunday.

194 _Höchst erwünschtes Freudenfest._ Dedication of the
organ at Störmthal.

55 _Ich armer Mensch, ich Sündenknecht._ Twenty-second
Sunday after Trinity. For tenor solo.

85 _Ich bin ein guter Hirt._ Second Sunday after Easter
(Misericordias).

84 _Ich bin vergnügt mit meinem Glücke._ Septuagesima.

48 _Ich elender Mensch wer wird mich._ Nineteenth Sunday
after Trinity.

133 _Ich freue mich in dir._ Christmas. Chorale Cantata.
Leipsic, 1737.

49 _Ich geh’ und suche mit._ Twentieth Sunday after Trinity.

109 _Ich glaube lieber Herr, hilf meinem._ Twenty-first
Sunday after Trinity.

82 _Ich habe genug._ Purification.

188 _Ich habe meine Zuversicht._ Twenty-first Sunday after
Trinity. The copyist directs that the “organ concerto” of
“Wir müssen durch viel Trübsal” in D minor (arranged from
the Clavecin Concerto in that key) is to be used as an
“introduction.” Words by Picander.

92 _Ich hab’ in Gottes Herz und Sinn._ Septuagesima. Chorale
Cantata. Words by Paul Gerhardt.

21 _Ich hatte viel Bekümmernis._ “Per ogni tempi,” “For all
times.” English edition, “My spirit was in heaviness,” Novello.
Composed on his being made concert-meister at Weimar, and performed
there on the third Sunday after Trinity, 1714.

162 _Ich, ich sehe, jetzt da ich zur Hochzeit gehe._ Solo Cantata
for soprano, alto, tenor, bass.

158 _Ich lasse dich nicht, du segnest._ Purification. Solo
Cantata for tenor and bass. The violetta occurs in the score.

174 _Ich liebe den Höchsten von ganzem._ Whitsunday. Solo
Cantata for alto, tenor, bass.

177 _Ich ruf zu dir, Herr Jesu Christ._ Fourth Sunday after
Trinity. Chorale Cantata.

156 _Ich steh’ mit einem Fuss im Grabe._ Third Sunday after
Epiphany.

160 _Ich weiss, dass mein Erlöser._ Monday in Easter Week.

56 _Ich will den Kreuzstab gerne tragen._ Nineteenth Sunday
after Trinity. For bass solo.

164 _Ihr, die ihr euch von Christo._ Thirteenth Sunday after
Trinity. Solo Cantata for soprano, alto, tenor, bass.

167 _Ihr Menschen, rühmet Gottes._ St John’s Day. Solo
Cantata for soprano, alto, tenor and bass.

193 _Ihr Pforten zu Zion._ Election of Town Council.

103 _Ihr werdet weinen und heulen._ Third Sunday after
Easter (Jubilate).

97 _In allen meinen Thaten._ For no special season. Words
by Dr Paul Flemming.

_Jauchzet, frohlocket._ Christmas oratorio. Part I., English version,
Novello.

51 _Jauchzet Gott in allen Landen._ Fifteenth Sunday after
Trinity. Solo Cantata for soprano.

78 _Jesu, der du meine Seele._ Fourteenth Sunday after
Trinity. In this cantata the ground bass of the “Crucifixus”
of the B minor Mass is used. Edition with English words, “Jesu,
Saviour, who by dying,” Rieter-Biedermann.

41 _Jesu, nun sei gepreiset._ Circumcision. Chorale Cantata.
English edition, “Jesus, now will we praise Thee,”
Novello.

22 _Jesus nahm zu sich die Zwölfe._ Quinquagesima (Estomihi).
Bach’s test piece for the Leipsic post after the death of Kuhnau.
Performed there, February 7th, 1723.

81 _Jesus schläft, was soll ich hoffen?_ Fourth Sunday after
Epiphany.

161 _Komm du süsse Todesstunde!_ Purification; also for the
Sixteenth Sunday after Trinity.

_Kommt, eilet, lauft._ Easter oratorio.

181 _Leicht gesinnte Flattergeister._ Sexagesima.

8 _Liebster Gott, wann werd’ ich sterben._ Sixteenth Sunday
after Trinity.

123 _Liebster Immanuel, Herzog der Frommen._ Epiphany.
Chorale Cantata.

32 _Liebster Jesu, mein Verlangen._ First Sunday after
Epiphany. Called “Dialogue.” Solo Cantata for soprano and bass.

137 _Lobe den Herren, den Mächtigen._ Twelfth Sunday after
Trinity. Leipsic, between 1742 and 1747. Words by Joachim Neander.

69 _Lobe den Herrn meine Seele!_ Twelfth Sunday after
Trinity.

143 _Lobe den Herrn meine Seele._ New Year’s Day.

11 _Lobet Gott in seinen Reichen._ Ascension Day. Called
by Bach “oratorium festo ascensionis Christi.” Part of this
cantata is used in the B minor Mass.

115 _Mache dich, mein Geist, bereit._ Twenty-second Sunday
after Trinity. Chorale Cantata.

149 _Man singet mit Freuden vom Sieg._ Michaelmas Day.

124 _Meinen Jesum lass’ ich nicht._ First Sunday after Epiphany.
Chorale Cantata.

10 _Meine Seel’ erhebt den Herren._ Return of Mary from
Egypt. Chorale Cantata.

189 _Meine Seele rühmt und preist._ For no special season.

13 _Meine Seufzer meine Thränen._ Second Sunday after
Epiphany. Solo Cantata for soprano, alto, tenor and bass voices,
accompanied by wind instruments and organ, no strings being used.

155 _Mein Gott, wie lang’._ Second Sunday after Epiphany.

154 _Mein liebster Jesus ist verloren._ First Sunday after
Epiphany.

125 _Mit Fried’ und Freud’ ich fahr’ dahin._ Purification.
Chorale Cantata.

150 _Nach dir, Herr, verlanget mich._ For no special season.

101 _Nimm’ von uns Herr, du treuer Gott._ Tenth Sunday after
Trinity. Chorale Cantata.

144 _Nimm, was dein ist, und gehe hin!_ Septuagesima.

192 _Nun danket alle Gott._ For no special season.

50 _Nun ist das Heil und die Kraft._ For no special season.

61 _Nun komm, der Heiden Heiland._ First Sunday in Advent.
First composition in A minor. Inside the cover of this cantata
Bach has written the order of the service for the morning of
Advent Sunday, 1714, at Leipsic. See p. 44.

62 _Nun komm, der Heiden Heiland._ First Sunday in Advent.
Chorale Cantata. Second composition in B minor.

163 _Nur Jedem das Seine!_ Twenty-third Sunday after Trinity.
Solo Cantata for soprano, alto, tenor and bass.

34 _O ewiges Feuer, o Ursprung der Liebe._ Whitsunday.
English edition, “O Light Everlasting,” Novello.

_O ewiges Feuer._ Wedding Cantata. Incomplete.

20 _O Ewigkeit du Donnerwort._ First Sunday after Trinity.

60 _O Ewigkeit du Donnerwort._ Twenty-fourth Sunday after
Trinity. Solo Cantata for alto, tenor and bass.

165 _O heil’ges Geist- und Wasserbad._ Trinity Sunday. Solo
Cantata for soprano, alto, tenor, bass.

118 _O Jesu Christ mein’s Lebenslicht._ The accompaniment
is for two litui, cornet and three trombones; no strings or organ.
It was probably intended for the open air (perhaps for a funeral)
as it is the only cantata with no continuo part.

119 _Preise Jerusalem den Herrn._ Performed in the Nicolai
Church on August 30, 1723, at the election of Town Council. It was
also performed by Mendelssohn on the unveiling of the Bach Memorial
at Leipsic, April 23, 1843.

46 _Schauet doch und sehet._ Tenth Sunday after Trinity.

153 _Schau’ liebe Gott wie meine Feinde._ Second Sunday
after Christmas.

53 _Schlage doch! gewünschste Stunde._ Funeral Cantata
for alto solo.

180 _Schmücke dich o liebe Seele._ Twentieth Sunday after
Trinity. Chorale Cantata.

36 _Schwingt freudig euch empor._ First Sunday in Advent.

64 _Sehet welch’ eine Liebe._ Christmas.

159 _Sehet, wir geh’n hinauf._ Quinquagesima (Estomihi).

117 _Sei Lob und Ehr’ dem höchsten Gut._ For no special season.

57 _Selig ist der Mann._ Christmas. Solo Cantata for soprano and
bass.

88 _Siehe ich will viel Fischer._ Fifth Sunday after Trinity.

179 _Siehe zu dass deine Gottesfurcht nicht._ Eleventh Sunday
after Trinity.

65 _Sie werden aus Saba alle kommen._ Epiphany. Edition with
English words, “They all shall come from Saba,” Rieter-Biedermann.

44 _Sie werden Euch in den Bann thun._ Sunday after Ascension
Day (Exaudi).

183 _Sie werden Euch in den Bann thun._ Sunday after Ascension
Day (Exaudi).

190 _Singet dem Herrn ein neues Lied._ Circumcision. Incomplete.
Performed 25th of June 1730, at the second Jubilee celebration of
the Augsburg Confession.

145 _So du mit deinem Munde bekennest._ Easter Day, and Wednesday
in Easter Week.

151 _Süsser Trost, mein Jesus kömmt._ Christmas.

168 _Thue Rechnung Donnerwort._ Ninth Sunday after Trinity. Solo
Cantata for soprano, alto, tenor, bass.

152 _Tritt auf die Glauben’s Bahn._ First Sunday after Christmas.

_Und es waren Hirten auf dem Felde._ Part II. Christmas oratorio.
English edition, Novello.

110 _Unser Mund sei voll Lachens._ Christmas.

142 _Uns ist ein Kind geboren._ Christmas.

170 _Vergnügte Ruh’ beliebte._ Sixth Sunday after Trinity.
For alto solo.

140 _Wachet auf, ruft uns die Stimme._ Twenty-seventh Sunday
after Trinity. Leipsic, 1742. Words by P. Nicolai.

70 _Wachet, betet, seid bereit allezeit._ Twentieth Sunday
after Trinity.

86 _Warlich ich sage euch._ Rogation Sunday.

14 _Wär’ Gott nicht mit uns diese Zeit._ Fourth Sunday after
Epiphany.

138 _Warum betrübst du dich mein Herz._ Fifteenth Sunday
after Trinity. Leipsic, 1737. Words by Hans Sachs.

94 _Was frag’ ich nach der Welt!_ Ninth Sunday after Trinity.
Chorale Cantata.

98 _Was Gott thut das ist wohlgethan._ Twenty-first Sunday
after Trinity.

99 _Was Gott thut, das ist wohlgethan._ Fifteenth Sunday
after Trinity.

100 _Was Gott thut, das ist wohlgethan._ For no special
season. Words by S. Rudigast.

111 _Was mein Gott will das g’sche all’ zeit._ Third Sunday
after Epiphany. Chorale Cantata.

89 _Was soll ich aus dir machen._ Twenty-second Sunday
after Trinity.

107 _Was willst du dich betrüben._ Seventh Sunday after
Trinity.

12 _Weinen, klagen, sorgen, zagen._ Third Sunday after Easter
(Jubilate). The opening chorus is on the same ground bass as the
“Crucifixus” of the B minor Mass.

37 _Wer da glaubet und getauft wird._ Ascension Day.

17 _Wer Dank opfert der preiset mich._ Fourteenth Sunday
after Trinity. Edition with English words, “Whoso offereth praise,”
Reiter-Biedermann.

59 _Wer mich liebet der wird mein._ Whitsunday.

74 _Wer mich liebet der wird mein._ Whitsunday. Solo Cantata
for soprano and bass.

93 _Wer nur den lieben Gott lässt walten._ Fifth Sunday
after Trinity.

47 _Wer sich selbst erhöht der soll._ Seventeenth Sunday
after Trinity.

27 _Wer weiss wie nahe mir mein Ende._ Sixteenth Sunday
after Trinity. English edition, “When will God recall my spirit,”
Novello.

54 _Widerstehe doch der Sünde._ For no special season.
Alto solo.

1 _Wie Schön leuchtet der Morgenstern._ Annunciation.
Chorale Cantata.

29 _Wir danken dir, Gott, wir danken dir._ Election of Town
Council at Leipsic, 1737.

146 _Wir müssen durch viel Trübsal._ Third Sunday after
Easter (Jubilate).

166 _Wo gehest du hin?_ Fourth Sunday after Easter (Cantate).
Solo Cantata for alto, tenor, bass.

178 _Wo Gott der Herr nicht bei uns hält._ Eighth Sunday
after Trinity. Chorale Cantata.

139 _Wohl dem der sich auf seinen Gott._ Twenty-third Sunday
after Trinity. Chorale Cantata, Leipsic, between 1737 and 1744.

5 _Wo soll ich fliehen hin._ Nineteenth Sunday after Trinity.
Chorale Cantata.

FUNERAL ODE

_Lass, Fürstin, lass noch einen Strahl._ Called “Weeping
Leipsic.” Written for the death of Princess Christiane Eberhardine,
wife of Augustus the Strong.

MOTETS

_Jesu meine Freude._ Five voices. English edition, “Jesu,
priceless treasure,” Novello. A hymn by Franck in six stanzas.

_Der Geist hilft unsrer Schwachheit auf._ Eight voices. Written
for the funeral of the Rector Heinrich Ernesti, 1729. The composer
added a figured bass for the organ. English edition, “The Spirit
also helpeth us,” Novello.

_Furchte dich nicht._ Eight voices. English edition, “Be not
afraid,” Novello.

_Komm Jesu, komm._ Eight voices.

_Lob und Ehre und Weisheit und Dank._ Eight voices. English
edition, “Blessing, Glory and Wisdom,” Novello.

_Singet dem Herrn ein neues Lied._ Psalm 149, eight voices.
English edition, “Sing ye to the Lord,” Novello.

_Ich lasse dich nicht._ Eight voices. This motet is by some
attributed to Joh. Christoph Bach. English edition, “I wrestle and
pray,” Novello.

A Latin motet for two choruses heard by J. L. Gerber at Christmas,
1767, is lost.

_Lobet den Herrn, alle Heiden._ Psalm 117. Four voices.

SECULAR CANTATAS

_Drama: Geschwinde, ihr wirbelnden Winde._ The contest between
Phœbus and Pan.

_Weichet nur, betrübte Schatten._ For soprano voice.

_Amore traditore._ For bass voice, accompanied by cembalo
only.

_Drama: Zerreisset, zerspringet, Zertrümmert die Gruft._ For
the name-day of Dr A. F. Muller. Leipsic, Aug. 3, 1725.

_Drama: Schleicht, spielende Wellen._ For the birthday of
Augustus III.

_Drama: Vereinigte Zwietracht der wechselnden Saiten._ For
a University celebration, Leipsic, 1726.

_Was mir behagt, ist nur die muntre Jagd._

_Non sa che sia dolore._ For soprano solo.

_O holder Tag, erwünschte Zeit._ Wedding Cantata for soprano
solo.

_Schweigt stille, plaudert nicht._ In praise of coffee.

_Mer hahn en neue Oberkeet._ Complimentary Cantata to Carl
Heinrich von Dieskau.

_Mit Gnaden bekröne der Himmel die Zeiten._

_O angenehme Melodei._ Soprano solo.

_Durchlauchster Leopold._ Serenade for two solo voices and
orchestra.

_Schwingt freudig euch empor._ For the birthday of a teacher.

_Die Freude reget sich._ For the birthday of Professor Rivinus.

_Drama: Lasst uns sorgen, lasst uns wachen._ Complimentary
Cantata to a Saxon Princess. The opening chorus from
Christmas oratorio.

_Tönet ihr Pauken! erschallet Trompeten!_ For the birthday
of the Queen of Saxony, December 1733. See p. 145.

_Drama: Preise dein Glücke._ For the anniversary of the election
of Augustus III. as King of Poland, 1734.

_Drama: Angenehmes Wiederau._ Persons represented--Fate,
Happiness, Time, and the river Elster. The opening chorus from
the cantata “Freue dich erlöste Schaar.”

_Drama: Auf schmetternde Töne der muntern Trompeten._ For
the name-day of King Augustus III.

WORKS KNOWN TO BE LOST

Three Passions. It is known that Bach wrote five Passions,
from information given by his son C. P. Emanuel, and his pupil
Agricola in Mizler’s Necrology.

A great funeral ode on the death of Prince Leopold of Cöthen.

Several Cantatas.

Catalogue of Instrumental Works

ORGAN

_The numbers refer to the volumes in Peters’ edition in which each work will be found._

_Six sonatas for two manuals and pedal (240)._ These sonatas
and the passacaglia were written for his young son, W. Friedemann,
to practise on the pedal clavichord. Many of the trills, which are
necessary on this instrument, are intended to be omitted when the
pieces are played on the organ. According to tradition the date is
1723. The first movement of the sonata in D minor appears in 1722,
as the prelude in that key in Part I. of the Forty-eight.

_Passacaglia in C minor (240)._

_Trio for two manuals (243) and pedal in D minor._ This trio
is overladen with grace notes in the fashion of the day. The
performer is recommended by Griepenkerl to exercise his taste as
to which he retains or omits.

_Pastorale in F (240)._ In four movements. Mostly copied
singly. Forkel possessed a copy in which all four movements were
combined in a whole.

_Preludes and Fugues (241)._

_In C._

_In G._ The subject of the fugue is the same as that of the
opening chorus in the cantata, “Ich hatte viel Bekümmernis.”

_In A._

_Fantasia and Fugue in G minor (241)._ Composed at Cöthen,
probably as an act of homage to Reinken. In one copy the fantasia
is called “prelude.” In another copy the fugue is in F minor with
a remark, “The very best pedal-piece by Herr Joh. Seb. Bach.”

_Prelude and Fugue in C (241)._

_A minor._

_E minor._

_B minor._ The Peters’ edition is from the original MS. in the
possession of Sir Herbert Oakeley.

_Prelude and Fugue (242) E flat._ From the “Clavierübung.”
The fugue, like those of Buxtehude, is in three movements.

_Toccata and Fugue (242) in F._ The compass of the pedals in
this toccata shows that it must have been written for the organ in
the Lutheran Church at Cöthen. (See Glossary “Orgel-büchlein.”) In
the Bachgesellschaft edition the toccata is called fantasia.

_In D minor._ Called Dorian from the flat being omitted from
the signature. The toccata is called “prelude” in some copies.

_Preludes and Fugue (242) in D minor._ The prelude has no
pedal part. The fugue is arranged from the earlier violin solo fugue
in G minor (228).

_In G minor._

_Fantasia and Fugue (242) in C minor._

_Prelude and Fugue in C (242)._ This was originally in E major.
The fugue is in two portions, divided by nine bars of florid passages.
It was transposed to C for some of the old organs which had only two
octaves of pedals. In Kirnberger’s MS. it is called “Preludio con
Fantasia con Pedal.”

_Toccata and Fugue in C (242)._ The toccata is separated from
the fugue by a very beautiful aria, in which a melody is accompanied
by chords and staccato bass, the only instance of the kind in Bach’s
organ works. In one MS. the toccata is called “Preludium.”

_Prelude and double Fugue (242) in A minor._

_Prelude and Fugue (242) in E minor._

_Prelude and Fugue (243) in C major._

_In G._

_In D._ The prelude is in two movements. The work, which
is very brilliant, is inscribed “Concertata” as if intended more for
concert than church use. In one copy the work is called simply
“Pièce d’orgue, von Joh. Seb. Bach.”

_Toccata and Fugue in D minor (243)._

_Prelude and Fugue in C minor (243)._ In some MSS. this is
in D minor.

_Fugues (243) in C minor._ On a theme by Legrenzi. A second
subject appears in the course of the fugue, which after being worked
independently is finally united to the first in a double fugue.

_In G minor._

_In B minor._ The subject is by Corelli.

_In C minor._ Probably written for pedal clavichord. Composed
at Arnstadt.

_Canzona in D minor (243)._ In two movements. It was popular, and
many copies appear to have existed.

_Fantasias (243) in G._ In three movements of which the tempi are
indicated by Bach. “Très Vitement,” “Grave,” “Lentement.” From the
number of copies which exist this fantasia, also called “Pièce
d’orgue,” appears to have been very popular.

_In C minor._ In five voices. In some MSS. called “Prelude.”

_Prelude in A minor (243)._

_Fifty-six short Chorale-preludes (244)._

_Three sets of Chorale Variations called “Partite” (244)._

_Some Canonic Variations on the Christmas hymn “Vom Himmel hoch da
komm ich her” (244)._

_Seven Chorale-preludes (244)._

_Sixty-three “Larger and more artistic Chorale-preludes” (245 and
246)._

_Four Concertos for two manuals and pedal (247)._ Arranged
from the Violin Concertos of Vivaldi. The originals were, like
Handel’s “Concerti grossi,” for four violins, one or two violas,
violoncello, bass and continuo.

_Eight small Preludes and Fugues (247)._ For the instruction
of his son Friedemann.

_Allabreve pro organo pleno (247)._ Organo pleno means a
complete organ, as opposed to a positiv, or one manual instrument.
It has the same kind of sense as our expression “Full orchestra,”
and does not mean that the full force is to be employed the whole
time.

_Prelude in C (247)._ Without pedal.

_In G “pro organo pleno” (247)._

_Fantasia in C (247)._ Without pedal.

_Fugue in C (247)._ The pedal only enters in the last five bars,
and is used in Buxtehude’s manner, merely to complete the harmony.

_Prelude in G (247)._ Composed at Weimar.

_Fugue in G minor (247)._

_Fantasia and Fugue in A minor (2067)._ An early work, in
some MS. called “Preludio e Fuga per il cembalo,” so that it
was probably intended for the pedal clavichord.

_Fugue in G (2067)._

_Little Harmonic Labyrinth (2067)._ Consisting of three movements
called “Introitus,” “Centrum,” “Exitus.” Starting in the key of C,
it perpetually modulates, chiefly by enharmonic changes, and finishes
by a return to C.

_Fugue in G (2067)._

_Fugue in D (2067)._

_Concerto in G (2067)._ Called also “Fantasia.”

_Trio for two manuals and pedal in C minor (2067)._

_Aria in F for two manuals and pedal (2067)._

_Eleven Chorale-preludes (2067)._

ORCHESTRA

_Concerto in F (261)._ For violins, piccolo, three oboes, and two
corni di caccia, with accompaniment for two violins, viola,
violoncello and bass.

_Concerto in F (262)._ For violin, flute, oboe, and trumpet
concertante, with accompaniment for two violins, viola, violoncello
and bass.

_Concerto in G (263)._ For three violins, three violas, three
violoncellos and one bass. Rearranged as the introductory “symphony”
to the cantata “Ich liebe den Höchsten.”

_Concerto in G (264)._ For violin and two flutes concertante,
with accompaniment for two violins, viola, violoncello and bass.

_Concerto in D (265)._ For clavecin, flute and violin concertante,
with accompaniment for one violin, viola, violoncello and bass.

_Concerto in B flat (266)._ For two violas, two violas da gamba,
with accompaniment for violoncello and bass.

_Overture or Suite in C major (267)._ For two violins, viola,
two oboes, bassoon, violoncello and bass.

_Overture or Suite in B minor (268)._ For two violins, viola,
violoncello, flute and bass.

_Overture or Suite in D major (269)._ For two violins, viola,
bass kettle-drums, two oboes, and three trumpets.

Works for Cembalo, Clavichord, Spinet, &c.

_The Forty-eight Preludes and Fugues. Part I. (1 and 1a).