Bach

The early experiments in tempering must have led to curious results—thus the major-thirds were flattened; and yet only when three major-thirds are sharpened (CE, E G♯, G♯ (A♭) C) do they reach a purely tuned octave. Bach mastered the problem for himself. He tuned his own harpsichord and clavichord, making the major-thirds rather sharp; and he must have flattened the fifths as we do. His son Emanuel speaks of his testing the fifths by tuning their octave below, and making this a fourth below the starting point. What he did was the result of practical experiment, for he would have nothing to do with mathematical theory. He always quilled his harpsichord himself; and he made a point of practising the clavichord, since the expression possible on this instrument made the ear keener and more sensitive to the possibility of effect on the more inexpressive harpsichord.

Spitta considers that Bach’s genius in a way foresaw the advent of a more perfect instrument than either the clavichord or harpsichord—an instrument which should combine the expression of the first with the power of the latter, and at the same time approach the organ in possibilities of legato and sustained sounds. Such an instrument is the modern pianoforte.

In 1740 Bach planned a lute-harpsichord, and got Zacharias Hildebrand, an organ-builder, to make it under his direction. It had gut strings, two to each key, and a set of octave metal strings. It had also cloth dampers, which made the instrument sound something like a real lute; and when these were raised, it sounded like a theorbo—it was in size shorter than an ordinary harpsichord (Adlung Mus. Mech. II., p. 139).

Although Bach was concertmeister, or leader of the orchestra at Cöthen, it is not to be supposed that he had any extraordinary facility on the violin. Quantz, in “Versuch einer Anweisung, etc.,” rightly considers that for such a post, at any rate in those days, it was more necessary that the holder should be a good all-round musician with sufficient facility to execute the ordinary orchestral music, than that he should be a “virtuoso”—and not every virtuoso makes a good leader.

It seems impossible that he could have himself performed his violin and violoncello sonatas; they tax the highest efforts of the best performers of the present day; but his knowledge of stringed instruments and their possibilities is shown by these compositions to have been as profound as his knowledge of the organ. No mere theoretical knowledge could have sufficed to enable him to write these things; he must have had a wider practical knowledge than any but the best virtuosi, and to this he united his enormous genius for composition.

It appears natural that the German violinists, with their feeling for full harmony, should have cultivated the art of double-stopping on stringed instruments, rather than that of pure melody and tone. It is said that Bruhns the organist, Buxtehude’s pupil, while playing in three and four parts on his violin, would sometimes sit before an organ, and add a bass on the pedals.[79]

Chapter XIII

There were two organs in the Thomas Church, the larger of which dated from 1525. In 1721 it was enlarged by Scheibe, a builder of whom Bach had a very good opinion. In 1730 it was again improved, by giving the choir organ a keyboard of its own, instead of its being acted on by the great key-board as was formerly the case.

The organ contained:—

Great

• 1. Principal (open diapason), 16 ft.
• 2. Principal (open diapason), 8 ft.
• 3. Quintadena, 16 ft.
• 4. Octave (our principal), 4 ft.
• 5. Quinta, 3 ft.
• 6. Superoctava (our fifteenth), 2 ft.
• 7. Spiel-Pfeiffe, 8 ft.
• 8. Sesquialtera gedoppelt,
• 9. Mixture, 6, 8 and 10 ranks.

Brustwerk[80]

• 1. Grobgedackt, 8 ft.
• 2. Principal (open diapason), 4 ft.
• 3. Nachthorn, 4 ft.
• 4. Nasal, 3 ft.
• 5. Gemshorn, 2 ft.
• 6. Cymbal, 2 ranks.
• 7. Sesquialtera,
• 8. Regal, 8 ft.
• 9. Geigenregal, 4 ft.

Rückpositiv[81]

• 1. Principal, 8 ft.
• 2. Quintadena 8 ft.
• 3. Lieblich Gedacktes, 8 ft.
• 4. Klein Gedacktes, 4 ft.
• 5. Traversa, 4 ft.
• 6. Violino, 2 ft.
• 7. Raschquint gedoppelt,
• 8. Mixtur, 4 ranks.
• 9. Sesquialtera,
• 10. Spitzflöt, 4 ft.
• 11. Schallflöt, 1 ft.
• 12. Krumbhorn, 16 ft.
• 13. Trommet, 8 ft.

Pedal

• 1. Sub-bass von Metall, 16 ft.
• 2. Posaune Bass, 16 ft.
• 3. Trommeten Bass, 8 ft.
• 4. Schalmeyen Bass, 4 ft.
• 5. Cornet, 3 ft.

There were also Tremulant, Vogelgesang, Zimbelstern-Ventils and ten bellows. The organ loft has been twice enlarged, first in 1802, and afterwards in 1823. It now accommodates the whole of the large double chorus and double orchestra employed in performance of the Passion music on Good Friday.

The smaller organ was built in 1489. In Bach’s time it stood in a gallery opposite the large organ. It was of very little use, and in 1740 was sold to St John’s Hospital. It had three manuals, pedal, and twenty-one stops, and was only employed on high festivals. As it was at a considerable distance from the other organ, difficulty was felt in keeping the two choirs together. This gallery remained, and was used for musical purposes, till 1886.

The organ of the Nicolai Church was built in 1598, repaired in 1692, and in 1725 was thoroughly renewed by Scheibe at a cost of 600 thalers.

The organ at the University Church was the best in Leipsic at that time. It consisted of:—

Great

• 1. Principal (open diapason), 16 ft.
• 2. Quintatön, 16 ft.
• 3. Principal (open diapason), 8 ft.
• 4. Schalmei, 8 ft.
• 5. German Flute, 8 ft.
• 6. Gemshorn, 8 ft.
• 7. Octave, 4 ft.
• 8. Quinte, 3 ft.
• 9. Quintnasat, 3 ft.
• 10. Octavina, 2 ft.
• 11. Waldflöte, 2 ft.
• 12. Mixture, 5 and 6 ranks.
• 13. Cornet, 3 ranks.
• 14. Zink, 2 ranks.

Brustwerk

• 1. Principal, 8 ft.
• 2. Gamba, 8 ft.
• 3. Grobgedackt, 8 ft.
• 4. Octave, 4 ft.
• 5. Rohrflöte, 4 ft.
• 6. Octave (fifteenth), 2 ft.
• 7. Nasat, 2 ft.
• 8. Sedesima, 1 ft.
• 9. Schweizer Pfeife, 1 ft.
• 10. Largo (No. of feet not stated).
• 11. Mixture, 3 ranks.
• 12. Clear Cymbal, 2 ranks.

Third Manual

• 1. Lieblich Gedackt, 8 ft.
• 2. Quintatön, 8 ft.
• 3. Flûte douce, 4 ft.
• 4. Quinta Decima, 4 ft.
• 5. Decima Nona, 3 ft.
• 6. Hohlflöte, 2 ft.
• 7. Viola, 2 ft.
• 8. Vigesima Nona, 1½ ft.
• 9. Weitpfeife, 1 ft.
• 10. Mixtur, 3 ranks.
• 11. Helle Cymbal, 2 ft.
• 12. Sertin (perhaps serpent), 8 ft.

Pedal

• 1. Principal, 16 ft.
• 2. Quintatön, 16 ft.
• 3. Octave, 8 ft.
• 4. Octave, 4 ft.
• 5. Quinte, 3 ft.
• 6. Mixtur, 5 and 6 ranks
• 7. Quinten-bass, 6 ft.
• 8. Jubal, 8 ft.
• 9. Nachthorn, 4 ft.
• 10. Octave, 2 ft.
• 11. 2nd Principal, 16 ft.
• 12. Sub-bass, 16 ft.
• 13. Posaune, 16 ft.
• 14. Trompete, 8 ft.
• 15. Hohlflöte, 1 ft.
• 16. Mixtur, 4 ranks.

The organ had been tried by Bach on its completion in 1716, who wrote a very elaborate report.[82] It may be of interest to quote some of Bach’s remarks, 1. He says that the space occupied is too confined to admit of easy access to some of the parts, in case of repairs being required. This was, however, not the fault of the builder Scheibe, as he was not allowed the space he asked for.

2. The wind must be made to come more equally, so as to avoid heavy rushes of wind.

3. The parts quite fulfil the description in all respects; and the contract, with the exception of the Schallmey and Cornet, which were changed by order of the college for a 2 ft. Octave (15th) and 2 ft. Hohlflöte, is completed.

4. The defects of intonation must be done away with; and the lowest pipes of the Posaune and Bass Trumpet made to speak less roughly and harshly. The instrument to be frequently and thoroughly tuned in good weather.

5. The keys have too great a fall, but this cannot be helped, owing to the narrowness of the structure.

6. Finally, the window behind the organ should be built up as far as the top of the organ, or covered with an iron plate, to prevent damage by weather.

The above list of 54 stops is given by Spitta, who quotes from the “Acta” of the university; but a MS. chronicle of Leipsic, discovered after 1880, of which the references to musical matters are quoted in the “Musikalisches Centralblatt” for 1884, has the following entry:—“1716, June. This summer the beautiful Pauliner organ, which consists of 67 stops, was finished.” A complete list of the stops follows, but is not given in the “Musikalisches Centralblatt.”

During the concerted music, the organist had to accompany from figured bass, and the voice part was rarely given him, as the cantor would not trouble to write it out, though Bach, with his characteristic thoroughness did so in many cases.

There exists a specimen of Bach’s method of playing from figured bass in a MS. accompaniment to a violin sonata of Albinoni, by H. N. Gerber, a pupil of Bach.[83] It contains a few autograph corrections by Bach himself, and it may be taken, therefore, as an example of the manner which Bach approved of. It is described by Spitta as of no melodic character, as being in four parts throughout, and as not adhering strictly to the harmonies given by Albinoni where an improvement was possible. The adornment of a figured bass accompaniment by a melody in the right hand was only possible to the greatest artists, such as Bach himself; and it soon went out of fashion.

During the seventeenth century it was the custom for performers to elaborate the melody written by a composer, and naturally Bach’s were treated in this way. But it was complained that he left little for the performer to add, for he “indicated all the manieren, the small ornaments, and everything else that is understood by ‘Method’ in playing, by actual notes,” and the performer could therefore not impress his own individuality on the piece.[84] Bach was particular to show exactly what he required; and it is evident that there was at this time a school of musicians rising, who objected to superfluous ornaments on the part of the performer. J. S. Petri objects to extemporised shakes and right hand melodies. Scheibe objects to contrapuntal accompaniment. Kirnberger says that the accompanist should aim at simplicity, and only add such ornaments as were absolutely necessary.

If the pedal was employed, the left hand helped with the harmonies. But if the bass moved rapidly the pedals only played short notes to mark the essential harmonic progressions; or the bass was even omitted, as the other instruments played it. For accompanying the solo voices in arias and recitatives the Gedact 8 feet was usually used alone, and was sometimes therefore called the “Musik gedact”: it is the same as the English stopped diapason. The chords in a recitative were not held long, even if the bass notes were. They were played arpeggio, as on a harpsichord. But Petri considers that if there is a very soft stopped flute, the chords may be held in the tenor register and the changes of harmony indicated by a short pedal note.

Staccato playing was universal on the organ, but Bach and his pupils insisted on a legato style, and gradually eliminated the staccato, though in accompanying they still kept to it. The tradition of Bach’s style of accompaniment was carried on by Kittel a pupil of Bach, who spread the knowledge of it through Thuringia, and one of Kittel’s pupils, M. G. Fischer of Erfurt, continued it. He died in 1829, and was heard by Grell of Berlin (b. 1800, d. 1886), who described the performance to Spitta. He played the bass with considerable power, and accompanied it by short chords in the right hand on another manual, thus agreeing with Petri’s direction that the organist is to accompany in as short a style as possible, and to withdraw the fingers after striking the chord.

But this was by no means Bach’s only method of accompanying, for he demands in the majority of cases a legato accompaniment, and sometimes a “melodic” manner. In his Matthew Passion and some of his cantatas the organist is to play short chords in recitativo secco.

He considered the Gedact peculiarly adapted for purposes of accompaniment; and in many passages he dispensed with part or the whole of the bass instruments.

In order not to drown the voices, or make the organ too prominent, no reeds or mixtures were allowed to be used in accompanying. They were reserved for solo organ work, in which Bach made use of astonishing combinations of stops. Orchestral effects were produced by the contrasts of tone-colour in the different groups of instruments, string, brass, reeds and flutes. To these the organ, making use of diapason work only, formed a background, and it was not allowed to predominate over them.

Bach, in 1730, fixed the number of voices requisite for the performance of a cantata at twelve, and of instrumentalists, excluding the organist, at eighteen. His sympathies were so much more with instrumental than vocal music, that he treated the voice merely as an instrument capable of expressing words. The influence of Handel’s works, in which the voice parts were of more importance than those of the instruments, brought about the change of arrangements by which the singers outnumbered the instrumentalists.

Students and admirers of Bach’s music have often wondered how he could have got boys to overcome the immense difficulties of its execution. They certainly complained of the difficulties, but execution was at that time, owing to the Italian influence, more studied than now. Boys were made to practise shakes diligently every day. They were not expected to enter very much into the spirit of the music; it sufficed if they sang the notes correctly. Moreover there were plenty of falsetto sopranos and altos, and these could, of course, take the upper parts. The tenor voice became a soprano, the bass an alto. A falsetto soprano could sing up to E and F above the treble stave.

The pitch question at Leipsic must have caused considerable difficulty. The organ at St Thomas’ Church was a tone higher than that of St Nicholas,[85] and many of the cantatas have the organ (continuo) parts in two keys, for the two organs. There must have been a separate set of string and wind instruments for each church; for the frequent alterations of strings by so great an interval as a tone would hardly conduce to good intonation.

There were in fact two recognised pitches in use, called chorus pitch and chamber pitch. Of these the chamber pitch was used for ordinary orchestral performances, and was a tone lower than the chorus pitch, to which the organ was usually tuned. This would cause no inconvenience if the orchestras were not used in the churches; but it is very strange that such a troublesome arrangement should have been allowed to continue after it had become the custom to employ the orchestra every Sunday.

Chapter XIV

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.”

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.

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.

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.

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

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.

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.

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.

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.

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.          }

„       D.          } Sung after the morning sermon, as an 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.