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Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685-1750
This monumental study of Johann Sebastian Bach ranks among the great classics of musicology. Since its first publication in 1873–80, it has remained the basic work on Bach and the foundation of later research and study. The three-part treatment describes in chronological sequence practically everything that is known of the composer's his ancestry, his immediate family, his associations, his employers, and the countless occasions on which his musical genius emerged. Author Philipp Spitta accompanies this biographical material with quotations from primary correspondence, family records, diaries, official documents, and more.
In addition to biographical data, Spitta reviews Bach's musical production, with analyses of more than 500 pieces, covering all the important works. More than 450 musical excerpts are included in the main text, and a 43-page musical supplement illustrates longer passages. Despite the scholarly nature of this work, it also has the rare distinction of being a study that can be read with considerable enjoyment and great profit by every serious music lover, with or without a substantial background in the history of music or musical theory.
In addition to biographical data, Spitta reviews Bach's musical production, with analyses of more than 500 pieces, covering all the important works. More than 450 musical excerpts are included in the main text, and a 43-page musical supplement illustrates longer passages. Despite the scholarly nature of this work, it also has the rare distinction of being a study that can be read with considerable enjoyment and great profit by every serious music lover, with or without a substantial background in the history of music or musical theory.
- GenresMusic
736 pages, Paperback
First published February 16, 2010
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April 27, 2017
The second volume covers Bach’s activities in Kothen and Leipzig. It consists of over 600 pages of details with main focus on Bach’s cantatas.
Notes:
Bach in Köthen
While in Köthen, Bach prepared a set of educational music for keyboard, called Inventions and Sinfonias. I have listened to them performed by Glenn Gould on piano.
On 7 July 1720, while Bach was away in Carlsbad with Prince Leopold, Bach's wife, Maria Barbara, suddenly died. Of the seven children that Johann Sebastian Bach had with her only three survived him. Two of these had musical careers of their own: Wilhelm Friedemann and Carl Philipp Emanuel Bach. Later in the year Sebastian visited Hamburg where he performed in St. Katharine Church, and was complemented by local famous composer Johann Reinken.
Also, it is suggested that in Köthen Bach composed six works for solo violin (BWV 1001 – 1006). They are very interesting melodically. The first part of BWV 1001 is very popular. In 1721 Bach composed his six Brandenburg concertos and sent them to Margrave of Brandenburg, who never had them played at his court. Spitta provides a detailed analysis of the concertos, starting on page 130.
In 1721 Bach married Anna Magdalena Wilcke, a 21 years old, highly gifted soprano, who performed at the court in Köthen. Together they had thirteen more children, six of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726–81), Johann Christoph Friedrich and Johann Christian, who both became significant musicians; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).
The French Suites (BWV 812–817), are six suites which Johann Sebastian Bach wrote for the clavier between the years of 1722 and 1725. Again, they are best performed by Glenn Gould.
Bach in Leipzig
In 1723, Bach was appointed Thomaskantor, Cantor of the Thomasschule at the Thomaskirche (St. Thomas Church) in Leipzig, which provided music for four churches in the city, the Thomaskirche, the Nikolaikirche (St. Nicholas Church), and to a lesser extent the Neue Kirche (New Church) and the Peterskirche (St. Peter's Church). After having been offered the position, Bach was invited to Leipzig only after Georg Philipp Telemann indicated that he would not be interested in relocating to Leipzig, and the second successful candidate – Christoph Graupner, was refused a leave from his employer.
While in Leipzig Bach composed four orchestral suites (BWV 1066 – 1069). All deserve repeated hearings. The BWV 1068 contains the famous “Air” piece.
During his stay in Leipzig Bach composed 266 cantatas. I will limit myself to mentioning only those I found worth the second hearing:
1. Magnificat (BWV 243) prepared for the feast of Visitation in 1733,
2. Darzu ist erschienen der Sohn Gottes (For this the Son of God appeared), (BWV 40), composed for the second day of Christmas in 1723,
3. Christ lag in Todes Banden (BWV 4), is a cantata for Easter, and considered one of the earlier works, dated to 1707. Sounds very innovative to me.
4. Nimm, was dein ist, und gehe hin, (Take what is yours and go away) (BWV 144), composed for the third Sunday before Lent, and first performed on 6 February 1724. Like the first aria.
5. Leichtgesinnte Flattergeister (Light-minded frivolous spirits), (BWV 181), was composed for the second Sunday before Ash Wednesday in 1724. The first aria sung by bass in staccato compares to the fowl feeding on the seeds in "nervous, jerky movement".
6. Herr, gehe nicht ins Gericht mit deinem Knecht, (Lord, do not pass judgment on Your servant), (BWV 105), composed it in Leipzig for the ninth Sunday after Trinity and first performed it on 25 July 1723. Described as one of "the most sublime descriptions of the soul in baroque and Christian art".
7. Ich liebe den Höchsten von ganzem Gemüte (I love the Highest with my entire being), (BWV 174) - ach composed the cantata in Leipzig for the second day of Pentecost and first performed it on 6 June 1729. The cantata begins with a Sinfonia, which Bach derived from the first movement of his Brandenburg Concerto No. 3.
8. Herr, deine Augen sehen nach dem Glauben (Lord, your eyes look for faith), (BWV 102, is a church cantata composed in Leipzig for the tenth Sunday after Trinity and first performed on 25 August 1726.
9. Jauchzet Gott in allen Landen ("Shout for joy to God in all lands") (BWV 51), is Bach's only church cantata scored for a solo soprano and trumpet. He composed it for general use. The first known performance was on 17 September 1730 in Leipzig.
10. Ich habe genug (BWV 82), composed in 1727, is one of the best known of Bach's church cantatas, and my favourite.
11. Ich will den Kreuzstab gerne tragen ("I will gladly carry the Cross"), (BWV 56), is the solo cantata for bass in Leipzig for the 19th Sunday after Trinity Sunday and first performed it on 27 October 1726.
There are only six authorised Bach motets. The ones I have found worth repeated listening are:
1. Jesu, meine Freude, (BWV 227),
2. Komm, Jesu, komm (Come, Jesus, come), (BWV 229)
Notes:
Bach in Köthen
While in Köthen, Bach prepared a set of educational music for keyboard, called Inventions and Sinfonias. I have listened to them performed by Glenn Gould on piano.
On 7 July 1720, while Bach was away in Carlsbad with Prince Leopold, Bach's wife, Maria Barbara, suddenly died. Of the seven children that Johann Sebastian Bach had with her only three survived him. Two of these had musical careers of their own: Wilhelm Friedemann and Carl Philipp Emanuel Bach. Later in the year Sebastian visited Hamburg where he performed in St. Katharine Church, and was complemented by local famous composer Johann Reinken.
Also, it is suggested that in Köthen Bach composed six works for solo violin (BWV 1001 – 1006). They are very interesting melodically. The first part of BWV 1001 is very popular. In 1721 Bach composed his six Brandenburg concertos and sent them to Margrave of Brandenburg, who never had them played at his court. Spitta provides a detailed analysis of the concertos, starting on page 130.
In 1721 Bach married Anna Magdalena Wilcke, a 21 years old, highly gifted soprano, who performed at the court in Köthen. Together they had thirteen more children, six of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726–81), Johann Christoph Friedrich and Johann Christian, who both became significant musicians; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).
The French Suites (BWV 812–817), are six suites which Johann Sebastian Bach wrote for the clavier between the years of 1722 and 1725. Again, they are best performed by Glenn Gould.
Bach in Leipzig
In 1723, Bach was appointed Thomaskantor, Cantor of the Thomasschule at the Thomaskirche (St. Thomas Church) in Leipzig, which provided music for four churches in the city, the Thomaskirche, the Nikolaikirche (St. Nicholas Church), and to a lesser extent the Neue Kirche (New Church) and the Peterskirche (St. Peter's Church). After having been offered the position, Bach was invited to Leipzig only after Georg Philipp Telemann indicated that he would not be interested in relocating to Leipzig, and the second successful candidate – Christoph Graupner, was refused a leave from his employer.
While in Leipzig Bach composed four orchestral suites (BWV 1066 – 1069). All deserve repeated hearings. The BWV 1068 contains the famous “Air” piece.
During his stay in Leipzig Bach composed 266 cantatas. I will limit myself to mentioning only those I found worth the second hearing:
1. Magnificat (BWV 243) prepared for the feast of Visitation in 1733,
2. Darzu ist erschienen der Sohn Gottes (For this the Son of God appeared), (BWV 40), composed for the second day of Christmas in 1723,
3. Christ lag in Todes Banden (BWV 4), is a cantata for Easter, and considered one of the earlier works, dated to 1707. Sounds very innovative to me.
4. Nimm, was dein ist, und gehe hin, (Take what is yours and go away) (BWV 144), composed for the third Sunday before Lent, and first performed on 6 February 1724. Like the first aria.
5. Leichtgesinnte Flattergeister (Light-minded frivolous spirits), (BWV 181), was composed for the second Sunday before Ash Wednesday in 1724. The first aria sung by bass in staccato compares to the fowl feeding on the seeds in "nervous, jerky movement".
6. Herr, gehe nicht ins Gericht mit deinem Knecht, (Lord, do not pass judgment on Your servant), (BWV 105), composed it in Leipzig for the ninth Sunday after Trinity and first performed it on 25 July 1723. Described as one of "the most sublime descriptions of the soul in baroque and Christian art".
7. Ich liebe den Höchsten von ganzem Gemüte (I love the Highest with my entire being), (BWV 174) - ach composed the cantata in Leipzig for the second day of Pentecost and first performed it on 6 June 1729. The cantata begins with a Sinfonia, which Bach derived from the first movement of his Brandenburg Concerto No. 3.
8. Herr, deine Augen sehen nach dem Glauben (Lord, your eyes look for faith), (BWV 102, is a church cantata composed in Leipzig for the tenth Sunday after Trinity and first performed on 25 August 1726.
9. Jauchzet Gott in allen Landen ("Shout for joy to God in all lands") (BWV 51), is Bach's only church cantata scored for a solo soprano and trumpet. He composed it for general use. The first known performance was on 17 September 1730 in Leipzig.
10. Ich habe genug (BWV 82), composed in 1727, is one of the best known of Bach's church cantatas, and my favourite.
11. Ich will den Kreuzstab gerne tragen ("I will gladly carry the Cross"), (BWV 56), is the solo cantata for bass in Leipzig for the 19th Sunday after Trinity Sunday and first performed it on 27 October 1726.
There are only six authorised Bach motets. The ones I have found worth repeated listening are:
1. Jesu, meine Freude, (BWV 227),
2. Komm, Jesu, komm (Come, Jesus, come), (BWV 229)
June 15, 2022
The second volume of Philipp Spitta's magnum opus on J.S. Bach is the longest of the three. According to Spitta, it covers the most fruitful and productive years of Bach's life. The main focus is on the series of cantatas that Bach composed for the churches he served in Leipzig, along with the passion oratorios he wrote.
Spitta's priorities are completeness and chronology. He spends a great deal of time and effort discussing the watermarks on manuscripts, church and civil calendars, and various other minutiae in an attempt to nail down the composition date of various obscure pieces. I would have preferred that he spend more time analyzing what he deemed the most interesting or important compositions, rather than devote attention to every last piece. There seemed to be fewer musical illustrations overall compared with the first volume.
One of the best things about reading this book is that I now have a much better understanding of the day-to-day realities of Bach's life. I once thought (misunderstood) that he composed a new cantata every week during the church year. In fact, he created about five complete cycles of cantatas, but wrote them over a long period. He actually composed around one a month. It still boggles the mind how he composed so much music of such high quality, but at least it seems humanly possible.
The other interesting point, which Spitta argues several times over the course of the book, is that Bach always sees music through the lens of the organ. He learned how to be a great composer by learning to be a great organist. The control needed to play four lines of counterpoint with the hands, plus one or two with the feet, was the same type of control needed to conceive and marshal the mighty forces of, say, the St. Matthew Passion.
Spitta's priorities are completeness and chronology. He spends a great deal of time and effort discussing the watermarks on manuscripts, church and civil calendars, and various other minutiae in an attempt to nail down the composition date of various obscure pieces. I would have preferred that he spend more time analyzing what he deemed the most interesting or important compositions, rather than devote attention to every last piece. There seemed to be fewer musical illustrations overall compared with the first volume.
One of the best things about reading this book is that I now have a much better understanding of the day-to-day realities of Bach's life. I once thought (misunderstood) that he composed a new cantata every week during the church year. In fact, he created about five complete cycles of cantatas, but wrote them over a long period. He actually composed around one a month. It still boggles the mind how he composed so much music of such high quality, but at least it seems humanly possible.
The other interesting point, which Spitta argues several times over the course of the book, is that Bach always sees music through the lens of the organ. He learned how to be a great composer by learning to be a great organist. The control needed to play four lines of counterpoint with the hands, plus one or two with the feet, was the same type of control needed to conceive and marshal the mighty forces of, say, the St. Matthew Passion.
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