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Cambridge University Press 978-1-107-08860-3 — Bach's Numbers Ruth Tatlow Index More Information

Index

References to tables are given in bold type.

acrostic, 6, 12, 39, 42–4, 211, 230 in number alphabets, 65–8, 198, Agricola, Johann Friedrich (1770–74), 18, 73, 266–74 128, 204–17, 238, 354–6, 363, 366 permutation, 12, 69–70, 211, 243, 247, 289, Ahle, Johann Georg (1651–1706), 42 347, 353 Alain, Olivier (1918–94), 200 Bach, Anna Magdalena (1701–60), 69, 155–8, alchemy, 57 306, 356 aliquot numbers, 103 numerical value of name, 69 alphabets, number, 5–6, 44, 57, 67, 323–4, transcriptions 347–8, 366–9 Clavierbüchlein, 1722, 356 milesian, 12, 44, 47, 57, 67 Clavierbüchlein, 1725, 175, 197 natural order, 12, 68, 232, 234–5, 237–8, 293, French Overture in C minor, 177 324, 344 Six Cello Suites, 149 parallel, 266 Six Solos for violin (BWV 1001–1006), trigonal, 44, 67 134, 136–41, 151–5 Altnickol, Elisabeth Juliana Frederica Trio Sonatas (BWV 525–30), (1726–81), 279 287–8 Altnickol, Johann Christoph (1720–59), 240, Bach, Carl Philipp Emanuel (1714–86), 73, 279, 303–4, 367 94–6, 204, 221–2, 291, 293, 327, copies 354–6, 359 The Art of Fugue, 240, 251–2 on Bach as teacher, 47, 96 French Suites, 356–9, 357 Bach’s obituary, 238, 381 Lutheran Masses, 328 on Bach’sunﬁnished fugue, 240 Six Sonatas (BWV 1014–1019), 158, 215, numerical value of name, 68 140, 146–9 publications, 104, 240 Leipzig Organ Chorales additions, 276, 279, Bach, Johann August (1745–89), 208 282–4, 293 Bach, Johann Bernhard (1676–1749), 257, 259, Ammon, Johann Christoph, 83 260–1, 265 anagram, 6, 39, 42, 61 Bach, Johann Christoph (1642–1703), uncle to Anise anisum,53 JSB, 359 Anna Amalia of Prussia, Princess (1723–87), 267 Bach, Johann Christoph, brother to JSB architecture, 19–20, 37, 98–9, 106, 112–13 (1671–1721), 49 Aristotle (384–322 BCE), 367 Bach, Johann Christoph Friedrich, son to JSB Arnstadt, 51 (1732–95), 240–1, 267 Bach, Johann Elias (1705–55), 182 B and H, 12, 27, 62 Bach, Johann Ernst (1722–77), 259 B-A-C-(H) form, 12, 27, 252–3 Bach, Johann Heinrich (1707–83), 140, 147, in bar numbers, 211, 290 222 in key signature across works, 27, 68, 145, Bach, Johann Nicolaus (1669–1753), 61 173, 178–9, 363 Bach, Johann Sebastian (1685–1750) in melodies, 62, 211, 238, 241, 246 for works ordered by BWV number see intervallic symmetry, 103–4 Bach-Werke-Verzeichnis 400

index 401

Art of Fugue (BWV 1080), 28, 30, 33, 43, ‘Siehe zu, dass deine Gottesfurcht’ (BWV 107, 127, 144, 198, 238–54, 242, 243, 179), 327 244, 246, 249–50, 281, 287 ‘Verjaget, zerstreuet, zerrütet, ihr Sterne’ Ascension Oratorio (BWV 11), 28, 31, (BWV 249b), 349 350–3 ‘Wer nur den lieben Gott lässt walten’ Aufrichtige Anleitung (BWV 772–801), 26, (BWV 93), 219 32–3, 68, 164–6, 165, 168–72, 171, ‘Wo soll ich fliehen hin’ (BWV 5), 174, 290, 290 319–20 Invention No.6 in E major (BWV 777), Christmas Oratorio (BWV 248), 22, 29, 302, 164 319, 336–48, 337–8, 341, 342–3, Sinfonia No.2 in C minor (BWV 788), 166 345–6 Brandenburg Concertos (BWV 1046–51), Clavier Übung series, 97, 180, 202, 353 30–1, 266–74, 269, 271, 355 Clavier Übung I (BWV 825–830), 30, 64, Brandenburg Concerto No.4 (BWV 64, 126, 172–81, 173, 174, 179, 180, 1049), 21, 123, 270–2 290 Brandenburg Concerto No.5 (BWV Partita 1 (BWV 825), 172, 175–7, 176 1050), 270, 272, 273–4 Partita 2 (BWV 826), 23, 25, 172, 174, Canonic Variations (BWV 769), 30, 204–17, 177 214, 216–17, 234 Partita 3 (BWV 827), 172, 175 canons (miscellaneous) Partita 4 (BWV 828), 4–6, 23, 172, 179 Canon a 4 (BWV 1074), 30 Partita 5 (BWV 829), 25, 172, 180 Canon triplex a 6 (BWV 1076), 116 Clavier Übung II (BWV 831, 971), 64, 143, Fourteen canons (BWV 1087), 199–203, 173, 173, 174, 290 200, 212 Italian Concerto (BWV 971), 30, 64, 177, cantatas 179 ‘Aus der Tiefen rufe ich, Herr, zu dir’ French Overture in B minor (BWV 831), (BWV 131), 321 25, 27, 30, 63, 173 ‘Bleib bei uns, denn es will Abend werden’ French Overture in C minor (BWV 831a), (BWV 6), 218–19 27, 177 ‘Du sollt Gott, deinen Herren, lieben’ Clavier Übung III (BWV 669–689, 802–5), (BWV 77), 5 28, 43, 123, 182–90, 187, 213, 221–2, ‘Du wahrer Gott und Davids Sohn’ (BWV 292, 362, 31–2 23), 319 chorale preludes (BWV 669–689), 184, ‘Ein Herz, das seinen Jesum lebend weiß’ 185, 189 (BWV 134), 318 Vater unser im Himmelreich (BWV ‘Entfliehet, verschwindet, entweichet, ihr 682–683), 189 Sorgen’ (BWV 249a), 348 Wir glauben all an einen Gott and ‘Gott der Herr ist Sonn und Schild’ (BWV Fughetta: Wir glauben all an einen 79), 327 Gott (BWV 680–681), 189 ‘Gott ist mein König’ (BWV 71), 30, 319, Prelude and Fugue in E♭ major ‘St Anne’ 319–25, 324, 329 (BWV 552), 186, 192 ‘Herr, deine Augen sehen nach dem Clavier Übung IV, see Goldberg Variations Glauben’ (BWV 102), 327 Early Keyboard Transcriptions (BWV ‘Herz und Mund und Tat und Leben’ 972–82, 592). 258 (BWV 147), 319 BWV 972–4, 264 ‘Ich freue mich in dir’ (BWV 134), 318 BWV 972–977, 262–3, 262 ‘Jesus nahm zu sich die Zwölfe’ BWV 972–982, 173, 262, 263 (BWV 22), 319 592, 255–66 ‘Kommt, fliehet und eilet’ (BWV 249), 349 BWV 972–987, 31 ‘Laβt uns sorgen, laβt uns wachen’ (BWV BWV 977–982, 366 213), 341 BWV 978–980, 264 ‘Meine Seel erhebt den Herren’ (BWV Easter Oratorio (BWV 249), 28, 31, 348–53, 10), 218–19 349

402 index

Bach, Johann Sebastian (1685–1750) (cont.) Neumeister Chorales (BWV 1090–1120), English Suites (BWV 806–811), 31, 356, 290, 359 357 Oratorios, French Suites (BWV 812–817), 31, 355, Ascension BWV 11: Lobet Gott in seinen 356–9, 357 Reichen, 28, 31, 350–3, 351–2 Goldberg Variations (BWV 988), 22, 28, 30, Christmas (BWV 248), 22, 29, 302, 319, 190–7, 192, 195, 201, 281 336–48, 337–8, 341, 342–3, 345–6 Great Six Organ Preludes and Fugues (BWV Easter (BWV 249), 28, 31, 348–53, 352 543–8), 360, 362 Organ Concerto in G major (BWV 592), 264 Prelude and Fugue in E minor, ‘The Orgelbüchlein (BWV 599–644), 31, 96, 358 Wedge’ (BWV 548), 248, 363 ‘Christus, der uns selig macht’ (BWV Harpsichord Concertos (BWV 1052–64) 620), 359 BWV 1052–65, 28, 365 ‘Helfft mir Gottes Güte preisen’ (BWV BWV 1052–57, 364, 365 613), 359 Harpsichord Concerto 6 in F major ‘Kom, Gott Schöpfer, heiliger Geist’ (BWV 1057), 21–2, 123, 269 (BWV 631), 359 Leipzig Organ Chorales (BWV 651–668), 28, Passions 31 St. John Passion (BWV 245), 31, 294, BWV 651–663, 275–93 306–17, 308, 311–12, 314 BWV 651–665, 189 St. Mark Passion (BWV 247), 317–18, 343 ‘Allein Gott in der Höh sey Ehr’ (BWV St. Matthew Passion (BWV 244), 22–3, 25, 664a), 281 30–1, 43, 295–302, 296–7, 325, 355 ‘Fantasia super “Kom, heiliger Geist”’ Prelude in B minor (BWV 923), 162 (BWV 651), 280–1 Schübler Chorales (BWV 645–50), 30, 212, ‘Jesus Christus, unser Heyland’ (BWV 213, 217–23, 219–23, 219, 234, 293 665a), 281 Six Solos for violin (BWV 1001–6), 21, 24, ‘Jesus Christus, unser Heyland’ (BWV 27, 29, 33, 64, 133–45, 134–6, 666), 279 136–41, 140, 149, 355 ‘Komm, Gott Schöpfer, heiliger Geist’ numerical structure, 135 (BWV 667), 279 Sonata 1 for solo violin in G minor (BWV ‘Nun danket alle Gott’ (657a), 280 1001), 136, 137 ‘Nun komm der Heyden Heyland’ (BWV Partita 1 for solo violin in B minor (BWV 661a), 280 1002), 24, 137, 143 ‘Von Gott will ich nicht lassen’ (BWV Sonata 2 for solo violin in A minor (BWV 658a), 280 1003), 143 ‘Vor deinen Thron tret ich hiermit’ (BWV Partita 2 for solo violin in D minor (BWV 668), 279 1004), 23 Magniﬁcat in D major (BWV 243), 319 Sonata 3 for solo violin in C major (BWV Mass in A major (BWV 234), see Masses, 1005), 248 Lutheran Partita 3 for solo violin in E major (BWV Mass in B minor (BWV 232), 4, 22, 24–5, 28, 1006), 21, 138–9 30–2, 108, 121–9, 310, 319, 330–6, Suite in E major for lute (BWV 1006a), 334 139 Masses, Latin, 326–30 Six Cello Suites (BWV 1007–1012), 31, Masses, Lutheran (BWV 233–6), 326–30, 149–58, 152 328 Suite 1 in G major for solo cello (BWV Missa in A major (BWV 234), 31, 329, 1007), 155 331, 331 Suite 5 in C minor for solo cello (BWV Missa in B minor (BWV 232 I), 27, 121, 1011), 150, 156 123, 306 Suite 6 in D major for solo cello (BWV Musical Offering (BWV 1079), 30, 213, 1012), 151, 153, 154 224–38, 228, 231–2, 288 Six Toccatas (BWV 911–16), 356

index 403

Six Trio Sonatas (BWV 525–530), 25, 31, 215, transcriptions, Trio Sonatas (BWV 525–30), 284–92, 286, 290,355,292–3 284 Sonatas for Violin and Harpsichord (BWV writing, 88 1014–19), 27, 29, 31, 64, 140, 148–9, Bach-Werke-Verzeichnis (BWV), BWV 2a 355, 146–9, BWV 5: ‘Wo soll ich ﬂiehen hin’, 319–20 bar structure, 147 BWV 6: ‘Bleib bei uns, denn es will Abend Sonata 6 in G major (BWV 1019), 32–3, werden’, 218–19 148 BWV 10: ‘Meine Seel erhebt den Herren’, Sonata 6 in G major (BWV 1019a), 43, 175 218, 219 Suites for Lute (BWV 995–98, 1006a), 139, BWV 11: ‘Lobet Gott in seinen Reichen’ 355 (Ascension Oratorio), 28, 31, 350–3, Prelude, Fugue and Allegro in E♭ major 351–2 (BWV 998), 157 BWV 17: ‘Wer Dank opfert, der preiset Suite in G Minor (BWV 995), 156 mich’, 328 Suites for Orchestra (BWV 1066–69), 355 BWV 22: ‘Jesus nahm zu sich die Zwölfe’, Suscepit Israel puerum suum (BWV 1082), 319 327 BWV 23: ‘Du wahrer Gott und Davids Tilge, Höchster, meine Sünden (BWV 1083), Sohn’, 319 319 BWV 40: ‘Darzu ist erschienen der Sohn Violin Concertos (BWV 1041–43), 355 Gottes’, 328 The Well-Tempered Clavier (BWV BWV 71: ‘Gott ist mein König’, 30, 319–25, 846–893), 26, 31–2, 159, 161, 324, 329 168–72 BWV 67: ‘Halt im Gedächtnis Jesum Christ’, Book 1 (BWV 846–869), 174, 188, 191, 329 290, 290, 355 BWV 77: ‘Du sollt Gott, deinen Herren, Prelude and Fugue in C minor (BWV lieben’,5 847), 162 BWV 79: ‘Gott der Herr ist Sonn und Prelude and Fugue in B♭ minor (BWV Schild’, 327 867), 162 BWV 93: ‘Wer nur den lieben Gott lässt Book 2 (BWV 870–893), 281, 355 walten’, 219 Prelude and Fugue in F minor (BWV BWV 102: ‘Herr, deine Augen sehen nach 881), 162 dem Glauben’, 327 birthday, 12, 70, 347–8 BWV 131: ‘Aus der Tiefen rufe ich, Herr, zu as book sales agent, 17–18 dir’, 319 moonlight transcription anecdote, 120 BWV 134: ‘Ich freue mich in dir’, 318 name in numbers, 27, 66–7 BWV 136: ‘Erforsche mich, Gott’ 329 obituary, 238, 242, 354–6, 381 BWV 138: ‘Warum betübst du dich, mein as Pachelbel’s student, 49 Herz’ 328 as teacher, 47, 94, 96 BWV 147: ‘Herz und Mund und Tat und in Cöthen, 133, 146, 150 Leben’, 319 in Leipzig, 93, 100, 159, 182, 360 BWV 179: ‘Siehe zu, dass deine in Lübeck, 336 Gottesfurcht’, 327 in Weimar, 127, 133, 150, 321 BWV 187: ‘Es wartet alles auf dich’, 328 Bach, Johann Sebastian (b. 1749), 291 BWV 213: ‘Laβt uns sorgen, laβt uns Bach, Johanna Carolina (1737–81), 46 wachen’, 341 Bach, Johanna Judith, sister to JSB (1680–86), BWV 232: Mass in B minor, 4, 22, 24–5, 28, 49 30–2, 108, 121–9, 310, 319, 330–6, Bach, Maria Barbara (1684–1720), 68 334 Bach, Wilhelm Friedemann (1710–84), 160, BWV 233–6: Lutheran Masses, 326–30 256, 287, 291, 293, 321 BWV 234: Mass in A major, 31, 329, 329, Clavier-Büchlein vor, 32, 160, 162–3, 163, 331, 331 166, 167, 290 BWV 243: Magniﬁcat in D major, 319

404 index

Bach-Werke-Verzeichnis (BWV), BWV 2a BWV 669–88: Chorale settings in Clavier (cont.) Übung III, 184, 185 BWV 244: St. Matthew Passion, 22–3, 25, BWV 680–1: “Wir glauben all an einen Gott 30–1, 43, 295–302, 296–7, 325, 355 /Fughetta; Wir glauben all aneinen BWV 245: St. John Passion, 31, 294, 306–17, Gott” (Clavier Übung III), 189 308, 311–12, 314 BWV 682–3: “Vater unser im Himmelreich” BWV 247: St. Mark Passion, 343, 317–18 (Clavier Übung III), 189 BWV 248: Christmas Oratorio, 22, 29, 302, BWV 740: “Wir glauben all an einen Gott,” 319, 336–48, 337–8, 341, 342–3, 276 345–6 BWV 769: Canonic Variations, 30, 204–17, BWV 249: Easter Oratorio, 28, 31, 348–53, 214, 216–17, 234 349, 352 BWV 772–801: Aufrichtige Anleitung, 26, BWV 525–30: Organ Sonatas, 25, 31, 215, 32–3, 68, 164–6, 165, 168–72, 171, 286, 290, 292–3, 355 174, 290, 290 BWV 543–8: Great Six Organ Preludes and BWV 777: Invention 6 in E major Fugues, 360, 362 (Aufrichtige Anleitung), 164 BWV 548: Great Six Organ Preludes and BWV 788: Sinfonia 2 in C minor Fugues, 248, 363 (Aufrichtige Anleitung), 166 BWV 592: Organ Concerto in G major, 264 BWV 802–5: Duetti from Clavier Übung III, BWV 599–644: Orgelbüchlein, 31, 96, 358 189 BWV 613: ‘Helft mir Gottes Güte preisen’ BWV 803: Duetto 2 in F major (Clavier (Orgelbüchlein), 359 Übung III), 186 BWV 620: ‘Christus, der uns selig macht’ BWV 804: Duetto 3 in G major (Clavier (Orgelbüchlein), 359 Übung III), 186 BWV 631: ‘Komm, Gott Schöpfer, heiliger BWV 806–11: English Suites, 31, 356, 357 Geist’ (Orgelbüchlein), 359 BWV 812–7: French Suites, 31, 355, 356–9, BWV 645–50: Schübler Chorales, 30, 212, 357 213, 217–23, 219–23, 219, 234, 293 BWV 825: Partita 1 (Clavier Übung I), 172 BWV 651: Fantasia super “Kom, heiliger BWV 825–6: Clavier Übung I, 175–7, 176 Geist” (Leipzig Organ Chorales), BWV 825–30: Clavier Übung I, 26, 30, 280–1 126 BWV 651–63: Leipzig Organ Chorales, BWV 826: Partita 2 (Clavier Übung I), 23, 275–93 25, 174 BWV 651–65: Leipzig Organ Chorales, 189 BWV 826–7: Partitas.2–3(Clavier Übung I), BWV 651–68: Leipzig Organ Chorales, 28, 172 31 BWV 827: Partita 3 (Clavier Übung I), 175 BWV 657a: ‘Nun danket alle Gott’ (Leipzig BWV 828: Partita 4 (Clavier Übung I), 23, Organ Chorales), 280 172 BWV 658a: ‘Von Gott will ich nicht lassen’ BWV 828–30: Partitas 4–6(Clavier Übung I), (Leipzig Organ Chorales), 280 43, 179 BWV 661a: ‘Nun kom der Heyden Heyland’ BWV 829: Partita 5 (Clavier Übung I), 25, (Leipzig Organ Chorales), 280 172 BWV 664a: ‘Allein Gott in der Höh sey Ehr’ BWV 831: French Overture in B minor (Leipzig Organ Chorales), 281 (Clavier Übung II), 25, 30, 63, 173 BWV 665a: ‘Jesus Christus, unser Heyland’ BWV 831a: French Overture in C minor (Leipzig Organ Chorales), 281 (Clavier Übung II), 177 BWV 666: ‘Jesus Christus, unser Heyland’ BWV 846–93: The Well-Tempered Clavier, (Leipzig Organ Chorales), 279 Books 1–2, 26, 31–2, 159, 168–72 BWV 667: ‘Komm, Gott Schöpfer, heiliger BWV 846–69: The Well-Tempered Clavier, Geist’ (Leipzig Organ Chorales), 279 Book 1, 161, 174, 188, 290, 290, 355 BWV 668: ‘Vor deinen Thron tret ich BWV 847: Prelude and Fugue in C minor hiermit’ (Leipzig Organ Chorales), (The Well-Tempered Clavier, 279 Book 1), 162

index 405

BWV 867: Prelude and Fugue in B♭ minor BWV 1011: Suite 5 in C minor (Six Cello (The Well-Tempered Clavier, Suites), 150, 156 Book 1), 162 BWV 1012: Suite 6 in D major (Six Cello BWV 870–93: The Well-Tempered Clavier, Suites), 151, 153, 154 Book 2, 281, 355 BWV 1014–9: Sonatas for Violin and BWV 881: Prelude and Fugue In F minor Harpsichord, 27, 29, 31, 64, 140, (The Well-Tempered Clavier, 148–9, 355 Book 2), 162 BWV 1019: Sonata 6 in G major (Sonatas for BWV 911–6: Six Toccatas, 356 Violin and Harpsichord), 32–3, BWV 923: Prelude in B minor, 162 148 BWV 971: Italian Concerto, 30, 64, 173, 177, BWV 1019a: Sonata 6 in G major (Sonatas 179–80 for Violin and Harpsichord), 175 BWV 972–4: Early Keyboard Transcriptions, BWV 1041–3: Violin Concertos, 355 264 BWV 1046–51: Brandenburg Concertos, BWV 972–7: Early Keyboard Transcriptions, 30, 31, 266–74, 269, 271, 355 262–3, 262 BWV 1049: Brandenburg Concerto 4 BWV 972–82, 592: Early Keyboard (Brandenburg Concertos), 21, Transcriptions, 255–66, 262 270–2 BWV 972–87: Early Keyboard BWV 1050: Brandenburg Concerto 5 Transcriptions, 31 (Brandenburg Concertos), 270, 272, BWV 977–82: Early Keyboard 273–4 Transcriptions, 366 BWV 1052–57: Harpsichord Concertos, 364, BWV 978–80: Early Keyboard 365 Transcriptions, 264 BWV 1052–65: Harpsichord Concertos, 28, BWV 978–82: Early Keyboard 365 Transcriptions, 263 BWV 1057: Harpsichord Concerto 6 in BWV 988: Goldberg Variations, 22, 30, F major (Harpsichord Concertos), 190–7, 192, 195, 201, 281 21–2, 269 BWV 995: Suite in G Minor (Suites for BWV 1057/1: Harpsichord Concerto 6 in Lute), 156 F major (Harpsichord Concertos), BWV 995–8, 1006a: Suites for Lute, 139, 22, 123 355 BWV 1060–5: Concertos for 2 Harpsichords BWV 998: Prelude, Fugue and Allegro in E♭ (Harpsichord Concertos), 364 major (Suites for Lute), 157 BWV 1063–4: Concertos for 2 Harpsichords BWV 1001: Sonata 1 in G minor (Six Solos (Harpsichord Concertos), 364 for Violin ), 136, 137 BWV 1066–9: Suites for Orchestra, 355 BWV 1001–6: Six Solos for Violin, 21, 27, BWV 1074: Canon a 4, 30 29, 33, 64, 133–45, 140, 355 BWV 1076: Canon triplex a 6, 116 BWV 1002: Partita 1 in B minor (Six Solos BWV 1079: Musical Offering, 30, 213, for Violin ), 24, 137, 143 224–38, 228, 231–2, 288 BWV 1003: Sonata 2 in A minor (Six Solos BWV 1080: The Art of Fugue, 28, 30, 33, for Violin ), 143 43, 107, 127, 144, 198, 238–54, BWV 1004: Partita 2 in D minor (Six Solos 242, 244, 245, 246, 249–50, 281, for Violin ), 23 287 BWV 1005: Sonata 3 in C major (Six Solos BWV 1082: Suscepit Israel puerum suum, 327 for Violin ), 248 BWV 1083: Tilge, Höchster, meine Sünden, BWV 1006: Partita 3 in E major (Six Solos 319 for Violin ), 21, 138–9 BWV 1087: Fourteen Canons, 199–203, 200, BWV 1007: Suite 1 in G major (Six Cello 212 Suites), 155 BWV 1090–1120: Neumeister Chorales, BWV 1007–12: Six Cello Suites, 31, 290 149–58 Bammler, Johann Nathanael (1722–84), 307–9, bar structure 154–5 314, 316

406 index

bar, 113–16 Mattheson dispute, 14, 38, 52–3, 78–83, building blocks see building blocks 88–9 counting, 120–9 evidence, 20–6 cabbala, 42–4 da capo, 21–2 cadence, 39, 115 non-conformist, 23 calendars, 56, 70, 220 repeats, 20 Calov, Abraham (1612–86), 86 half-bar, 24 Bible commentary, 28, 215, 303 measurement, 116–20 cantata form, 116, 118–20, 218, 318–25, 337 non-conformist, 23 see also collections and works, cantatas time signature as see TS feature chiastic forms, 316 beats (within bars), 110 chorales, 28, 90, 184, 189, 204, 292–3 Becker, August (1668–1750), 71 Christensen, Thomas, 9, 85 Beer, Johann (1655–1700), 47–50 Christian Ludwig, Margrave of Brandenburg Bernhard, Johann Gottfried (1715–39), 265 (1677–1734), 267 Besseler, Heinrich (1900–69), 268, 270 Christian of Saxe-Weissenfels, (1682–1736), Bible 268, 348 Old Testament chronogram, 6, 43, 47–50 Genesis clocks, 118 6:15, 59 collegium musicum,84 24:6, 59 compositional planning, 14, 50, 105–7, 109, 45:22, 59 129 Exodus 25:17, 80 units of measurement, 112–20 1 Samuel 18:7, 59 consonance, 77–8, 85, 88, 102, 93–4 1 Kings, 11, 59 Cöthen, 16, 100, 133, 146, 160 Psalms, 60 Crüger, Johann (1598–1662), 88 74:12, 323, 324 119:72, 59 da capo, 303, 21–2 Sirach 33:33–34, 44 dance, 111, 114 Isaiah 5:11–13, 373 decoration, 19, 36–8, 55, 111 New Testament devotion, 51, 84, 91, 96–7, 336–48 1 Corinthians 13:12, 59, 86 Dehn, Siegfried Wilhelm (1799–1858), 364 Matthew 26:1–56, 302 dispositio, 106, 128 black magic, 44 dissonance, 85, 102, 371,93–4 Boethius (c. 480–525 CE), 73–4 double proportion, 40 Bokemeyer, Heinrich (1679–1751), 17, 84, Dunsby, Jonathan, 34 86–7, 96, 111–12, 200 Dürer, Albrecht (1471–1528), 38 Bongus, Petrus (d. 1601), 58 Dürr, Alfred (1918–2011), 315, 340 Bourée, 111, 135, 152, 154, Breig, Werner, 194–5, 197, 279 elaboration, 19 Breitkopf, Bernhard Christoph (1695–1777), emblems, 11, 28, 51 56, 235 engravings, 32, 121–9, 205–11 printing, 226, 235 Butler’s reconstructions, 183 Brockes, Barthold Heinrich (1680–1747), 310 dedicatory, 55 building blocks (of bars), 33, 141, 155, 195–6, errors, 193–7, 227 215, 218, 229, 236–7, 288–91, 313, Bach’s supervision of process, 241, 243 315, 317, 351, 363, 367 Enlightenment, 7 Burke, Edmund (1729–97), 99 Eppstein, Hans (1911–2008), 32 Butler, Gregory, 31–2, 126, 183, 189, 205, 208, Erfurt, 17, 42, 49, 53, 71 211, 216–17, 225–7, 229, 242, 252 Predigerkirche, 86, 89 Butt, John, 150, 155, 195, 285, 287, 333 St. Andrew’s Church, 43 Buttstett, Johann Heinrich (1666–1727), 10, 13, eurythmia, 11, 36–8, 72, 112, 127, 139, 16, 54, 92, 103, 164, 253, 368, 376 367

index 407

Walther’sdefinition, 98, 111, 126–7 see also musical harmony and, 78–85 Gleichförmigkeit; symmetry of the spheres, 98 Hartung, Carl August (1723–1800), 257 Faber, Johann Christian (1669–1744), 57 heathens, 60, 89–90 Farlau, Johann Christoph (c.1735–70), 267, Heinichen, Johann David (1683–1729), 9, 18, 295, 304 368, 78 Fibonacci sequence, 105 Henrici, Christian Friedrich see Picander Fludd, Robert (1564–1637), 75, 80 hexachord, 8, 81, 103, 103 Forkel, Johann Nikolaus (1749–1818), 61, 127, historically informed theory (HIT), 14–26, 191, 221, 255–66, 274, 354, 369 367–8 Holy Spirit, 84, 281–3, 381 Bach biography, 94 hortus, 316 Franklin, Don O., 5 hour (unit), 118 Frederick the Great, Friedrich II of Prussia hourglass, 118 (1712–86), 224, 227, 229 Hudemann, Ludwig Friedrich (1703–70), 71 Friedrich Augustus II, Elector of Saxony Hunold, Christian Friedrich (1680–1721), (1733–63), Augustus III, King of 41–4, 128, 206 Poland (1734–63) (1696–1763), 330 Fritsch, Thomas, Lexicon, 15, 56, 369 Iamblichus (c. 250–325 CE), 73 definitions, 17, 36, 80, 97, 109–10, 216, 236, invention, 128, 237, 303 256 invention methods, 4–6, 206 Harmonie, 77–8, 95 composing by numbers, 104 Fulde, Johann Gottfried, 53, 199 golden section, 105 Fux, Johann Joseph (1660–1741), 62, 78, 91, paragrams and chronograms, 47–50 100, 368, 380 parallel, 47 Inventionsquelle, 62, 347 gavotte, 111, 114 Irwin, Joyce L., 83, 380 Gerber, Heinrich Nicolaus (1702–75), 18 Gessner, Christian Friedrich (1701–56), 122 Johann Ernst, Prince of Saxe-Weimar Gleichförmigkeit,37–8, 109–12, 127 (1696–1715), 127 Glied, 109 Joseph I, Kayser of the Holy Roman Empire Glöckner, Andreas, 303 (1678–11), 324 Goldberg, Johann Gottlieb (1727–56), 191 Judaism, 89 golden section, 105 Griepenkerl, Friedrich Konrad (1782–1849), 257 Kayser, Bernhard Christian (1705–58), 32 Grimm, Wilhelm (1786–1859) and Jacob transcriptions (1785–1863), 243 Aufrichtige Anleitung (P 219), 166–8, Guido d’Arrezo (991/992–after 1033), 8, 88–9, 171–81 103, 164, 376 English Suites (P 1072), 356, 357 The Well-Tempered Clavier I (P 401), H and B, 12, 27, 62 162–4, 171 Hagelgans, Johann Georg (d. 1765), 59–60 Kellner, Johann Peter (1705–72), 134–6, 257 Halle, 17, 37, 71, 100, 162–4 transcriptions Liebfraukirche, 51 Preludes and Fugues (P 286), 361 Hamburg, 84, 265 Five Solos for violin (P 804), 134–6, St. Catharine’s Church, 18 158 Händel, Georg Friedrich (1685–1759), 78 Kepler, Johannes (1571–1630), 74, 105, 369 Harmony Kerll, Johann Caspar (1627–93), 327 Bach and, 93–8 Keyserlingk, Count Hermann Carl von behavioural application, 86–8 (1696–1764), 191 defining beliefs, 73–8 Kilian, Dietrich (1928–1984), 285, 287, 360 definitions, 77–8, 95, 99 Kircher, Athanasius (1601–80), 16, 57, 62–3, eternal implication, 88–9 100

408 index

Kirnberger, Johann Philipp (1721–83), 47, 104, Marissen, Michael, 225, 231 267, 362 Marshall, Robert, 318 Kittel, Johann Christian (1732–1801), 18, 83, masses, 326–30 191 Matthäi, Conrad (1619–67), 8, 103 Kittel, Johann Gottlob (Micrander) Mattheson, Johann (1681–1764), 4, 9–10, 14, (1732–1809), 70 17–18, 47, 114, 252 Krebs, Johann Ludwig (1713–80), 18, 218 Buttstett dispute, 14, 17, 38, 52–3, 78–83, Krebs, Johann Tobias (1690–1762), 18, 88–9 277–80 on compositional planning, 105–9 Krügner, Johann Gottfried, senior ﬁfth rule of loveliness, 14, 110, 139 (1684–1769), 184 on Gleichförmigkeit,37–8, 109, 127 Krügner, Johann Gottfried, junior on Harmony, 96, 98, 137 (1714–1782), 184 publications Krügner, née Boëtius, Rosine Dorothee, 184 Grundlage eine Ehrenpforte,18 Kuhnau, Johann (1660–1722), 12, 50–1, 69, 71, Orchestre 1, 13, 52, 78 78, 88, 91, 218, 368 Orchestre 2, 18, 52, 82, 376 Orchestre 3,77 Lämmerhirt, Maria Elisabetha (1644–94), 16 Meckbach, Conrad (1637–1712), 321 Lämmerhirt, Martha Dorothea (1655–1727), Meckbach, Paul Friedemann (1674–1731), 321 16, 89 Meiβner, Heinrich (1644–1716), 51 Lange, Herman François de (c.1717–81), 104 Menantes (Christian Friedrich Hunold) Leaver, Robin A., 85, 121, 214, 326, 136 (1680–1721), 128, 206, 41–4 Leibniz, Gottfried Wilhelm von (1646–1716), Mendelssohn, Felix (1809–47), 276 46 mercy seat, 79, 378 Leipzig, 17, 37, 49, 93, 98–100, 111, 118, 159, Mersennse, Marin (1588–1648), 85, 105 265, 287, 361, 366 metre, 39, 110, 118, 180, 248, 306, 329 Easter fair, 56 minutes, 116–19, 306 Michaelmas fair, 205, 225, 236 mirror counterpoint, 253 Nikolaikirche, 306, 339 mirror image, 59, 65, 71, 86, 210, 371–2, publishing, 15, 43, 55–6, 84–5 382 engravers, 122 mirror structure, 210, 366 printing, 126 see also symmetry Thomaskantor, 12, 51, 294, 327–30 Mizler, Lorenz (1711–78), 62, 88, 91 Bach’s interview for post, 171, 319 autobiography, 4 Thomaskirche, 306, 317, 339 Corresponding society, 9, 18, 69, 100–1, 106, Leonardo da Pisa (c.1170–c.1250), 105 119, 204, 208, 252, 253 Leopold of Anhalt-Cöthen (1694–1728), 295 Mattheson and, 10 libraries, 16 Musicalische Bibliothek, 116–17 Lippius, Johannes (1585–1612), 102 modes, 34, 158, 178, 379–80 liturgy, 118, 120 Möller manuscript, 51 Locke, John (1632–1704), 9 monograms, 71, 253 Ludus Melothedicus, 104 morality, 13, 18, 52, 85–92, 274, 89–92 Ludwig of Braunschweig-Lüneberg (1718–88), Morhof, Daniel Georg (1639–91), 11, 40, 51–2, 57 112 lusus ingenii, 12, 50, 52, 65, 211, 254, 366 motivic parallelism, 34–5 lute, 105 mottos, 26, 43, 52–3, 55, 71, 91 transcriptions, 139, 156–7, 355 Mühlhausen, 42, 51, 93, 321–3 Luther, Martin (1483–1546), 85, 210–11 Müller, Johann Caspar (d. 1717), 55–7, 122, 124, 235 Männling, Johann Christoph (1658–1723), 52 Müller, Maria Sophia, 56 marginalia, 108 music Marpurg, Friedrich Wilhelm (1718–95), 103, abuse of, 84 104, 204, 251, 356 Lutheran doctrine of, 13, 85–92, 94, 96

index 409

Mirror of wisdom of God, 86, 371–2, 382 Oley, Johann Christoph (1739–1789), 177 of the spheres, 74 oratorios, 336–48 musica, 75, 77 Mylius, Johann Anton (1657–1724), 42 Pachelbel, Johann (1653–1706), 45, 47, 89, 359 Neumann, Werner (1905–1991), 65 Pachelbel, Wilhelm Hieronymus (1686–1764), Neumeister, Erdmann (1671–1756), 41 45 Neumeister, Johann Gottfried (1757–1840), Paczkowski, Szymon, 83 290, 359 Palestrina, Giovanni Pierluigi da Neuss, Heinrich Georg (1654–1716), 3, 9, 16, (c.1525–1594), 327 83–4, 86, 381–2 palimpsest, 108 Newton, Isaac (1643–1727), 46 paper, 23, 32, 176 Nichomachus (fl c.100 CE), 7, 74 expense, 32, 120 Niedt, Friedrich Erhard (1674–1717), 18, 38, foldings, 285, 287 93–4, 111, 114 quality, 226, 242, 246 number alphabets see alphabets, number rough, 107 numbers staves ruled on, 120, 123 6, 68, 97, 102–3, 329 watermarks, 150, 162, 279, 285 7, 60 paragrams, 5–6, 12, 36, 42, 324 10, 60 parallelism, 34 14, 27–8, 197–8, 201, 208, 236, 247, 252 Bach’s name in imagery, 72 28, 306 permutation, 36, 42, 68, 198, 211, 247 29, 68–9, 293 B-A-C, 12, 69–70, 243, 247, 289, 347, 41, 27–8, 65–9, 246–7, 251, 323–4, 344 353 84, 4 B-A-C-H, 211 see also numbers: 1032; 1320; 158, 27–8, 68–9, 143, 235, 280–1, 350 2130; 3120 280, 216 Petzoldt, Martin (1946–2015), 315–16 666, 59 Picander (1700–1764), 46, 206, 295–302, 790, 243, 245 304–6, 347 1000, 59 planets, 56, 60, 74, 77 1032, 68–9, 164, 170, 173, 176, 177, 179–80, plans 202 ground, 107, 112, 119, 248, 251 1040, 243, 245 numerical, 23, 25, 32, 107, 134, 146, 1155, 341–4 168–72, 243–6, 268–74, 292, 309, 1320, 229, 233, 237, 288, 335, 337, 358 317 2130, 328, 331 Plato (428–348 BCE), 74 2310, 340–1 Poelchau, Georg (177–1836), 276 3120, 24, 26, 30, 68–9, 172–81, 202, 244, 247, polyphony, 95 289–90, 331, 353 Praetorius, Michael (1571–1671), 88, aliquot, 103, 133 118–20 Bach numbers, 67, 211 printing symbols, 12, 55–7 composing by, 104 progressio arithmetica, 14, 38, 104, 115, 126, perfect, 8, 27–8, 60, 68, 97, 102–3, 172, 198, 139 202, 208, 306, 329, 347, 353 proportion symbolism, 58–60 double, 40 numeri radicales Harmonici, 102 in figure, 39 numerology, 5 by situation, 33, 40, 170 numerus musicus, 11, 14, 102, 110–11, 115–16 proportional parallelism, 6–7, 35, 366–9 numerus perfectus see numbers, perfect significance, 98–101 numerus poëticus,40 characteristics, 12, 30–1, 35, 146, 150, Nuremberg, 45, 49 183, 209, 237, 259, 271, 285, Egidienkirche, 45 356–9 Sebalduskirche, 45, 49 Ptolemy (c.85–c.165 CE), 74

410 index

pulse, 113, 136, 193, 199–203, 373 slate, 108 Puttenham, George (1529–90) Smend, Friedrich (1893–1980), 3, 5, 27, 58, The Arte of Poesie,38–46, 75–6 65–8, 108, 211 proportion in ﬁgure, 39 solmisation, 89, 164 proportion by situation, 33, 40, 140 see also ut re mi Pythagoras (ﬂ. 530 BCE), 8, 73–4 solstice (spring), 70 Sorge, Georg Andreas (1703–78), 359 quadrivium,75 soul, 86, 93, 281 of music, 114, 128 Rameau, Jean-Philippe (1683–1764), 9 speed, 86, 118, 136 rastrum, 120, 123, 270 Speerstra, Joel, 55 Regensburg, 48 Spiess, Meynrad (1683–1761), 10, 64, 105–7, Reichardt, Johann Friedrich (1752–1814), 235 112 rhetoric, 52 Spitta, Philipp (1841–94), 4, 141, 184, 225, 241 Richter, C. F. (unknown), 18, 97 Stauffer, George B., 361 Riederer, Johann Friedrich (1678–1734), 44–6, Steffani, Agostino (1654–1728), 50, 69, 107–12, 58, 206, 324 294 Riepel, Joseph (1709–1782), 62 Steinbach, Georg Adam (d. 1720), 322–4 Roger, Estienne of Amsterdam (c. 1665–1722), Stiefel, Michael (1487–1587), 3 265 Stinson, Russell, 258–9, 279, 359 Roitzsch, Ferdinand August (1805–89), 257, Stölzel, Gottfried Heinrich (1690–1749), 46 364 Strecker, Adolff (1624–1720), 322–4 Rolle, Christian Friedrich (1681–1751), 71 symbols, printing, 12 symmetry, 11, 33, 316 Sanduhr, 118 B-A-C-H form, 103–4, 103 Sarabande, 115, 157 of the hexachord, 103, 103 Schabalina, Tatiana, 317 as ideal, 36–8, 127 Scheibe, Johann Adolph (1708–76), 119, 126, numerical, 68, 216 128, 217–23 in poetry, 11, 38–46 Schemelli, Georg Christian (c.1678–1762), 30 structural, 194, 311, 337 Schenker, Heinrich (1868–1935), 34 title pages, 216, 235–6 Schering, Arnold (1877–1941), 4 see also eurythmia; Gleichförmigkeit; mirror Schmid, Balthasar (1705–49), 184, 190, 205 structure Schmieder, Wolfgang (1901–90), 20, 24, 199 Schmolk, Benjamin (1672–1737), 45 tactus, 114, 128 Schübler, Johann Georg (1720–53), 217, 226, 241 Takt, 116–18 Schulenberg, David, 242 see also bar Schulz, Leonhard (1814–60), 178 Taktart see time signature Schulze, Hans-Joachim, 16, 65, 150, 156, 235–6 Talle, Andrew, 122 Schwanberg, Georg Heinrich Ludwig Telemann, Georg Philipp (1681–1767), 69, 78, (1696–1774), 134, 136–41,146,150 216 Schwenter, Daniel (1585–1636), 58 Temple in Jerusalem, 80 score layout and measurement, 20–6, 28–9, tempo see speed 113, 120–9, 325 tempora, 118 semitone symmetry, 103 tetrachys,7 senarius, 8, 38, 75, 86, 97, 102 Thieme, Carl August (1721–95), 18, 97 septenarius, 8, 86, 102 thorough-bass, 90, 93–4 Siegele, Ulrich, 5 Thüringia, 53, 90–1, 368 signature Thüringian doctrine of music, 85–92 across key signatures, 155 time measurement, 118–19, 306 numerical, 27, 62–8, 141, 147, 155, 173, 280 time signature see also B-A-C-H 6/8 and 6/4, 24 written, 65–7, 66, 71, 134, 237 as bar line see TS feature

index 411

change, 25, 116, 199–200 on Tactus, 127–8 stile antico notation, 24, 333–5 Walther, Johann Gottfried (d. 1727), 100 title pages, 96, 207, 216, 235–6, 251–2 watches, pocket, 119 Clavier Übung,13 watermarks, 150, 162, 177, 225, 277, 279, 287 Tomita, Yo, 24, 30, 34, 358 Weigel, Christoph (1702–77), publisher, 49 Torri, Pietro (c.1650–1737), 327 Weimar, 16, 42 transposition, 27, 63, 179–80, 341 Bach in, 127, 133, 150, 321 trias harmonica,8,87–9, 97, 370 Stadtkirche, 277 trigonal alphabets, 44, 67 Walther in, 17, 51 TS feature, 24–6, 45, 123, 174, 186, 285, Weissenfels, 16, 42, 48–9 330–6 Weltig, Adam Immanuel, 69 Werckmeister, Andreas (1645–1706), 9, 17, 50, Ubereinstimmung, 37, 78, 109, 112, 216 83, 90–2, 159–64, 275 unison Harmonologia musica, 96, 374 generative, 11 Musicae mathematicae hodegus curiosus,16 intervallic, 8, 20, 75 Noble Art of Music, Der Edlen Music-Kunst proportional, 33, 37–8, 80, 109, 13, 85–8, 357 111–13 Wilcke, Anna Magdalena see Bach, Anna unity, 11, 13, 35, 38, 73, 90, 93, 95, 110 Magdalena generative, 85 Wilhelm Ernst of Saxe-Weimar (1683–1728), Unterberg, Joanne ab (unknown), 58 42, 57 ut re mi, 8, 62, 81, 88, 103, 159, 164 Williams, Peter, 97, 191, 211, 289 Wolff, Christian (1679–1754), 46 Verhältnis, 108–9, 114, 127 predestined harmony, 100–1 Virgil (70 –19 BCE), 102 Wolff, Christoph, 6, 178, 191, 200–1, 212–15, Vitruvius (c.75–15 BCE), 38 221, 225, 237, 240, 242, 251, 268, Vivaldi, Antonio (1678–1741), 265–6 270 Vollkommenheit, 59, 94 Wollny, Peter, 121, 277, 285, 309, 327

Walther, Johann Gottfried (1684–1748), 11, 13, Yearsley, David, 216 16–17, 45, 49, 51, 84, 89, 92, 102–3, 133, 277, 361 Zarlino, Gioseffo (1517–90), 75 on eurythmia, 38, 98, 111, 126–7 Zedler, Johann Heinrich (1706–51), 15, 34, Musicalische Lexicon, 17, 61, 74–7, 102–3, 37, 45–6, 52, 55, 59, 77, 98–9, 109, 111 127 Praecepta der Musicalischen Composition, Zelenka, Jan Dismas (1679–1745), 83 114, 374–5 Zelter, Carl Friedrich (1758–1832), 259–66