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Questions of authenticity in three motets attributed to Johann Sebastian Bach.
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Questions of authenticity in three motets attributed to Johann Sebastian Bach
Morton, Wyant, A.Mus.D. The University of Arizona, 1992
V·M·I 300 N. Zeeb Rd. Ann Arbor, MI48106
QUESTIONS OF AUTHENTICITY IN THREE MOTETS
ATTRIBUTED TO JOHANN SEBASTIAN BACH
by
Wyant Morton
A Document Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
DOCTOR OF MUSICAL ARTS WITH A MAJOR IN CONDUCTING
In the Graduate College
THE UNIVERSITY OF ARIZONA
1992 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE
As members of the Final Examination Committee, we certify that we have read the document prepared by ------Wyant Morton entitled------QUESTIONS OF AUTHENTICITY IN THREE MOTETS ATTRIBUTED TO JOHANN SEBASTIAN BACH
and recommend that it be accepted as fulfilling the requirements for
the Degree of A. Mus. D.
4/7/92 Date 4/7/92 Date 4/7/92 ~~ohn Brobeck Date
Date
Date
Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.
4/7/92
Director Dr. Maurice H. Skanes Date 3
STATEMENT BY AUTHOR
This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the library.
Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.
SIGNED: --w.rt"'-lM~iL--- 4
ACKNOWLEDGEMENTS
The author wishes to acknowledge the following individuals whose
valuable contributions have facilitated the completion of this document and his
graduate studies:
Helmuth Rilling, Director of the International Bachakademie Stuttgart and
Deputy Chairman of the Neue Bachgesellschaft, who introduced the author to
the three motets upon which this study focuses and provided him with a broad
perspective on the choral art both musically and philosophically.
Dr. John Brobeck, Professor of Musicology at the University of Arizona,
for his careful attention to the manuscript and his many helpful suggestions.
Dr. Maurice Skones, Director of Choral Activities at the University of
Arizona, whose musical and intellectual insights have not only inspired the
direction of this paper, but have also given the author an intensely meaningful musical and spiritual perspective. His wise counsel and understanding have repeatedly provided the author with the necessary incentive to persevere and have ultimately led to his pursuits as a conductor.
Most important, the author wishes to express his deep love and gratitude to his parents Clifford and Carla Morton for their continued support, encouragement, love and understanding. 5
TABLE OF CONTENTS
LIST OF ILLUSTRATIONS ...... 6
ABSTRACT ...... 7
INTRODUCTION ...... 8
THE MOTETS OF JOHANN SEBASTIAN BACH ...... 9
Der Gerechte kornrnt urn ...... 11
Jauchzet dern Herrn, aile Welt ...... 26
Ich /asse dich nicht...... 31
SUMMARy ...... 42
SELECTED BIBLIOGRAPHy ...... 43 6
LIST OF ILLUSTRATIONS
Figures Page
1. Tristis est anima mea by Johann Kuhnau, mm. 1-8 14
2. Der Gerechte kommt um, mm. 1-8 15
3. Der Gerechte kommt um, mm. 72-78 17
4. Tristis est anima mea, mm. 58-64 18
5a. Tristis est anima mea, mm. 85-92 19
5b. Der Gerechte kommt um, mm. 99-106 19
6. Der Gerechte kommt um, mm. 1-8 20
7. o Jesu Christ, meins Lebens Licht by J.S. Bach, mm. 1-6 21
8. Der Gerechte kommt um, mm. 1-9 21
9. Der Gerechte kommt um, mm. 1-8 22
10. o Jesu Christ, meins Lebens Licht, mm. 1-6 23
11. Sei Lob und Preis und Ehren, mm. 1-10 27
12. Nun lob, mein See I, den Herm by J.S. Bach, mm. 1-10 28
13. FOrchte dich nicht by J.e. Bach, mm. 39-57 34
14. FOrchte dich nicht by J.S. Bach, mm. 77-80 36
15. Ich lasse dich nicht, mm. 84-96 37
16a. Ich lasse dich nicht, mm. 1-5 39
16b. FOrchte dich nicht by J.S. Bach, mm. 1-3 40 7
ABSTRACT
The motets Der Gerechte kommt um, Jauchzet dem Herm aile Welt and
Ich lasse dich nicht have figured prominently in the ongoing discussion
regarding the authentic and spurious motets of Johann Sebastian Bach. While
the high musical quality of these compositions has long been recognized,
disagreement over their authorship has continued because of the complexity of their source transmission. Evaluation of previous scholarship in light of recent investigations into the source transmission of these pieces suggests that all three works wsre, indeed, the handiwork of J.S. Bach. In support of this premise, a look at stylistic evidence derived from these pieces and selected cantatas and motets by J.S. Bach makes clear that an attribution to J.S. Bach is in the realm of very high possibility. 8
Introduction
There is no consensus as to the actual number of motets written by
Johann Sebastian Bach. The issue, however, has occasioned considerable debate in the scholarly literature. This study examines three motets (Der Gerechte kommt um, Jauchzet dem Herm, al/e Welt and Ich lasse dich nicht) that have figured prominently in the on-going discussion regarding the authentic and spurious motets of J.S. Bach. Although the high musical quality of these compositions has long been recognized, disagreement over their authorship has arisen because of the complexity of their source transmission.
Indeed, some scholars have dismissed J.S. Bach from consideration as the composer of these three motets. Perhaps as a result, many conductors have come to ignore these works, dismissing them as having been written by a lesser composer.
This study evaluates previous scholarship in light of recent investigations into the style and source transmission of these pieces, analysis which suggests strongly that all three were, indeed, the handiwork of J.S. Bach. In support of this premise, this study presents stylistic evidence derived from these pieces and selected cantatas and motets by J.S. Bach whose authenticity is uncontested. I
9
The Motets of Johann Sebastian Bach
When compared with the cantatas, the motets of Bach are few in number
and are composed in a singularly old-fashioned style, especially those written
for double chorus. Seemingly, Bach modeled his motets on the music of
composers such as Schein and SchOtz, musicians who flourished in the middle
of the seventeenth century. The unique position the motets occupy in Bach's
oeuvre, however, is not dependent on their composition style alone. In fact, the
uniqueness of the motets may be best understood by an examination of their
liturgical function and their function in the musical life of Leipzig in general.
While the cantata had a prominent place in the Sunday service and was
intended to supply a reflective comment on the Gospel and the sermon, the
motet's primary purpose was to put the congregation in the appropriate mood
for the service. Typically, it functioned as an Introit following the organ prelude.
Because of this relatively unimportant role, it was unnecessary for Bach to
create new compositions each week. Furthermore, Bach had at his disposal all
the motets he needed in the collection of Latin motets entitled Florilegium
portense. Consequently, Bach only wrote motets for special occasions such as
funerals, memorial services and burials. This helps explain the relatively small
number of Bach's extant motets.l
There is still no universal consensus as to the actual number of
"genuine" Bach motets.2 During Bach's lifetime the motets became prestigious
showpieces of the St. Thomas choir. But in the years following his death,
1 Roger Clement, trans., Jacket Notes, Die Motetten, Music by Johann Sebastian Bach, Condo Helmuth Rilling, Gachinger Kantorei, Bach-Collegium Stuttgart (StuHgart, 98.965, 1990) 20. 2 Clement 20-21. 10
several spurious works also came to be attributed to Bach. The~ In the nineteenth-century, with the renewed interest in Bach's music, some of his authentic works were judged unworthy and eliminated from the repertoire.
Consequently, choral conductors today are faced with many difficult decisions regarding the authenticity of several fine compositions. Three motets in particular (Der Gerechte kommt um, Jauchzet dem Herm, aile Welt, and Ich lasse dich nicht) figure prominently in the on-going discussion of the authentic and spurious motets of J.S. Bach. Questions of authenticity pertaining to each of these works will be addressed in the chapters that follow. 1 1
Der Gerechte kommt um
In order to examine the authorship of the motet Der Gerechte kommt um,
it is necessary to turn to the music of Carl Heinrich Graun (1703-1759). Der
Gerechte kommt um has come to us as part of a revised setting of Graun's
passion cantata Ein Uimmlein geht und tragt die Schuld (A Lamb Goes Forth
and Bears the Guilt). This cantata was a very popular work in its day, so much
so that it was altered and revised many times by cantors and directors to fit the
needs of particular performance situations. Such revisions were a common
practice during this period. In his well known book Music in the Baroque Era
Manfred Bukhofzer points out, lithe standards of the Baroque period permitted
extensive use of borrowed material."3 In one particular revision of this cantata, sections of Graun's music were removed and music by other composers was
added, including the chorus Der Gerechte kommt urn.
In a 1964 Masters Thesis from U.C.L.A., John W. Grubbs labels this
revised version of the passion cantata as a sacred pasticcio. As the name
suggests, a pasticcio blends heterogeneous pieces by various composers into
a new piece. Comparison of this revised cantata with Graun's extant sacred
vocal music convinced Grubbs that none of the additions found in the cantata
could have been written by Graun, and were the work of more than one
composer. Grubbs writes that lithe revision is revealed to be a pasticcio
containing music of Telemann, J.S. Bach and others."4 He further developed
this idea in an article appearing in the 1965 Bach-Jahrbuch. There, he argues
3 Manfred Bukhofzer, Music in the Baroque Era (New York, 1947) 344. 4 John W. Grubbs, An Eighteenth-Century Passion Pasticcio by C.H. Graun, thesis, U.C.L.A., 1964, 2. 12
convincingly that Georg Philipp Telemann composed five of the added
movements, while the chorale fantasia was borrowed from Bach's Cantata 127.
He noted, moreover, that Bach probably also composed the bass aria and that
some of the chorale movements may have been written by Bach's son-in-law
Johann Christoph Altnikol.5 Grubbs, however, could find no model for the
chorus Der Gerechte kommt um, which he described in the following manner:
This extraordinary beautiful chorus is apparently totally unknown and is in a style so much like that of Bach that the present author was convinced for a time that Bach was the composer. But while the depth of expression, the harmonic richness, and the melodic beauty suggest the genius'of Bach, the general inelasticity of the vocal parts and the squareness of the phrases suggest that some other person in the Bach circle must have been the composer.6
As we shall see, however, there is a good reason for the Itgeneral inelasticity of
the vocal parts and the squareness of the phrases. N For the vocal parts of this
work were not originally composed for the text Der Gerechte kommt um but, in
fact, were taken from an earlier composition.
In an article from the 1967 Bach-Jahrbuch, Diethard Hellmann discusses
the source for Der Gerechte kommt um. He writes, Itwhat is involved is a
recasting of the motet Tristis est anima mea by Johann Kuhnau (1660-1722),
Bach's predecessor in Leipzig." In other words, someone took the five-voice a
cappella motet Tristis est anima mea by Johann Kuhnau and arranged it, with a
new text, for five-voices and six-part orchestral accompaniment (two winds and four-part string orChestra). This arrangement is the chorus Der Gerechte kommt um.?
5 John W. Grubbs, "Ein Passions-Pasticcio des 18. Jahrhunderts,· Bach-Jahrbuch 51 (1965): 35. 6 Grubbs, /Eighteenth-Century 176. 7 There is now, however, considerable debate in the scholarly community regarding the authorship of Tristis est anima mea. It has generally been believed to stem from Bach's 1 3
The text for Der Gerechte kommt um (The righteous must die) comes from Isaiah 57: 1-2 and replaces the Latin text found in the Kuhnau original, Tristis est anima mea (My soul is sorrowful even unto death). The same basic feeling is common to the original Latin text and the newly set words of Isaiah, so that it was relatively easy to adapt the new text setting to the structure of the original Latin motet.s A comparison of the text from the original motet Tristis est anima mea to that of the arrangement Der Gerechte kommt um can be seen below.
Tristis est anima mea
Tristis est anima mea usque ad mortem; My soul Is sorrowful even unto death; sustinete hic, et vigilate mecum: stay here awhile, and watch with me
Jam videbitis turbam, quae circumdabit me. now you shall see the mob that will surround me.
Vos fugam capietis, et ego vadam immolari pro vobis. You shall take flight, and I shall go to be sacrificed for you.
Der Gerecbte kommt urn
Der Gerechte kommt um, und niemand ist, der es zu Herzen nehme; The righteous must die, and there is none whose heart Is moved to feel It,
predecessor in Leipzig, Johann Kuhnau. Some scholars, however, believe that Kuhnau did not compose this piece, which is still frequently sung today, but only performed it in Leipzig. Some have suggested that Tristis est anima mea brings to mind Italian models, DUrante or Lotti, for example. This was argued convincingly by Christolph Wolff at the ·Sommerakademie Johann Sebastian Bach,· held in Stuttgart in 1990. While this is an important issue in and of itself, further discussion goes beyond the intent of this study. I have chosen, for the purpose of this discussion, to refer to the motet Tristis est anima mea as a composition by Johann Kuhnau. It is with full awareness of the debate at hand, however, that I make this decision. S Johann Sebastian Bach, Der Gerechte kommt um, Appendix, ed. Diethard Hellmann, Stuttgarter Bach-Ausgaben, Serie C (Neuhausen-StuUgart, 1972) X. 1 4
und heilige Leute werden aufgerafft, und niemand achtet drauf. and men of great mercy have been taken hence, and no one thinks of It.
Denn die Gerechten werden weggerafft vor dem Ungh.ick; For these same righteous havo been sent away from the evil;
und die richtig vor sich gewandelt haben, they that rightly and well have walked among us,
kommen zum Frieden und ruhen in ihren Kammern. shall then be peaceful, reposing within their chambers.
Judging from the retexting of the voice parts, it seems entirely possible
that ,1.8. Bach could have been the arranger of the Kuhnau motet. A few
examples may be cited in support of this.9 In the Kuhnau original, the opening
eight measures, seen in Figure 1, conclude with the short soprano call on the
word "tristis."
Figure 1 Tristis est anima mea by Johann Kuhnau, mm. 1-8
J 5 .--!... . e Ie hAipj tr Tri - sirs,
Trl - 5115, Irl - - 5115, __
Ii Ij JI,J JI#I Irl - - 5115,
Tri - - slls, Irl - - slls,
9 In comparing these two works, note that Der Gerechte kommt um is in the key of E minor. It is transposed down a half-step from the Kuhnau original which is in the key of F Minor. 1 5
This music is expanded in the arrangement Der Gerechte kommt um to fit the
new text (see Figure 2). The new text, "The righteous must die," is depicted in
the soprano and tenor parts by means of chromatic inflections. With the
addition of these strongly expressive lines, this section, by means of slight
variation, is interestingly recolored harmonically. The point of greatest tension
is clearly in the penultimate chord where, again, chromatic alterations are used
to create a startling and dissonant All diminished seventh chord over a B pedal
on the words "kommt um" (meaning, in this context, "must die").
Figure 2 Der Gerechte kommt um, mm. 1-8
....- • '''!' IP' 1 II I. riA r t . r . - 0 •• __ G••• och • - t. kommt um, Stt, __ rht r,',hr· • toLU mUll dr'"
u --" D-;r::.:. G. - .och .. tt' kommt um, kommt um, SII,_ rht_ ,.,11, .. .. IOu, mUll dil, mulf dil,
I : 2 . Ij, « loJ « LT u i 1 ~ 'U ~ • d.,_ G. - loch t. kommt um, D •• G. - I~h -~, ,tt _ - - S", .h. ,lgA, .. tOtll, , .h. rlGh, . .. 1011' mUll d,'"
• J i I F w 9 I, W, I I.. ' o~ G. - loch - t., d., G. - lOCh - '--::"" - t. kommt um, kommt um, 5",_ ,III ".,~, .. tOtl., Uti 'h, r;,h, .. .. tOU, muff dil, must dil, 16
In Figure 3, taken from Der Gerechte kommt um, the idea of "UngIOck" (misfortune) is interpreted musically with a long suspension which resolves to a
major chord, unlike the original version. to While this resolution may be
unexpected to modern ears, it may, in fact, reflect a carryover of earlier
theoretical concepts into the sixteenth and seventeenth-centuries. As one can
see from Claudio Monteverdi's madrigals and his opera Orfeo, in the sixteenth
and seventeenth-centuries, misery, misfortune or extreme anguish not
infrequently were depicted by modulating to the "hardN(dur) or "sharp" side of
the hexachordal system .11
The text that follows, "und die richtig vor sich gewandelt haben" (they that
rightly and well have walked among us) is made more graceful than its original
by means of passing tones. The word Ngewandelt" (walking) is depicted by
continuous quarter notes as opposed to the half notes used in the original
version (see Figure 4). This section achieves the appropriate declamation for
its new text. 12
, 0 Bach, Der Gerechte XI. " This was suggested to me by Dr. John Brobeck, Professor of Musicology at the University of Arizona. This technique may be seen in a number of examples found in Sarah Fuller's anthology The European Musical Heritage, 800-1750 (Alfred A. Knopf: New York, 1987.). In example 51, Da Ie belle contrade d'oriente by Cipriano De Rore (1516-1565), on page 268 (mm. 35-40), the emotion of "sadness" is depicted by the move to the G#. In example 54, Moro, lasso, al mio duolo by Carlo Gesualdo (c. 1561-1613). on pages 282-285, many examples may be found where the sharp is used to depict the text. Many examples of this same technique are also found in music of the seventeenth-century. Example 62 is taken from Euridice by Jacopo Peri (1561-1633). On page 350. a G# is used to depict the viper which bites Euridice. This same story is set to music by Claudio Monteverdi in his opera Orleo (found in example 63). This composition also contains many examples where the hard or "durN side of the hexachord is used to depict certain emotions. Further examples are abundant in the repertoire from this period, many of which can be seen in Fuller's anthology. '2 Bach, Der Gerechte XI. 1 7
Figure 3 Der Gerechte kommt um, mm. 72-78
\10'_ d.m Un /'0 .. - Ihl - I 2 --' yor_ d.m Un - und dl. ,Ich - IIg \'or 1'0'". Ih' Ih,y Ihol .. ,hI' Iy o.d
I I, .. ..,. ~ P-'-: .,u-.-'" \'or Ilch g. ",'an - d,lt .. If •• ~'rg - g. - .. If. \'01 d.m Un - gluck , und dl. rich - III Ih,y Ihol Iy o.d - u·ol.,d U'DV, Itn' Q. b'D!! /,om rh, I'ill ,."h, .. w," 110"'_
JI.;j ;~ I 6 I • I" y I .. fit yor d.m Un - - ,luck, und dl. 'lLh - 118 \'or slLh g. - Win - - d.\t ' .i,hl' Iy D.d u,tll hall' u·./Ard a'oy /'0" Ih, ,:il l ;hry Ihol
,.If•• ~'I- R' - I.flt \0'_ d.m Un _ gluel" und dl. U'Dy. It," a .. DlDY J'~m ,'', , .. ",/; Ihry Ihol 1 8
Figure 4 shows this section in its original form in Tristis est anima mea.
Compare this music with that in Figure 3.
Figure 4 Tristis est anima mea, mm. 58·64
A 60 63 65 I I V • bam, 1\
- bam, quae elr-cum- J I .. ) I j j I J833 613ID 1\ I - bam, quae elr - cum - da - bit' mr, c.lr- ¥f=ijf¥3 Ii I r tU v quae elr- cum - da- Lit mr. quae,quae H - bam, 19
In Figure 5, compare the tenor part from measures 99-106 of the arrangement
Der Gerechte kommt um with the original version. The opening disjunct interval
of a minor sixth in Tristis est anima mea is bridged with a passing quarter note
in Der Gerechte kommt um. This alteration seemingly was inspired by the new
text, "shall then be peaceful." Another expressive alteration appears at the end
of the same passage, where a G#, acting as a leading tone moves to the concluding A. This cadential gesture, which does not occur at this place in
Kuhnau's motet, apparently was intended to depict a "peaceful" sense of arrival.
Again, through a small change, the later version achieves heightened expression for its new text.
Figure 5a Tristis est anima mea mm. 85-92
Figure 5b Der Gerechte kommt um mm.99-106 20
The model for the voice parts of Der Gerechte kommt um is clearly the motet
Tristis est anima mea by Johann Kuhnau. About this there can be no debate.
The following stylistic evidence derived from the instrumental parts of Der
Gerechte kommt um will also suggest that an attribution to J.S. Bach as the arranger of this work is extremely probable. Unlike the vocal parts, the orchestral setting of Der Gerechte kommt um appears to be a completely new composition. It resembles the technique of many Bach cantata choruses in the relationship of the orchestral to the choral parts. Especially striking are the two independent winds, seen in Figure 6, which substantially enrich the harmonic idea; their recurring emphatic rhythmic figure is retained almost throughout. 13
Figure 6 Der Gerechte kommt um, mm. 1-8
0601 I
0601 :/
'3 Bach, Der Gerechte X. 2 1
Similar accompanimental parts appear in J.S. Bach's motet 14 0 Jesu Christ,
meins Lebens Licht (Lord Jesus Christ, My Life and Light), BWV 118, as may be
seen in Figure 7.
Figure 7 0 Jesu Christ, meins Lebens Licht mm. 1-6
l.i\'h') I
l.i\uu II
A counter-rhythm to the wind figure found at the opening of Der Gerechte kommt um is provided by the continuo bass (see in Figure 8).
Figure 8 Der Gerechte kommt urn, mm. 1-9
' 4 Sources differ in labeling this work a motet or a cantata. 22
In Figure 9 one can see the wind figure from the beginning of Der Gerechte kornrnt urn (seen in Figure 6) combined with its counter rhythm in the continuo
(seen in Figure 8). This music, with the addition of the supporting strings, represents an orchestration and a sound that suggests the genius of Bach.
Figure 9 Der Gerechte komrnt urn, mm. 1·8
".~ r..j)-" ---.. - ,-oJ 11 1 A " I 1 I I f··iolitt, 2 ... u I "I --r " I ... T I" '\ 23
Compare this music from Der Gerechte kommt um to the orchestration found at the opening of Bach's motet BWV 118 (seen in Figure 10) which includes the wind figure we observed in Figure 7.
Figure 10 0 Jesu Christ, meins Lebens Licht, mm. 1-6
Litu" II
,';ull",.1
\';"Iillo II
Alto
'r"')H)IC 24
John Grubbs has also pointed out certain similarities between the orchestral
scoring in Der Gerechte kommt um and sections of Bach's B Minor Mass. He writes:
The winds provide a freely moving accompaniment which increases the harmonic richness considerably. One is reminded of similar accompaniment in the Qui tollis of Bach's B Minor Mass. IS
The whole adaptation of Tristis est anima mea into Der Gerechte kommt
um Is far from a simple schematic transference and shows the creative power of
a master. The text setting and declamation in the voice parts and the structure
of the instrumental setting lead one to suspect that J.S. Bach arranged Der
Gerechte kommt um. It should be remembered that Bach was well known for
his technique of adaptation with other works, such as those by Palestrina,
Vivaldi, and Pergolesi, to mention but a few. 16 Der Gerechte kommt um
strikingly reveals the complex paths taken by the composers of the Bach era to
find their materiall 1?
In summation: the music for Der Gerechte kommt um was drawn from
Tristis est anima mea, an unaccompanied motet used in the Leipzig liturgy.
There are, however, considerable differences between the two versions. Not
only were instrumental parts added, but also there were substantial melodic,
harmonic, and rhythmic changes, changes which both fit the music to the
German text and increase the work's musical expressivity. Examination of the
orchestral setting and the retexting of the voice parts of Kuhnau's motet strongly
suggest the handiwork of J.S. Bach. In order to render the new text in a way
that was suited to the "affects" while still being natural and moving in spirit, Bach
15 Grubbs, Eighteenth-Century 180. 16 Bach, Der Gerechte X. 17 Clement 29. 25
modified some of the passages of music. But above all, he wrote an obligato instrumental accompaniment to reinforce the text, a rhythmically insistent through bass that supports the strings, and a curious part for two winds, which persistently pauses on the first quarter of each bar, and is heard from beginning to end. The possibility that Bach arranged this work and added the appropriate text from Isaiah for use at a funeral··the occasion for which many of his motets were written··should be seriously considered and explored further. 26
Jauchzet dem Herrn, aile Welt The three-movement motet Jauchzet dem Herm, al/e Welt is also not an
original composition, but an arrangement of three originally separate
movements.l8 In his book J.S. Bach, Albert Schweitzer lists the three
movements of Jauchzet dem Herm as works formerly attributed to Bach, a
description suggesting that Bach was not the composer. Other scholars have
regarded the work as "to some extent dubious and to some extent clearly
unauthentic." 19 These conclusions, however, seem to have been premature.
Examination of the sources, evaluation of the recent research, and critical
analysis of the music itself lead one to believe that the matter is not so cut-and
dried.
The authorship of the first movement is the most difficult to ascertain.
Phillip Spitta had the following to say of this movement: "It contains some
features that are unmistakably Telemann, but it also displays a certain breadth
of concept, fullness of sonority and impressive mastery in the vocal writing that
we identify only with Bach." Spitta's comments make it more than just possible-
although Spitta himself did not articulate the thought--that we are dealing with
an arrangement by Bach of a work by Telemann. This possibility is in fact
supported by an inscription found by WOllner above the opening movement in a
part-book, now lost, belonging to the choir school of St. Thomas', describing it
as Nby Telemann, improved (verbessert) by Johann Sebastian Bach. M20
18 Johann Sebastian Bach, Jauchzet dem Herm, aile Welt, Preface, ed. Klaus Hoffman, Stuttgarter Bach·Ausgaben, Serie C (Neuhausen-Stuttgart,1978) 4. 19 Phillip Spitta, Johann Sebastian Bach: His Work and Influence on the Music of Germany, Vol. II (New York, 1951) 820. 20 Bach, Jauchzet 4-5. 27
The second movement of this motet, Sei Lob und Preis und Ehren, was at one time considered a motet in-and-of itself. This piece is listed individually
as BWV 231 in Schmieder's catalogue and also was included in the Peters
edition of the Bach motets. Though not comparable in magnificence to the
motets for double choir by J.S. Bach, one can see from Figure 11 that Paul
Steinitz was correct in labeling it "a vigorous and cheerful little work. "21
Figure 11 Sei Lob und Preis und Ehren, mm. 1-10
. •. - - - --. ~1~f _ --
~(f~~ .-:~- -- 1 j -.--~ W~J- ~ -#~~ ~d l"t. UIIII I'rrh mil. Eh . rent 11,11
~.qc .~ ------E ~- =~-~------r i=-::g ~=~-r= - Sri I.ot. 1111.1 l'rrls mil Eh • • rell, sr.l Lilt. ulIll
:2!q~--= 1 ~_-=~~7F----·r: .~~ ~f= .r: Sri Lilt. ulIll l'rrls mil Eh - - rrn. mil
- - ~~, ~I===:-~ -~ =(:: r: ~r1 I."t. u,ul l'rris mil Eh - - rem
~~-Ifi]g -~---- -.:----y=---.~==~- §J ~=== Eh -- rCII, .. i I.nt. Ulld Prds mit
Eh- rent sri /."t. ulIll I'rris mil Eh - rell, ,oj Lilt. ulld
21 Paul Steinilz, Performing Bach's Vocal Music (Croydon, 1980) 16. 28
Schweitzer was incorrect in dismissing Bach as the composer of this movement.
In fact, this is the only movement that can be truly authenticated, as it is based
on the chorale chorus Nun lob, mein Seel, den Herm from the cantata Gatt/obI
nun geht das Jahr zu Ende (BWV 28) by J.S. Bach (see Figure 12). Although
the second movement of Jauchzet dem Herm, al/e Welt, seen in Figure 11,
incorporates the fifth verse of the original hymn instead of the first verse used in
Cantata 28, these two pieces are almost identical and are both clearly Johann Sebastian's work.
Figure 12 Nun lob, mein Seel, den Herm by J.S. Bach, mm. 1-10
) Sonrano.
Ie Alto. Nun
--n- .:-n-' i' Hor _ ron, don Hor_ 1\ Tenore. - ~ it) It, Nun lob', moin' Illlllln.
'\ Nun lob~meiIiSeel~ den Her _ _ ren, don Hor _
.-- - Sool', don ler _ _ ron, - ~ ren, nun lob', moin' Seel, don- Her_ren,don Her _ - _ rcn,nun lob',n1oin' Soel~ don Her _
TOn, nun lob',meinSeol',don Hor _ ron, 29
The third and final movement Amen, Lob und Ehre und Weisheit und Dank, for
double choir was published in volume III of Rochlitz's publication Sammlung vorzuglicher GesangstOcke (1835), where it is listed as a separate piece by
Telemann.22 Spitta also identified Telemann as the composer of the third
movement. "That this movement is actually by Telemann," writes Spitta, "and
certainly not by Sebastian Bach, anyone can see who knows the style of the two
men."
In the case of this movement, Schweitzer's dismissal of Bach as the
composer was more than likely correct. Special importance must be attached
to a reference found in Schmieder's 8ach-Werke-Verzeichnis to the first edition
of Jauchzet dem Herm made by Johann Friedrich Samuel Doring in 1819, in
which it is claimed that the third movement was added at a later date by Johann
Gottlob Harrer, Bach's successor at St. Thomas' in Leipzig. Since Doring
derived this information from a pupil of Bach's and also from a second
generation Bach pupil, who was a student in Leipzig during Harrer's period as
cantor, there is every reason to take his claim seriously. If what he says is true,
then during Bach's time at St. Thomas' the motet consisted of only the first two
movements, and if that is so, then the fact that Telemann is the composer of the
third movement is no longer an argument against the authenticity of the first two
movements as works by Bach.23 Therefore, by separating the third movement, the motet may be presented in what was, in all likelihood, its original two movement form.
22 Spitta 716. 23 Bach, Jauchzet 4. 30
As we have seen, the second movement of this motet can be authenticated. It was unquestionably composed by J.S. Bach. As for the first movement, all of the sources point to Bach's sphere of influence in Leipzig. In particular, the part-book from St. Thomas found by WOllner bearing the inscription "by Telemann, improved by J.S. BachM is strong evidence in support of an ascription to Bach as the arranger of Telemann's work. Moreover, the fact that the motet appears in the catalogue of C.P.E. Bach's music as a work of J.S. Bach is thus given credibility, for the source to which it referred may well have been the original score of the work, which will have passed on to Carl Philipp Emanuel on the death of J.S. Bach in 1750. At all events there is no evidence in the sources as they have survived to ascribe the work either to C.P.E. Bach or to Telemann.24
24 Bach Jauchzet 5. 31
Ich lasse dich nicht
The place that Ich lasse dich nicht owns in the choral repertoire and its
numerous editions and recordings tlJstify to the high general opinion of the
work. Since the nineteenth century, however, this motet has been ascribed to both J.S. Bach and to his father's cousin Johann Christoph Bach (1642-1703). It has long been recognized that the earliest source for the motet was from
Johann Sebastian Bach's music library. However, it was never determined
whether he actually composed the piece, or just owned a copy of another composer's work.25
In 1892, the Bach Gesel/schaff labeled Ich lasse dich nicht as "one of the most beautiful works in German church music," but declared it to be unauthentic, naming J.C. Bach as its composer. In 1950, Wolfgang Schmieder followed suit, relegating the motet to the appendix of the BWV, describing it as
"presumably by J.C. Bach." These attributions had a significant influence on the
Neue Bach-Ausgabe, whose volume of motets does not include Ich lasse dich nicht, but lists it as a work by J.C. Bach.
Not everyone, however, has been comfortable with this attribution.
Phillip Spitta, in the first volume of his Bach biography, assigned the motet to
J.C. Bach. However, in the second volume, he allowed the possibility that it might be a work of Johann Sebastian, writing that the source evidence did not permit a definite attribution. Although Franz WOllner, who edited the Bach
Gesel/schaff motet volume, thought Ich lasse dich nicht unauthentic, the motet
25 Daniel R. Melamed, "The Authorship of the Motet Ich lasse dich nicht (8WV Anh. 159)," Journal of the American Musicological Society 41 (1988): 491. 32
was nevertheless printed in an appendix, at the insistence of the project's
editor-in-chief Wilhelm Rust, who firmly believed the motet to be by J.S. Bach.26
The research of Daniel Melamed has provided new information about the
provenance of the different sources used in the production of the prints. 27 His
investigations, together with examination of all of the attributions, strongly
suggests that the assignment of the motet to J.C. Bach was "almost certainly a
nineteenth-century speculation that must be rejected. II For the purposes of this
discussion, however, only the stylistic evidence which will strongly support an
ascription to J.S. Bach will be examined.
In principle, style should be of help in determining the authorship
of the motet, but there are difficulties in assigning Ich lasse dich nicht to either Johann Christoph Bach or to Johann Sebastian Bach. In many respects, it
sounds too advanced to be by the older composer and too "seventeenth
century" to be by J.S. Bach. Those who regard J.C. Bach as the author describe
the motet as his "best piece, II or at least as a late work because of its advanced
26 Melamed 491-492. 27 The earliest source of Ich lasse dich nicht is a manuscript score, partly in Bach's handwrning, that unfortunately lacks the name of a composer. Carl Phillip Emanuel Bach, who inherited the score from his father, knew that the motet was by a Bach··he kept it wnh the family music collection known as the Altbachisches Archiv-- but neither the old score nor the second copy he had made from it bore an attribution. In 1821-23, Johann Friedrich Naue published an edition of the nine motets from the Altbachisches Archiv, including Ich lasse dich nicht. Several of the sources he used for the edition gave no attribution, so Naue speculatively assigned three works, two to Johann Michael Bach and one (/ch lasse dich nicht) to Johann Christoph Bach. His sources for this work were one or both of the two unattributed manuscripts mentioned above, so his assignment of it to Johann Christoph Bach was just a guess. Because this attribution was accepted by the various owners of the two old copies, it quickly gained widespread but ill-founded acceptance. It can be safely discarded, because there is no documentary or stylistic evidence to support it. Ich lasse dich nicht had actually been published twenty years earlier as a work of Johann Sebastian Bach; it was issued by Breitkopf & Hartel in Leipzig in 1802-3 along with five other motets (BWV 225-229). This edition was based on Leipzig sources that must have derived ultimately from Bach's own materials. Further, Ich lasse dich nicht was performed in the late eighteenth-century under J.S. Bach name at the Thomasschule. Thus the motet's transmission supplies only one plausible attribution: J.S. Bach. 33
style. Those who see it in relationship to J.S. Bach's style explain the connection to J.C. Bach by proposing that the younger Bach wrote it under J.C. Bach's influence. 28 This motet, however, is different from most of J.C. Bach's other motets, and its style is more closely related to that of other works by J.S. Bach, in particular the other motets and motet-like movements. Johann Christoph Bach's one known chorale motet, FOrchte dich nicht, is similar to /ch /asse dich nicht in that both works employ a biblical text in the opening section and a chorale in long note values in the second section. In the second section of FOrchte dich nicht by J.e. Bach (seen in Figure 13), the accompaniment to the cantus firm us is essentially homophonic, though there is some light imitation.
28 Melamed 492. L
34
Figure 13 Furchte dich nicht by J.e. Bach, mm. 39-57
w . t==$J@r$J==H I--'!"-@=~ o Jr- IU, du mel" ~-' §¥I-·-~gr~-:--E~ m du bill nleln. du, duo du ~Isl nl II bill mdn. duo du. du bhl meln. bhl n"ln, ____ J =p-- --=r= -=- .. du bill meln.__ bill m'ln. ____ mel", me-In, du bill rn'ln. _____ bhlmdn, __ Ith ---:::F~~ftag~I§l~~.JgJ du, du hlsl rncln. FUreh·le dleh 7J=rgr u~gg~·~r~~"~~ .. III meln. r---I~~ -~ -r--h~-F-p==~ dll. du bill ",dn. Fiireh- Ie dleh nlehl, nlehl, ~=~~~~~~~a~~~J~§g~1~~~~~I' dU, liu hili meln. 35 ---.. ., - --.. ---- - =E r-¥4 bil· Ie dleh _____ mit ~r:=t~:==) J!-~.Jg.g@ Jg "k"I, I.jrch· Ie dleh "'chl. IUtch· Ie dleh nlellt. nlchl. FiJr,h'" dieh nlehl. nlehl riirch· Ie dlch nlehl. ~.~ff: f===E@~~ P J riireh. Ie dleh nlchl. liirch· Ie dieh nlehl. liireh· I. dleh J~~~-~~y~d~@$~g@d§~~I~~~~ Fureh· Ie dieh. rureh. Ie dlch nlehl. /I Tri· nen: I tI nlelit. mreh. Ie dleh nlehl. denn du bill meln.du. du bill meln ~p94:g;gggt-=EJ=~ lib • -;;,,", , """', , .." " .." ~~m~eI~n.~~d~u~~~b~I'~1@I~m~ef'~n .Y nlchl. nlchl. ;.; irsl mcl~. d;~n du bill mdn .... rUleh. Ie dleh nlehl. denn du bill meln. denn du bill meln 36 While this is indeed common to these two motets, Daniel Melamed points out that this structure is standard in the chorale motet repertoire of the late seventeenth and early eighteenth century. "As a rule, the accompaniment to the chorale is homophonic, with an occasional point of imitation. I know of only two exceptions in the repertoire, however, in which the cantus firmus is supported by extensive fugal material: Ich lasse dich nicht, and J.S. Bach's FOrchte dich nicht (BWV 228). "29 In BWV 228 (Figure 14), the lower voices form a double fugue with one chromatic subject and one diatonic subject each carrying a phrase of the text. Figure 14 FOrchte dich nicht (BWV 228) by J.S. Bach, mm. 77·80 7R 1\ 1/ " .; 1\ \I II _1 I . I~ I denn ieh /Ia. be dleh er· /\ \I II - ....,...... , I ~ denn leh !la. be dich cr· 10' . . . II .. ~ .... ieh ha· be dieh bel dei·nem Na·mcn Be· ru·- fen. gt!. 29 Melamed 506. 37 In Ich lasse dich nicht, seen in Figure 15, there are also two contrapuntal subjects, each carrying a phrase of the text. However, in this instance they are used in alternation rather than together as seen in BWV 228 (Figure 14). Both FOrchte dich nicht (BWV 228) and Ich lasse dich nicht resemble the traditional chorale motet, but the contrapuntal concentration in the last sections is unique to them, supporting the attribution of Ich lasse dich nicht to J.S. Bach. Figure 15 Ich lasse dich nicht, mm. 84-96 1-- - fI =Fv=~~gEgt-~y 3l!.l~;ggJ Ich I.. • it dlch nlchl. nlchl. nlchl. Ich I,,· \e !llcI, nlchl. nlchl. leh 1.\. Ie ,lIeh nichl. nleht. nlcht. Ich I,,· Ie .Iich " U Weil nl(:ln fI -tlJ ..... nicht. nlcht. "Icht. Ich 10,· -\C dich nie"'. I~:~~~~~~~~:~~ nlcl,t. nleht. nichl. nlehl. nlehl. leh I•• • \C dich nleht. nlchl • . -,. ich I.. • .< dlch nicht.lch lIl· .< dlch nlchl. Ich I,,· .. dlch 38 .I§f-----J-----I Gall und V" I" ~F 'FS'$f§,Ji=d¥.JJr=J§:E~-=Ih-@EJ=1 nkhl, nlchl, I'h I", It dl,h nl'hl, nl'hl, nl'hl, nl'hl, ~¥~=~p-p~\-- .-..== - = - --~~-=~-~ - --~ === -=p.·--IE-~-ff=gj =.:. ..= =- n'chl.lch I... It dich "Ieht.lch II.· ,t dlch "'chl. nit.: hi. "'chi. Ich Iu· If dleh ~~~~p:w~~~]~f_~~1§./t~=4l .I,hl,I,h "" .. dlchnl'hl, .Ichl, I'h I", 1< dlchnlchl,l,h I", ,. dl,h '&--:.Pl~[!==n===-'_ "'d. "Ichl. "'chi. du Itl' ~~~~::@ y'=~P=O~~~r @:>E::=! nl'hl, I'h I", 1< dl,h nlchl du 1<,' • ~_rw==~yiJ@g=f=-~-~~§5L ©=! nl'hl, I,h I", .. dlcl. nlchl, du M,' , deln Kind wlnl nul mlch den", du 1<,' ne .. i.:::'''=J=:;'~J~=-b"=f-:~~I- ~=~py=t=:~F' ~ ~ . n(,1 mlch denn, du HI' • nut d~ _.' nctl mkh V.:F= ~.J§=J§ -§.§§§E b§@¥1 11<,1 ml'h denn, do C··E § I gg Wl~=-=1 -I' mE du nt' II .. o ".' nul mlch den". du MI' 39 The first part of Ich lasse dich nicht also shows a close relationship to that of BWV 228, Fiirchte dich nicht. The two works both employ homorhythmic text declamation. Although the vocal lines in BWV 228 are more independent than those in Ich lasse dich nicht, both are essentially homophonic in texture. The similar opening phrases (seen in Figure 16), are handled in much the same way, with a strong emphasis on the word "nicht" set to a seventh chord in third inversion,3o Figure 16a Ich lasse dich nicht, mm. 1-5 , ....--.. , " I V I I I Ich las· Ie dlch nlchl, du tel' nell mlch denn, " IV II"" • . ..."... ~ , I .- I I I .- I Ich bs· Ie dlch nlchl, du seB- nell mlch denn. ok t I T u \J 30 Melamed 512-13. 40 Figure 16b FOrchte dich nicht (BWV 228), mm. 1-3 fI II II If'"'''l l v I I Furch· rc did nlch. ich bin bel dlr. bel dlr. l l II II " v I r r r , Furch· Ie dieh nleh leh bin bel dlr. bel dirt \I ~ r r r I Furth· Ie dich nlch • Ich bin bel dlr. bel dlr. _II- " I Furch· Ie dlch nlch. leh bin bel dlr. bel dirt U The 1802 Breitkopf and Hartel edition of Ich lasse dich nicht (which is the basis for many subsequent editions) concludes with a four-part setting of the chorale "Warum betrubst du dich. mein Herz," a melody as a cant us firmus in the motet. There is no trace of this final chorale in the autograph (which was the source for the Bach Gesellschaft edition). Bach may have added this chorale himself during the Leipzig period, but this is not clear from the musical sources. Its presence, however, in the 1802 edition suggests that it was, at least, included in the source used for the print)l This, then, leaves open the possibility that Bach did write and intend for the chorale to accompany the motet. Two other motets for double chorus by J.S. Bach conclude with a chorale or a chorale like setting 31 Melamed 516. 41 (BWV 226, 229), which was apparently required for use in Leipzig .. Therefore, there may be two authentic versions of Ich /asse dich nicht one early, without a chorale (as in the Bach Gese/lsc/7aft edition); and one from Leipzig with a chorale. The final question, assuming we choose accept the chorale, has to do with the text, as there is more than one version of the text for this chorale in the extant sources. The stanzas printed in the Breitkopf and Hartel edition are not the traditional texts. The traditional non-biblical texts were replaced with modern versions, reflecting a general change in the language, sentiment, and imagery of the religious poetry of the time. Daniel Melamed's 1988 edition of Ich /asse dich nicht restores the traditional and original text. 32 32 Johann Sebastian Bach, Ich lasse dich nicht, du segnest mich denn, Preface, ed. Daniel Melamed, Stuttgarter Bach·Ausgaben, Serie B (Neuhausen·Stuttgart) 1988, 5. 42 Summary With the incredible increase in musicological activity over the past few decades, there seems to be an increasing trend toward valuing information gathered from source-critical means more than information derived from stylistic evidence. Certainly such things as the provenance of a manuscript, the sources used in the production of prints, the examination of attributions and the dating of manuscripts are all valid and very important to the process of arriving at an attribution for ,a given composition. The current trend, however, appears to view stylistic analysis as secondary in importance, usefulness and validity. While this study has attempted to evaluate previous scholarship pertaining to source-critical means, it has primarily attempted to address the issue of authentiCity in these three motets with stylistic evidence derived from the music itself. Moreover, this study hopes to have made a contribution to the reopening of the discussion regarding the authenticity of these three motets. While there is considerable evidence to support an attribution to J.S. Bach in the case of all three works, the extent to which such an ascription would stand up to scrutiny in a full and thorough investigation must, however, be kept open for the time being. Perhaps it is time for us to be more accepting of our inability "to know" as a musical community and, hence, be satisfied to speculate as to the authorship of a worthwhile composition. For it is only through this type of speculation that we as musicians can stumble closer to the truth. 43 Selected Bibliography Arnold, Denis. Bach. Oxford, New York, 1984. Bach, Johann Sebastian. Der Gerechte kommt um (BWV deest). Ed. Diethard Hellman. Stuttgarter Bach-Ausgaben, Serie C. Neuhausen-Stuttgart: Hanssler-Verlag, 1972. Gott/obl nun geht das Jahr zu Ende (BWV 28). Leipzig: Breitkopf & Hartel, n.d .. FOrchte dich nicht (BWV 228). New York: C.F. Peters, 1959. /ch /asse dich nicht, du segnest mich denn (BWV anh. 159). Ed. Daniel Melamed. Stuttgarter Bach-Ausgaben, Serie B. Neuhausen-Stuttgart, 1988. -- -. Jauchzet dem Herm, aile Welt (BWV anh. 160). Ed. Klaus Hofmann. Stuttgarter Bach-Ausgaben, Serie C. Neuhausen-Stuttgart, 1978. Neue Ausgabe samtlicher Werke. Hrsg. vom Johann-Sebastlan-Bach Institute Gottingen und vom Bach-Archiv Leipzig. Series 3, Vol. 1. Leipzig. Kassel, 1965. o Jesu Christ, meins Lebens Licht (BWV 118). Wiesbaden: Breltkopf & Hartel, n.d. Bitter, C.H. Johann Sebastian Bach. 4 vols. 1881. Berlin, 1978. -- -. Beitrage zur Geschichte des Oratoriums. 1872. Berlin, 1974. Blume, Friedrich. "Outlines of a New Picture of Bach. II Music and Letters 44 (1963): 214ft. -- -. Two Centuries of Bach. London, 1950. Bukhofzer, Manfred. Music in the Baroque Era. New York, 1947. Clement, Roger, trans. Jacket Notes. Die Motetten. Music by Johann Sebastian Bach. Condo Helmuth Rilling. Gachinger Kantorei, Bach Collegium Stuttgart. Stuttgart, 98.965, 1990. David, Hans T. and Arthur Mendel, eds. The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Rev. ed. London, 1966. 44 Daw, Stephen. The Music of Johann Sebastian Bach: The Choral Works. Rutherford, Madison, Teaneck, 1981. DOrr, Alfred. "Bachs Motetten in Neuausgabe." Musik und Kirche 38 (1968): 233-37. -- -. "Performance Practice of Bach's Cantatas." American Choral Review 29 (1987): 7-23. -- •. "Zu Martin Gecks Besprechung 'J.S. Bachs Motetten in neuer Ausgabe'." Die Musikforschung 25 (1972): 74-77. -- -. "Zur Chronologie der Leipziger Volkalwerke J.S. Bachs." Bach Jahrbuch 43 (1957): 5-162. -- -. "Performance Practices in the Baroque Period." Choral Journal 11 (1971): 12-13. Fuller, Sarah. The European Musical Heritage, 800-1750. New York, 1987. Geck, Martin. "Zur Datierung, Verwendung und AuffOhrungspraxis von Bachs Motetten." Bach-Studien 5 (1975): 63-71. -- -. "J.S. Bachs Motetten in neuer Ausgabe." Die Musikforschung 24 (1971): 303-9. Gelringer, Karl. Johann Sebastian Bach: The Culmination of an Era. New York, 1966. Gerber, Rudolf. "Ober Formstrukturen in Bachs Motetten." Die Musikforschung 3 (1950): 177-89. Grubbs, John W. An Eighteenth-Century Passion Pasticcio by C.H. Graun. Thesis. U.C.L.A., 1964. -- -. "Ein Passions-Pasticcio des 18. Jahrhunderts." Bach-Jahrbuch 51 (1965): 10-42. Hellmann, Diethard. HEine Kuhnau-Bearbeitung Johann Sebastian Bachr Bach-Jahrbuch 53 (1967): 93-97. Herz, Gerhard. Bach-Quel/en in Amerika. Bach Sources in America. Kassel, 1984. -- -. Essays on Johann Sebastian Bach. Ann Arbor, 1985. 45 Hindemith, Paul. Johann Sebastian Bach: Heritage and Obligation. New Haven, 1952. Hofmann, Klaus. "Zur Echtheit der Motette Jauchzet dem Herm, aile Welt, BWV anh. 160" Festschrift Alfred DOrr (1983): 126-40. J.S. Bachs Werke. Gesamtausgabe der Bachgese/lschaft. Vol. 39. Forward by F. Wallner, 1892. Leipzig, 1851-99. Farnborough, 1968. Kobayashi, Yoshitake. "Zur Chronologie der Spatwerke Johann Sebastian Bachs Kompositions und AuffOhrungstatigkeit von 1736 bis 1750." Bach· Jahrbuch 74 (1988): 7-72. Krummacher, Friedheim. "Textauslegung und Satzstruktur in J.S. Bachs Motetten." Bach-Jahrbuch 60 (1974): 5-43. Kuhnau, Johann. Tristis est anima mea. Ed. Diethard Hellmann. Neuhausen Stuttgart: Hanssler-Verlag, 1973. Lang, Paul. Music in Western Civilization. New York, 1941. Marshall, Robert L. "Bach's Chorus: a Preliminary Reply to Joshua Rifkin." Musical Times 124 (1983): 19-22. - - -. The Compositional Process of J. S. Bach: A Study of the Autograph Sources of the Vocal Works. 2 vols. Princeton, 1972. Mellers, Wilfred. Bach and the Dance of God. London, Boston, 1980. Melamed, Daniel R. "The Authorship of the Motet Ich lasse dich nicht (BWV Anh. 159). H Journal of the American MUSicological Society 41 (1988): 491-526. Palisca, Claude. Baroque Music. 1968. Englewood Cliffs, N.J., 1981. Parry, C. Hubert H. Johann Sebastian Bach: The Story of the Development of a Great Personality. New York and London, 1909. Pelikan, Jaroslav. Bach Among the Theologians. Philadelphia, 1986. Richter, Bernhard Friedrich. "Ober die Motetten 8achs. II Bach-Jahrbuch 9 (1912): 1-32. Rifkin, Joshua. "Bach's Chorus: a Preliminary Report." Musical Times 123 (1982): 747-54. 46 -- -. "Bach's Chorus: a Response to Robert Marshall." Musical Times 124 (1983): 161-62. . Rilling, Helmuth. "Bach's Significance." The Choral Journal 25 (1985): 7-14. Schmieder, Wolfgang, ed. Thematisch-Systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke Verzeichnis (BWV). 1950, 1961. Wiesbaden, 1990. Schulze, Hans-Joachim and Christoph Wolff. Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs. Vokalwerke, Teillli. Frankfurt, New York and London, 1988. Schweitzer, Albert. J.S. Bach. Trans. Ernest Newman. 2 vols. 1911. New York, 1966. Siegele, Ulrich. "Bemerkungen zu Bachs Motetten." Bach-Jahrbuch 48 (1962): 33-57. Spitta, Phillip. Johann Sebastian Bach: His Work and Influence on the Music of Germany. 3 vols. 1873, 1880. New York, 1951. Steinitz, Paul. Performing Bach's Vocal Music. Croydon, 1980. Strunk, Oliver. Source Readings in Music History. New York, 1950. Terry, Charles Sanford. Bach: A Biography. 1928. London, 1933. -- -. Bach: The Magnificat, Lutheran Masses and Motets. London, 1929. Verzeichniss des musikalischen Nachlasses des verstorbenen Capel/meisters Carl Philipp Emannuel Bach. Heinrich Miesner, trans. 1790. Hamburg, 1939. Wolff, Christoph. "Bach, Johann Christoph." New Grove Dictionary. London, 1980. -- -. Der stile antico in der Musik Johann Sebastian Bachs. Studien zu Bach Spatwerk. Wiesbaden, 1968. Young, Percy. The Bachs 1500-1850. London, 1970.