No. 14 Spring 2011

BACH NOTES

THE NEWSLETTER OF THE AMERICAN

A NEWLY EXPANDED RESEARCH LIBRARY RENOVATIONS AT THE BACH-ARCHIV LEIPZIG

has grown steadily. The primary emphasis on books and scores is supplemented by numerous special collections, including recordings, images, sculptures, posters, programs, coins, and medals, for a total of more than fifty thousand items. The constant growth of the collection over the past few decades eventually led to a lack of space. This problem was temporarily solved by removing certain materials to repositories outside

After two years of renovations, the of documents and materials IN THIS ISSUE:

Bach-Archiv Leipzig has moved pertaining to the life and works of PAGE back into the Bosehaus on the and other 1. A Newly Expanded Research Library Thomaskirchhof. The house was musicians of his family. The core by Kristina Funk-Kunath originally built in the 16th century of the holdings consist of valuable and renovated in 1711 by J.S. manuscripts and early prints of the 2. The Bach-Jahrbuch 2010 Bach’s neighbor, Georg Heinrich 18th and 19th centuries, including by Bose, who lived there with his wife the original performing materials 3. Raymond Erickson’s The Worlds of and their many musically inclined for the cycle of chorale cantatas Johann Sebastian Bach children. The renovations, which Bach composed during his second by Jason B. Grant took place under the auspices of the year in Leipzig (1724-25). Bach-Archiv’s Director, Christoph Initially conceived as an aid for 5. Markus Rathey’s book on C. P. E. Bach’s Bürgerkapitänsmusik Wolff, brought particularly dramatic resident researchers, the library by Reginald L. Sanders improvements to the museum and today serves a much broader the library. The following article public. Musicologists, music 6. The New Facsimile Edition of BWV 33 was written by the Bach-Archiv’s lovers, students, musicians, and by Melvin Unger Head Librarian, Kristina Funk- Bach enthusiasts from all over the 8. News from Members; Kunath, and appeared in the Bach world visit to conduct research and Officers, Advisory Board, & Magazine 15 (2010). examine the vast collection of music Membership Information and literature. Since the library’s © 2011 The library of the Bach-Archiv holdings were made searchable The American Bach Society Leipzig possesses a unique collection online in 2004, the number of users 2 the Bach-Archiv. But the constricted working area, meters of shelf space), the total capacity of the library lack of air conditioning and, above all, the shortage of has nearly doubled. room for new acquisitions made it ever more difficult The optimization of our library has been worth the many to maintain adequate preservation standards for the years of careful planning it required. With the creation valuable manuscripts and visual images. of a large and well-lit reading room and information With the decision to completely renovate the Bosehaus center, the Bach-Archiv Leipzig stands open for all the came a unique opportunity to restructure the library as world to use, and we would be very pleased to welcome well. From the beginning our goal was to substantially you and your students. improve the reading and working conditions for future visitors and to create the best possible conservation Kristina Funk-Kunath circumstances for the entire collection. Specifically, Bach-Archiv Leipzig this required us to greatly increase the size of the (Translated by Andrew Talle) existing reading rooms (pictured on page 1), and to add supplementary reading and meeting areas as well. In doing so, we were careful to ensure we would have A REPORT ON THE BACH JAHRBUCH 2010 the best security and climate controls available. In the interest of longterm conservation, it was essential to The Bach-Jahrbuch remains the premiere journal for expand the closed stacks and add the most modern Bach studies worldwide. Because its articles are in air conditioning technology. We consider ourselves German, however, many Americans have limited access particularly fortunate now to be able to preserve the to the valuable findings and analyses they present. In valuable manuscripts and other rare items in a climate- hopes of making the journal more accessible to all ABS controlled vault. members, Peter Wollny, the Bach-Jahrbuch’s editor, has The renovation plans included the construction of a kindly allowed Bach Notes to publish this summary of welcoming information center for guiding visitors in the most recent issue’s contents in English. the reading rooms. We also decided to make the entire collection of music-related literature easily accessible The Bach-Jahrbuch 2010 includes ten long essays and in open stacks. The realization of this plan required four shorter contributions by internationally regarded us to adopt a completely new cataloging system (the researchers from Germany, Russia, the Netherlands, Regensburger Verbundsklassifikation) organized by England, Italy, and the United States. Werner Breig topic, which has also increased transparency and made offers an analysis of the contructive principles behind it easier for users to browse in their particular areas of the cantus-firmus canons in Bach’s chorale-based organ interest. works. George B. Stauffer introduces a previously Visitors today have easy access to over 9,000 volumes unacknowledged original print of the Clavier-Übung of specialized research materials as well as current III to which Bach himself made numerous additions periodicals. There are eight work stations outfitted with and emendations in red ink. On the basis of this the most modern technical conveniences. Visitors have discovery Stauffer develops a new theory for evaluating access to two research computers and wireless internet Bach’s personal prints (Handexemplare) of his own service. One of the work stations has also been outfitted publications. Anatoly P. Milka attempts on the basis of with a light table for examining watermarks. In order to handwriting analysis to more precisely date Bach’s last make optimal use of daylight, the work stations were two works, the B-minor Mass and the Art of the Fugue. set up against the windows at the front of the building. He comes to the conclusion that Bach put the final As a result, visitors also have a direct view of the touches on the Art of the Fugue immediately before the historic Thomaskirche and Carl Seffner’s famous Bach eye surgery which caused his death. monument. Two armchairs allow visitors to comfortably Hans-Joachim Schulze devotes an essay to three vocal listen to recordings from the library’s collection. For works (BWV 150, BWV 36c and BWV 209), the texts those who wish use the library over several days, weeks, of which offer previously unrecognized clues as to or months, the Bach-Archiv offers storage capabilities the occasions for their composition. The astonishing for computers, books, and other materials. results illuminate the still rather dark realm of Bach’s The limited space problem has been addressed not only commissioning patrons and lead to far-reaching by expanding the library but also by introducing a more investigations into personal and family histories. modern shelving system. At 185 square meters (ca. 300 Tatjana Schabalina presents new findings on the genesis

No. 14 BACH • NOTES 3 of the cantatas BWV 34 and 34a. Building on the Felix Mendelssohn Bartholdy, and Matteo Messori discovery of a text print from 1727 presented in the investigates a pedal harpsichord built by Zacharias Bach-Jahrbuch 2008, she discusses the original sources Hildebrandt, which he argues may have been used by for the two compositions, finding numerous clues to Bach’s Collegium musicum. their complex early histories. Peter Wollny reports on the discovery of two Bach Peter Wollny manuscripts in the Kantoreiarchiv of the little town of Bach-Archiv Leipzig Mügeln in Saxony. The sources—a J.S. Bach autograph (Translated by Andrew Talle) of a work by an anonymous composer and a C.P.E. Bach autograph of a cantata which represents the earliest BOOK REVIEWS surviving vocal work in his hand—throw new light on the music in Leipzig’s churches in the 1730s and offer insights into the mysterious Picander-Jahrgang. Raymond Erickson (editor). The Worlds of Johann Se- On the basis of numerous previously unknown bastian Bach. New York: Amadeus Press, 2009. documents, Michael Maul is able to elucidate the background of Johann Adolph Scheibe’s famous criticism In 1985, Raymond Erickson conceived and directed a of J. S. Bach. The key to his successful investigation cross-disciplinary Academy sponsored by the Aston proves to be an exemplar of Scheibe’s criticism once Magna Foundation for Music and the Humanities which in the possession of Bach’s cousin, Johann Gottfried celebrated Bach’s 300th birthday with a broad array of Walther, who added in the margins the names of all of events designed to explore the environment that gave rise the other musicians Scheibe anonymously criticized. to Bach’s music. In the spirit of the Aston Magna Acad- Konrad Küster presents a Bach document relating to emies, Erickson’s The Worlds of Johann Sebastian Bach Lorenz Christoph Mizler’s “Society of the Musical is conceived as a cross-disciplinary effort undertaken by Sciences.” It appears in a recitative in a wedding experts in various fi elds (including architecture, history, cantata performed in 1751 by the Kiel cantor, Christian theater, literature, and, of course, music) to provide ba- Friedrich Fischer, which presents a history of German sic information to a Bach-loving, English-speaking au- music and its leading protagonists. dience about a composer who inhabited a place and time Pieter Dirksen devotes his essay to investigating the very different from our own. authenticity of keyboard works by Johann Christoph The book is meant to appeal broadly to performers, mu- Bach (1642–1703). Study of the sources and the sic buffs, concert-goers, and scholars. Any reader, how- development of a stylistic profile offer important ever—whether a newcomer to the music of Bach or the reference points for future research. seasoned professional—will delight in the more than 200 Barbara Wiermann reconstructs the music library illustrations, many in full color, with detailed captions, of the Greifswald lawyer, Johann Heinrich Grave, all written by Erickson. and explicates the biographical and socio-historical The introduction—an expanded version of the keynote conditions which led to the creation of one of the most address Erickson gave at the 1985 Aston Magna Acad- remarkable collections of music from the late 18th emy—is entitled “The Legacies of J.S. Bach.” As the au- century and included many works by C.P.E. Bach. thor writes on the fi rst page, “The ‘legacies’ in the title... The array of shorter contributions to this year’s refer not to Bach’s musical gifts to posterity but rather Bach-Jahrbuch includes Gottfried Simpfendörfer’s to those threads of tradition—be they intellectual, reli- speculations as to the identity of a cantata performed gious, family-related, musical, or social—that provided in Leipzig on Whit Sunday, 1721. In his view, the most Bach with the raw materials he wove into his music, cre- likely candidate is Bach’s Weimar cantata, “Erschallet, ating works of art so rich in meaning and inferences that ihr Lieder” (BWV 172). to study them is to study Western civilization itself.” The Rashid-Sascha Pegah presents a newly discovered introduction covers considerable ground in laying out eye-witness report about a May 1727 celebration for the topics to be covered in the rest of the book; indeed, Augustus the Strong in Leipzig and includes a reference it is signifi cantly longer than any single essay that fol- to J. S. Bach’s cantata, “Entfernet euch, ihr heitern lows. The essays themselves are divided into two parts. Sterne” (BWV Anh.9). Part I, comprised of chapters 1–6, deals with “The Con- Finally, Peter Ward Jones discusses two previously text for Bach,” and paints in broad strokes a picture of unknown copies of Bach works from the library of the various “worlds” inhabited by the composer. Topics

BACH • NOTES Spring 2011 4 covered include the history of Germany in Bach’s day is annoying and diminishes the credibility of the book and the politics of patronage (Norman Rich), religion more broadly. The selection of fi gures and the writing (Robin A. Leaver), architecture (Christian F. Otto), Ba- of the captions seem to have been totally separate from roque novels by and about musicians (Stephen Rose), the composition of the individual essays. Perhaps if the Leipzig as a center of German acting (Simon Williams), authors had had more of a hand in this work, infelicities and dance (Meredith Little). Part II, comprised of chap- of this type could have been avoided. ters 7–9, deals with “Bach in Context,” covering Luther While the cross-disciplinary approach of the book is (Robert L. Marshall), the lure of the ‘big city’ (George B. certainly noble, the quality of the essays varies widely. Stauffer), and the town of Leipzig in particular (Chris- All of the Bach experts make strong showings; even if toph Wolff), and their importance for Bach. The book they have nothing earth-shaking to reveal, it is a pleasure concludes with an afterword about Bach in the 21st cen- to read these encapsulations of topics they have covered tury by Hans-Joachim Schulze. in greater detail elsewhere. Of the essays by non-Bach Erickson certainly succeeded in making a book that will experts, the historical essay by Norman Rich is the most appeal to the general reader. None of the essays deal in valuable; anyone interested in Bach can benefi t from this matters that require specialized knowledge, even though as a refresher course of the various forms of patronage many Bach specialists are represented among the au- under which Bach served and their roots in the history thors. In the preface, Erickson thanks the contributors of the Holy Roman Empire. I found the weakest offer- for “speaking through their writing to the interested ing to be Christian F. Otto’s “Architectural Settings.” It general public as well as to their peers.” His introduc- is little more than a loose collection of descriptions of tion offers general readers a survey of the major issues various buildings with hardly any attempt to connect concerning Bach’s life and career, and the various lega- them with Bach. My impression was made worse by an cies to which Bach was heir: his family, his religion, and editorial mishap whereby the endnote callouts do not the many strands of Western musical tradition which correspond to the correct endnotes. came together in his work. Another oddity is the afterword, “Bach in the Early Experts, on the other hand, will fi nd that there is noth- Twenty-fi rst Century,” by Hans-Joachim Schulze. It was ing really new here. Virtually all of the information not commissioned for this book; rather it is a republica- about Bach’s biography, his career, etc., can be found in tion of an essay which appeared in Bach Studies in Dub- other works, especially ’s Johann Sebas- lin, edited by Anne Leahy and Yo Tomita (Four Courts tian Bach: The Learned Musician (Norton, 2000). More Press, 2004). Whereas the introduction and the following problematic, however, is the amount of internal repeti- essays seek to provide a sketch of the contexts in which tion in the book when read as a whole. Much of this can Bach lived and worked, and the legacies that he inher- be attributed to the introduction, which is out of scale ited, the afterword is a call to performers and scholars to with the rest of the book and covers so many issues that exercise careful judgment when approaching the com- Erickson ends up stealing everyone else’s thunder. poser’s life and works. After reading so many essays by I fi nd the presence of the editor a little too intrusive in authors trying to make the most of what few biographi- the essays as well. Erickson has added several editor’s cal sources there seem to be, it is somewhat disconcerting notes to the contributions by non-Bach specialists. I ap- to end the book with Schulze’s call for caution: “Despite preciate the need to expand on or clarify an issue in the recent discoveries, we still know almost nothing about non-specialist’s work, but why not simply add the notes the man himself, little about circumstances accompany- in the normal process of editing? It seems unnecessary ing his duties (at most only offi cial things), again nearly to make explicit which notes originated with the author nothing concerning the performance and resonance of and which with the editor. his works during his lifetime.” Schulze refers unfavor- The captions for the fi gures, all written by Erickson, also ably—at times obliquely, at times explicitly—to several give the impression of a disconnect between the editor recent (and some long-standing) controversial claims and his authors. For example, in Christian F. Otto’s “Ar- regarding Bach’s music, for example the one-on-a-part chitectural Settings,” it is mentioned that Bach heard the hypothesis, the quest for numerological and other “hid- great organist Johann Adam Reinken in Hamburg, with den meanings” of Bach’s music, and the reconstruction reference to fi g. 3.4 on the same page (145). The cap- of lost works (especially the St. Mark Passion). He also tion gives the name as Jan Adam Reinken (the general cautions against staged interpretations of Bach’s music index gives the name with the spelling “Johann”). This and rigid performance practice dogmas, especially with non-uniformity of names, especially on the same page, regard to tempo and temperament. Through all of this,

No. 14 BACH • NOTES 5

Schulze reminds the reader that not enough information published in Hamburg in 1779, in which the lessons that exists for modern scholars to determine how Bach’s mu- emerge from the island society are intended to benefi t sic would have sounded in his own day. Although a fi ne all societies. This multifaceted discourse was consistent piece in itself, it seems out of sync with the overall tone with and enriched by the views of the theologians. and approach which characterize this volume. Bach’s Bürgerkapitänsmusiken took part in this dis- Ultimately, I would recommend the book to the gen- course on many levels and in many of the same ways eral reader, as it does provide a wealth of basic informa- as the corresponding works of Bach’s Hamburg pre- tion about Bach and his environs. The introduction is decessor Telemann. The texts to Bach’s compositions, particularly valuable in this regard. Though experts will delivered by such allegorical fi gures as “Love of the probably learn nothing new, the essays stand as useful Fatherland,” “Chorus of the Patriots,” and “Chorus of repositories of information. One could perhaps make the Virtuous,” correlate extremely well with the ideals good use of this volume in the classroom, as a means of found in the moral weeklies and the writings of Campe. helping students understand that Bach did not compose And undoubtedly infl uenced by Telemann’s music of in a vacuum. His was indeed a complex world, made up 1756, which mentions the 1755 Lisbon earthquake, of several smaller “worlds,” the investigation of which Bach’s Bürgerkapitänsmusiken also point to unfortunate can help us get a glimpse of the man behind the music. contemporary events as examples of what may happen if one does not lead a virtuous life. The 1780 music refers Jason B. Grant to the 1780 Lord Gordon Uprising in London, stem- Packard Humanities Institute ming from the Protestant Association’s petition against the Catholic Relief Act of 1778, and the 1783 music re- Markus Rathey. Kommunication und Diskurs: Die fers to the 1783 Messina, Italy, earthquake. Bürgerkapitänsmusiken Carl Philipp Emanuel Bachs. As the title of the book indicates, Rathey’s analysis con- Hildesheim: Georg Olms Verlag, 2009. cerns both the discourse and the communicative aspects of the works that serve that discourse. For example, he Carl Philipp Emanuel Bach has long been recognized as demonstrates that a central communicative position is an authoritative 18th-century voice on playing keyboard given to the large, multi-sectional outer choral move- instruments and as an important composer of music for ments of both the oratorios and serenatas by virtue of such instruments. His years in Hamburg, particularly as Bach’s reliance in these movements on a mixture of a church musician, have also been the subject of recent ritornello and rondo forms—popular and beloved con- scholarship, and the present volume sheds more light temporary forms that involve repetition of particular on Bach in Hamburg, as the composer of music for the sections of the text. Further, into the architecture of annual celebration for the “citizen captains” of the lo- the closing choral movements of the oratorios Bach in- cal militias. Bach composed his Bürgerkapitänsmusiken, corporated chorale arrangements—commentary on the consisting of an oratorio (the religious portion) followed discourse—that were sung not only by the performers by a serenata, to texts by Christian Wilhelm Alers, for but also by the audience. This “mitsingen” served to the celebrations in 1780 and 1783 (though the music to decrease the social distance between audience members the 1783 oratorio is lost). and performers, and also affi rmed the content of the dis- The particular appeal of Rathey’s book lies in his fruitful course. analysis of these works within the socio-historical con- In another instance, Rathey shows that while secco- text in which they were composed and performed. The recitatives are the true conveyors of the discourse and discourse he identifi es in Enlightenment-infl uenced, dramatic action, they are not simple refl ections of the late 18th-century Hamburg involves personal develop- text, serving to heighten the dramatic moments. Instead, ment—the triumph of virtues over vices; the role of re- in these sections the musical structure achieves its most ligion in a virtuous life; and patriotism, meaning in this intense affi rmative function, as prominent tonal effects time and place complete devotion to the betterment of clearly demand the listener’s attention. Concerning ac- one’s “fatherland.” Contributing to this public discus- companied recitatives, Rathey looks to Johann Adolph sion were the moral weeklies and writings of authors Scheibe, who maintained that in sacred works accom- such as Joachim Heinrich Campe, whose children’s panied recitatives awaken greater devotion and have a literature is full of lessons concerning virtue and vice. much stronger effect on the heart than secco-recitatives. Rathey devotes particular attention to Campe’s adapta- In Bach’s works in this genre, accompanied recitatives tion of the Robinson Crusoe story, an Erziehungsroman have a similarly strong effect on the heart in awakening

BACH • NOTES Spring 2011 6 feelings of patriotism. employing the fourth stanza as text. The librettist is un- The Bürgerkapitänsmusiken are original works except known, though suspected to be Andreas Stübel, “for- that the closing movement of the 1783 serenata is a re- mer conrector of the St. Thomas School who died in the working of the corresponding movement of the 1780 spring of 1725.” serenata. Rathey discusses the individual movements The coloring, texture, and weight of the facsimile’s which were later adapted for use in the Dankhymne der paper strike one immediately for their amazingly au- Freundschaft and the 1786 music celebrating the com- thentic look and feel. Except for the absence of wear, pletion of St. Michael’s tower (H 823). The complete the materials could almost be mistaken for originals. librettos to both of Bach’s Bürgerkapitänsmusiken are The score is ruled variously for 23, 24, or 25 staves per included as an appendix to this welcome and valuable page, some of which are left unused on the bottom of contribution to the literature on C. P. E. Bach in Ham- several pages. Distinctions between his initial intentions burg. and subsequent corrections in darker ink are explained in the accompanying commentary, which is impressive Reginald L. Sanders for its comprehensiveness and level of detail. Foxing and Kenyon College bleed-through is minimal, and back-printing virtually non-existent. In comparison, the performing parts (in the hand of Johann Andreas Kuhnau, Christian Gottlob REVIEW OF A FACSIMILE EDITION Meißner, and an anonymous helper) exhibit more pro- nounced bleed-thorough. Like the score, however, they Johann Sebastian Bach, “Allein zu dir, Herr Jesu show no evidence of holes (even where corrections have Christ,” BWV 33. Autograph Score (Scheide Library, been made with a heavy hand) and virtually no signs of Princeton, New Jersey), Original Parts (Bach-Archiv, fading. Leipzig, Thomana-Sammlung), and Text Booklet for Of particular signifi cance are the emendations (almost the 13th to 16th Sundays after Trinity and St. Michael’s all by Bach himself) that were made to the performing Day, 1724 (Russian National Library, St. Petersburg). parts. These, too, are systematically explained in the With a Commentary in German and English by facsimile’s accompanying commentary: the corrections Christoph Wolff and Peter Wollny. Published jointly and clarifi cations Bach made to the instrumental parts by The Bach-Archiv Leipzig and Bärenreiter Verlag for the original performance on September 3, 1724, his as vol. 5 of Leipzig’s Faksimile-Reihe Bachscher Werke addition of tacet markings to the transposed organ part und Schriftstücke – Neue Folge, 2010. in movements 2, 3, and 4 for a later performance (early 1730s?), implying dual accompaniment in movements 1, As Christoph Wolff and Peter Wollny state in the in- 5, and 6, a thorough revision of the parts sometime af- troduction to these facsimile materials, “Not a single ter 1745 (the commentary makes note of similar refi ne- vocal work of Johann Sebastian Bach has ever been ments Bach made to other works during the 1740s), and presented in a facsimile edition of the complete set of the addition of more continuo fi gures by Carl Friedrich original sources. The present publication of the cantata Barth to the transposed continuo part (some of them ‘Allein zu dir, Herr Jesu Christ’ BWV 33 avails itself of incorrect) for a performance that apparently took place the unique opportunity of bringing together the auto- on the 13th Sunday after Trinity in 1755 (August 24). graph composing score, the performing parts, and the For this project Barth evidently received assistance from text booklet of 1724 in faithful reproductions.” It is a Christian Friedrich Penzel, who completed a copy of remarkable achievement, since the materials reside thou- the score on the following day. sands of miles apart in three different countries. It is particularly fortuitous that an original matching text Belonging to the so-called chorale-cycle, a series of booklet, recently found in the Russian National Library hymn-based cantatas that Bach composed during his sec- at St. Petersburg, could be reproduced with the other ond year in Leipzig (1724–25), “Allein zu dir, Herr Jesu materials, for it helps recreate the perspective of Bach’s Christ” comprises six movements: a chorus in which the listeners. Such booklets typically contain the cantata li- fi rst stanza of the chorale is employed verbatim, a bass bretti for several successive Sundays and/or feast days. recitative and alto aria whose poetic texts are based on They were printed at the cantor’s expense and then sold the hymn’s second stanza, a tenor recitative and tenor- to parishioners. In this case, the pocket-sized pamphlet bass duet whose texts paraphrase the third stanza, and a contains fi ve cantata librettos, with that of BWV 33 ap- concluding four-part harmonization of the chorale tune pearing fi rst. St. Thomas Church is given as the perfor-

No. 14 BACH • NOTES 7

of Princeton, who proposed a facsimile edition at his own 95th birthday (January 6, 2009), and to whom the publication is dedicated. The parts, on the other hand, were sold in 1750 by Anna Magdalena Bach to the city of Leipzig, where they have remained ever since (except for a brief period toward the end of World War II, when they were taken to Grimma for safe-keeping). The cur- rent title wrapper was supplied by an unknown hand in 1750 when Bach’s estate was settled. Its blue-grey color is faithfully reproduced in the facsimile. The importance of these facsimile materials is manifold. Not only do they provide insight into Bach’s composi- tional process, but they also illuminate Bach’s work con- ditions and the transmission of his music. The luxuri- ous reproduction of the originals is impressive—indeed, seemingly fl awless. The resulting work is highly to be recommended—it will appeal to both the dedicated re- searcher and the casual scholar.

Melvin Unger Riemenschneider Bach Institute Baldwin-Wallace College

mance venue. Locations for the succeeding cantatas are similarly named, following the normal alternating pat- tern between the two main churches in Leipzig; the can- tata for St. Michael’s day, however, was performed twice: “Früh zu St. Thoma, und Nachmittage zu St. Nicolai”). Cantata arias were evidently of particular interest, for their texts are rendered in larger typeface than the rec- itatives. Da capo rubrics are included at the ends of arias where appropriate, suggesting that listeners were as- sumed to possess a level of musical sophistication. After J. S. Bach’s death, the score for Cantata 33 was passed down to his eldest son, , who kept it until his own death in 1784. Subse- quent owners are named in the commentary. In 1965 it was purchased by the library of William H. Scheide

BACH • NOTES Spring 2011 8

NEWS FROM MEMBERS The Museum of the Bach-Archiv THE AMERICAN BACH SOCIETY Leipzig would like to announce that a The American Bach Society is new selection of precious manuscripts OFFICERS th pleased to award 2011 William H. will be on view beginning April 5 . Mary J. Greer, President (Cambridge, MA) Lynn Edwards Butler, Vice-President Scheide Research Grants to two Pieces from the Elias N. Kulukundis Collection will be featured, including (Vancouver, BC) of its members: Mark Peters and Mark Peters, Secretary-Treasurer (Trinity Markus Rathey. Dr. Peters (Trinity Johann Christian Bach’s newly Christian College) Christian College, Palos Heights, discovered opera, Zanaida. On April Andrew Talle, Editor, Bach Notes (Peabody IL) will use the Scheide Grant to 14 a concurrent exhibition on the Conservatory) conduct research on the textual, 300-year history of the Bosehaus ADVISORY BOARD liturgical, theological, and musical will open, illuminating daily life in J. S. Bach’s Leipzig with musical James Buswell (New England Conservatory) aspects of “Meine Seele erhebt den Stephen A. Crist (Emory University) Herren” from Luther’s liturgical instruments, paintings, decorations, Don O. Franklin (University of Pittsburgh) reforms to the cantatas of J. S. Bach and documents of the era. Greg Funfgeld (Bach Choir of Bethlehem) and his contemporaries. The ultimate Walter B. Hewlett (Center for Computer- Channan Willner (New York Public Assisted Research in the Humanities) goal of this research is a monograph Robert Levin (Harvard University) to be titled The German Library) would like to announce that Daniel R. Melamed (Indiana University) from Martin Luther to J. S. Bach. Dr. two new articles—“Then and Now: George Ritchie (University of Nebraska) Rathey (Yale University) will use the Heinrich Schenker’s Analysis of Kenneth Slowik (Smithsonian Institution) Scheide Grant to conduct research the Sarabande from Bach’s E minor Kerala J. Snyder (Eastman School of Music) English Suite” and “Sequential George B. Stauffer (Rutgers University) on the (BWV Jeanne R. Swack (University of Wisconsin) 248), one of Bach’s most popular Expansion and Baroque Phrase Melvin Unger (Riemenschneider Bach Institute) and yet least-studied compositions. Rhythm”—are freely available at: Allan Vogel (Los Angeles Chamber Orchestra) Studies of the autograph score and www.channanwillner.com. Christoph Wolff (Harvard University) original parts will shed light on his compositional procedures, and an Richard Benedum (University of EDITORIAL BOARD Dayton, emeritus) has received a Gregory G. Butler (Univ. of British Columbia) investigation of the context will Stephen A. Crist (Emory University) situate the work within Leipzig’s grant from the National Endowment Mary J. Greer (Cambridge, MA) unique cultural environment. for the Humanities to direct an Robin A. Leaver (Yale University) interdisciplinary Institute for Daniel R. Melamed (Indiana University) Kerala J. Snyder (Eastman School of Music) The 2011 will teachers, “Mozart’s Worlds: Bridging West and East,” to be held in Vienna George B. Stauffer (Rutgers University) run this year from June 10-19. The Russell Stinson (Lyon College) theme is “... In The Italian Style,” June 20-July 15, 2011. The Institute Ruth Tatlow (Stockholm University) which will highlight Bach’s interest is planned for 22 teachers and 3 Christoph Wolff (Harvard University) in the work of Italian masters, from graduate students, and will focus Palestrina and Frescobaldi to Vivaldi, on Die Entführung aus dem Serail MEMBERSHIP INFORMATION Porpora, and Pergolesi. A particular and Die Zauberflöte. This will be Founded in 1972 as a chapter of the Neue Bach-Gesellschaft, the American Bach highlight of this year’s Bachfest is the Dr. Benedum’s 14th seminar on Society is dedicated to promoting the performance of Zanaida, an opera Mozart’s music for the NEH. After retiring from full-time teaching at study and performance of the music of by Johann Christian Bach, in the Johann Sebastian Bach. Annual dues are the University of Dayton, he moved Goethe-Theater in Bad Lauchstädt $50 ($25 for students). Membership infor- (June 15 and 16). The work was to Florida and has been appointed mation and application materials are avail- last performed in 1763 at London’s co-director of the Sarasota-Manatee able online at www.americanbachsociety. King’s Theatre, and was believed lost . He also presented a org. Interested persons may also contact before it was acquired by Elias N. workshop on “Grant-Writing for Mark Peters, Trinity Christian College, Kulukundis, whose collection is now Music Faculty” for the College 6601 West College Drive, Palos Heights, IL 60463, USA, or [email protected]. held in trust by the Bach-Archiv. Music Society’s annual meeting in The festival also features works by September. ® 2011 by The American Bach Society two more recent Bach enthusiasts, All rights reserved who celebrate round anniversaries The Bach Festival Society of this year: Franz Liszt and Gustav Winter Park (Florida) celebrates th Please visit the ABS website Mahler. For more information please its 76 anniversary with music visit the website: by Beethoven, Mozart, Bach, and www.americanbachsociety.org www.bach-leipzig.de. Vivaldi, among others. For more for concert and festival listings information please visit the website: www.BachFestivalFlorida.org.

No. 14 BACH • NOTES