THE MANUSCRIPT TRANSMISSION OF J. S. BACH’S MASS IN B MINOR (BWV 232) AND THE DEVELOPMENT OF THE CONCEPT OF TEXTUAL AUTHORITY, 1750-1850 by DANIEL FELLERS BOOMHOWER Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2017 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Daniel Fellers Boomhower candidate for the degree of Doctor of Philosophy.* Committee Chair Susan McClary Committee Member L. Peter Bennett Committee Member Francesca Brittan Committee Member Martha Woodmansee Date of Defense January 26, 2017 *We also certify that written approval has been obtained for any proprietary material contained therein. For Keely, Eleanor, and Greta Table of Contents List of Tables v List of Figures vi Bibliographic Abbreviations vii Acknowledgements viii Abstract x Introduction 1 Chapter 1: Composing 16 Chapter 2: Revising 51 Chapter 3: Copying 84 Chapter 4: Collecting 114 Chapter 5: Performing 148 Chapter 6: Editing 182 Conclusion 212 Bibliography 218 iv List of Tables Table 2.1: Stages of Revisions by C. P. E. Bach to the Mass in B Minor 68 Table 5.1: Performances of the Mass in B Minor, 1770s-1850s 152 v List of Figures Figure 1.1: Parody Sources for the “Lutheran” Masses (BWV 233-236) 32 Figure 2.1: Stage I Revisions to the Symbolum Nicenum 68 Figure 2.2: C. P. E. Bach’s Insertions into the Autograph 69 Figure 2.3: Stemma of Revision Stages I and II 70 Figure 2.4: Stage III Revisions to the Symbolum Nicenum 72 Figure 2.5: Stemma of Revision Stages II-VI 77 Figure 2.6: Stage II Revisions to the Symbolum Nicenum 77 Figure 2.7: Stage IV Revisions to the Symbolum Nicenum 78 Figure 2.8: Stage V Revisions to the Symbolum Nicenum 78 Figure 2.9: Stage VI Revisions to the Symbolum Nicenum 79 Figure 3.1: Manuscripts of the Mass in B Minor Reflecting Berlin Origins 92 Figure 4.1: Voß Manuscripts Acquired from the Hering Estate 128 Figure 5.1: Nineteenth-Century Manuscripts of Berlin Origin 172 Figure 5.2: Nineteenth-Century Manuscripts of Frankfurt Origin 173 vi Bibliographical Abbreviations BDok Bach-Dokumente: Supplement Zu Johann Sebastian Bach Neue Ausgabe Sämtlicher Werke. Kassel: Bärenreiter, 1963-2008. BG Johann Sebastian Bach’s Werke. Leipzig: Bach Gesellschaft, 1851-1899. BWV Schmieder, Wolfgang. Thematisch-systematisches Verzeichnis Der Musikalischen Werke von Johann Sebastian Bach: Bach-Werke- Verzeichnis (BWV). 2., überarbeitete und erweiterte Ausgabe. Wiesbaden: Breitkopf & Härtel, 1990. CPEB:CW Carl Philipp Emanuel Bach: The Complete Works. Los Alto, CA: The Packard Humanities Institute, 2005-. KB Kritische Berichte to NBA. NBA Bach, Johann Sebastian. Neue Ausgabe sämtlicher Werke. Kassel: Bärenreiter, 1954-2011. NBA II/1 Bach, Johann Sebastian. Missa, Symbolum Nicenum, Sanctus, Osanna, Benedictus, Agnus Dei et Dona nobis pacem (später genannt “Messe in h- moll”). Edited by Friedrich Smend. Neue Ausgabe sämtlicher Werke. Kassel: Bärenreiter, 1954. NBA II/1a Bach, Johann Sebastian. Frühfassungen zur h-Moll Messe, BWV 232. Edited by Uwe Wolf. Neue Ausgabe sämtlicher Werke II/1a. Kassel: Bärenreiter, 2005. NBArev Bach, Johann Sebastian. Neue Ausgabe sämtlicher Werke — Revidierte Edition. Edited by the Bach-Archiv Leipzig. Kassel: Bärenreiter, 2010-. NBArev 1 Bach, Johann Sebastian. Messe in H-Moll, BWV 232. Edited by Uwe Wolf. Neue Ausgabe sämtlicher Werke — Revidierte Edition 1. Kassel: Bärenreiter, 2010. NBR David, Hans T. and Arthur Mendel. The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Revised and enlarged by Christoph Wolff. New York: W.W. Norton, 1998. Rifkin 1982 Notes to Bach, Johann Sebastian. Mass in B Minor, BWV 232. Bach Ensemble. Nonesuch 79036, 1982. Rifkin 1988 Review of facsimile editions of Bach’s Mass in B Minor. Notes 44 (1988), pp. 787-98. Rifkin 2006 Bach, Johann Sebastian. Messe H-Moll = Mass in B Minor, BWV 232. Edited by Joshua Rikfin. Partitur-Bibliothek Nr. 5363. Wiesbaden: Breitkopf & Härtel, 2006. Wolff 2000 Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. New York: W.W. Norton, 2000. vii Acknowledgements The writing of this dissertation has been accomplished because of the generous support of many individuals, to whom I am greatly indebted. I remain particularly grateful to the faculty of the Music Department at Case Western Reserve University for providing me the opportunity to pursue the doctorate in musicology while continuing to work full-time as a librarian, especially after I relocated to Washington, DC. I am particularly indebted to Susan McClary for the guidance and support I have received from her as I have developed this dissertation. I am also grateful to my other readers, Peter Bennett, Francesca Britten, and Martha Woodmansee, for their generous support and helpful critique. My colleagues at Kent State University, the Library of Congress, and Dumbarton Oaks, especially Barbara Schloman, Susan Vita, and Jan Ziolkowski, have offered extraordinary encouragement and support. The Baker-Nord Center for the Humanities at Case Western Reserve University provided generous funding that supported research at the Staatsbibliothek zu Berlin and the Biliothèque Nationale de France. Images of manuscripts digitized by the Staatsbibliothek zu Berlin – Preußischer Kulturbesitz are used according to the Creative Commons License CC BY-NC-SA 3.0, following that library’s conditions of use. I am grateful to Roland Schmidt-Hensel in Berlin and François-Pierre Goy in Paris for assistance in their libraries. The American Bach Society provided generous funding to support my work with manuscripts in the Music Library at the University of Michigan. I am very grateful to Markus Rathey for his encouragement of my funding proposal and to Kristen Castellana for her assistance while working in her library. Christoph Wolff, Stephen Roe, and Peter Wollny assisted me in making contact with the owner of a manuscript of the Mass in B Minor. Prof. Wolff has viii also offered encouragement over many years, beginning with my research for my master’s thesis. Yo Tomita has generously provided photos of several sources and responded to a number of other enquiries. Christine Blanken assisted in my efforts to track down a manuscript. Jeanne Hafner and Clare Stacey provided very helpful feedback at the very final stage of my work this project. Of course, the conclusions and errors found in this study are entirely my own. Given that a particularly negative view of my study would portray it as a litany of the shortcomings of an august assemblage of musicians and scholars, I hope that my own shortcomings are worthy of the likes of Julius Rietz and Friedrich Smend. Finally, I can hardly begin to express my appreciation for the support and encouragement of my wife, Keely Jackson Boomhower, despite the sacrifices she and our daughters have made as I have devoted so many hours and years to this project. ix The Manuscript Transmission Of J. S. Bach’s Mass in B Minor (BWV 232) and the Development of the Concept of Textual Authority, 1750-1850 Abstract by DANIEL FELLERS BOOMHOWER Despite being long considered to rank among the great musical statements in European compositional history, substantiating the textual identity of Bach’s Mass in B Minor has proven quite challenging. This results from the fact that Bach’s Mass as conveyed in a tangled body of original sources reflects a process of composition and compilation that stretched over nearly four decades and defies modern conceptions of artistic creation. The surviving manuscript sources reflect numerous different constituent elements composed for earlier uses which Bach then combined, along with other pre-existing bits and pieces, to form a totality that wholly reimagines the purpose and intent of its components. This study traces changing attitudes toward the integrity of musical compositions, the musical text of such compositions, and the notated sources that transmit those compositions, beginning with practices common in early eighteenth-century German courts and churches and continuing through to the foundation of the Bach Gesellschaft in 1850. In examining Bach’s music and its reception during the period between 1750 and 1850, this study demonstrates how changing intellectual and social concerns propelled the formulation of a stable textual entity that embodied the idea of the musical “work” and how music was adapted to new economic and social conditions. Over time the sources for Bach’s Mass in B Minor advanced varying representational objectives resulting in different versions of the Mass in B Minor that document distinct moments in history. x Understanding changing attitudes toward notated musical objects allows for the contextualization of the concept of textual authority that arose during this period. xi Introduction Scholars and commentators have long considered Bach’s Mass in B Minor to rank among the great musical statements in European compositional history, with the most assertive observation coming in the early nineteenth-century when the Zurich-based publisher Hans Georg Nägeli pronounced it “the greatest musical artwork of all times and all peoples.”1 Despite this, substantiating the textual identity of Bach’s Mass has proven quite challenging. This is seen most clearly in editions published in 1856 and 1954, both of which quickly proved to be inaccurate.2 But even more recent editors have pursued different ways of resolving the inherent contradictions of the original sources containing the Mass, resulting in ever more versions of the composition as opposed to a single, definitive and unifying version.3 The primary challenge results from the fact that Bach’s Mass as conveyed in a tangled body of original sources reflects a process of composition and compilation that stretched over nearly four decades and defies modern conceptions of artistic creation. Some of Bach’s acknowledged masterpieces appear to reflect singular compositional acts and survive in cohesive and authoritative sources.