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'JOMNN SEBASTIAN BACH,HISWORK AND INFLUENCE ON THEMUSIC OF GERMANY, 1685-1750BYPHILIPP 'SPITTA'TRANSLATED FROM THE GERMAN BYCLARA BELLANDJ. A. FULLER-MAITLAND.INTHREE VOLUMES.VOL. III. ZLONDONNOVELLO, EWER & CO.1885.
Page 1 and 2: o.tL-(DCMCNJu.==\r> mUJ">=z=3^r.inr
Page 4: Digitized by tine Internet Arciiive
Page 9: —CONTENTS.1 IBOOK VI.The Final Pe
Page 13 and 14: 1 SeeVol. II., p. 261.B 2BOOK VI.I.
Page 15 and 16: ;DISPUTE WITH ERNEST!. 5and the rec
Page 17 and 18: DISPUTE WITH ERNESTI. 7he won over
Page 20 and 21: —10 JOHANN SEBASTIAN BACH.he disp
Page 22 and 23: 13 JOHANN SEBASTIAN BACH.only as a
Page 24 and 25: —;14 JOHANN SEBASTIAN BACH.prince
Page 26 and 27: l6JOHANN SEBASTIAN BACH.musical Act
Page 28 and 29: :l8JOHANN SEBASTIAN BACH.notably th
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Page 32 and 33: 23 JOHANN SEBASTIAN BACH.survived a
Page 34 and 35: 24 -JOHANN SEBASTIAN BACH.Society,
Page 36 and 37: '26 "JOHANN SEBASTIAN BACH.and the
Page 38 and 39: —28 JOHANN SEBASTIAN BACH.style w
Page 40 and 41: 30 JOHANN SEBASTIAN BACH.From all t
Page 42 and 43: 32 JOHANN SEBASTIAN BACH.have promp
Page 44 and 45: 34 JOHANN SEBASTIAN BACH.seem actua
Page 46 and 47: 36 JOHANN SEBASTIAN BACH.offered up
Page 48 and 49: —38 JOHANN SEBASTIAN BACH.Deiis P
Page 50 and 51: —40 JOHANN SEBASTIAN BACH.unusual
Page 52 and 53: 43 JOHANN SEBASTIAN BACH.too long f
Page 54 and 55: 44 JOHANJJ SEBASTIAN BACH.influence
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46 JOHANN SEBASTIAN BACH.in the spi
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48 JOHANN SEBASTIAN BACH.are no rec
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:50-JOHANNSEBASTIAN BACH.No human e
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;52 JOHANN SEBASTIAN BACH.the compo
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54-JOHANNSEBASTIAN BACH.at once to
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—;"56 JOHANN SEBASTIAN BACH.secti
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58'JOHANN SEBASTIAN BACK.above the
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6o'JOHANN SEBASTIAN BACH.His presen
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;62 JOHANN SEBASTIAN BACH.church mu
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64-JOHANN SEBASTIAN BACH.B minor ma
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;66 JOHANN SEBASTIAN BACH.and lastl
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;68 JOHANN SEBASTIAN BACH.in the se
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70 -JOHANN SEBASTIAN BACH.is supple
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73 JOHANN SEBASTIAN BACH.Bann thun"
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——74 JOHANN SEBASTIAN BACH.twen
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76 'JOHANN SEBASTIAN BACH.in noble
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78 JOHANN SEBASTIAN BACH.occurs onl
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8oJOHANN SEBASTIAN BACH.Gottes eing
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82 JOHANN SEBASTIAN BACH.beautiful
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84 JOHANN SEBASTIAN BACH.in time an
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—;86 JOHANN SEBASTIAN BACH.cantat
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ööIJOHANN SEBASTIAN BACH.of incre
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goJOHANN SEBASTIAN BACH^8. Christum
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(^^2^JOHANN SEBASTIAN BACH.n}'mn ar
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94 JOHANN SEBASTIAN BACH.markable d
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96 JOHANN SEBASTIAN BACH.In the can
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——g8JOHANN SEBASTIAN BACH.at ba
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100 JOHANN SEBASTIAN BACH.the short
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102 JOHANN SEBASTIAN BACH.season co
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—CHORALE CANTATAS—THE DEVELOPED
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—BACH S FIDELITY TO THE CHORALE.
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1*^ Schemelli, the father, b. 1676,
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BACH S CHORALE BOOK. Illmelodies is
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ach's original hymn tunes. 113given
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ach's original hymn tunes. 115howev
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BACHS PRINCIPLES OF HARMONY.I17succ
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BACH S RULES FOR THOROUGH-BASS. 119
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—HIS SYSTEM OF COUNTERPOINT. 121c
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FUX'S GRADUS.I23instruction has alw
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BACH AND FUX.I25is allowable to con
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KIRNBERGER S METHOD. 127familiar as
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BACH S USE OF THE CHURCH MODES. I29
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THE DEVELOPMENT OF MAJOR AND MINOR.
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"THE DEVELOPMENT OF MAJOR AND MINOR
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135V.WORKS OF THE LAST (LEIPZIG)PER
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;CONCERTOS FOR THE CLAVIER.I37decid
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coa'certos for the clavitlr. 139the
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CONCERTOS FOR THE CLAVIER.I4Iseems
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CONCERTOS FOR THE CLAVIER.I43of one
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CONCERTO FOR TWO CLAVIERS.I45Be tha
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ar should hefg, instead oi f e. L 2
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.CLAVIER CONCERTOS.14gand spreads t
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THE " ITALIAN " CONCERTO. I5Ito be
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—THE ENGLISH SUITES.I53has hither
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CLAVIER PARTITAS. 155attention in a
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CLAVIER PARTITAS. 157in assisting i
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CLAVIER PARTITAS.15gCourante 3-2 ti
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THE PARTITAS.l6lpresently ; and in
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THE PARTITAS. 163complete contrast
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—PARTITAS IN "CLAVIERÜBUNG." 165
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THE CLAVIER "DUETS." 167collection
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—THE THIRTY VARIATIONS. 169" Ciav
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Jsi^11Ii1 1^1 J.1'1 '1—rTHE THIRT
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;THE THIRTY VARIATIONS.I73all this
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——^———;THE QUODLIBET. 175
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connection with the circumstances.T
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—AufTHE peasants' CANTATA.I79thor
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THE CHROMATIC FANTASIA.l8lthe popul
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WOHLTEMPERIRTE CLAVIER. PART II. 18
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WOIILTEMPERIRTE CLAVIER. PART II. 1
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" MUSIKALISCHE OPFER. IQIharmonies.
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—THE "musical offering.ig3The thr
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THE " MUSICAL OFFERING.ig5only tran
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THE "ART OF FUGUE.I97in canon style
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THE " ART OF FUGUE.I99all three or
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THE "ART OF FUGUE. 201quiet movemen
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THE " ART OF FUGUE. 203but also wit
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FUGUE ON THE NAME " BACH. 205which
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—FUGUE ON THE NAME " BACH." 20/in
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LATER ORGAN WORKS.'Zugwhich chiefly
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ORGAN SONATAS. 211they have an inwa
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CHORALE ARRANGEMENTS. 213more limit
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—ORGAN CHORALES. 215the very time
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ORGAN CHORALES. 217As may be imagin
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ORGAN CHORALES. 219tion closes, has
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ORGAN CHORALES. 221the canon lies i
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ach's official position. 223musicia
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CONNECTION WITH CÖTHEN AND DRESDEN
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BACH AT DRESDEN. 227November 19, an
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CONNECTION WITH WEIMAR. 229his musi
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— IBACH AT POTSDAM. 23important r
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BACH AT BERLIN. 233corner of the ga
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ach's fame. 235besides being a pupi
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1l'^^==-j-jmSYMBOLIC CANON. 237coun
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ach's pupils. 239assuming that thes
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THE KREBS FAMILY.24Iappointed Court
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LEIPZIG PUPILS. 243In 1732 Georg Fr
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LEIPZIG PUPILS. 245Frauenkirche at
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LEIPZIG PUPILS. 247cessful;^^^ in 1
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LEIPZIG PUPILS. 249to the New Churc
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HIS INTIMATE FRIENDS. 251Nuremberg,
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SCHEIBE S ATTACK ON BACH. 253promot
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SCHEIBE AND BACH. 255answer was giv
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BIEDERMANN ON MUSICIANS. 257Latin,
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" PHCEBUS AND PAN. 259received with
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HIS PUGNACITY. 201art thou sad and
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HIS OPINION OF OTHER COMPOSERS. 263
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HIS OUTWARD APPEARANCE. 265prove th
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ach's library. 267of 1703, quarto,
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HIS MUSICAL SONS. 269throughout his
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HIS DAUGHTERS.27Iand to have enjoye
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ach's hospitality. 273myself to my
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DEATH AND FUNERAL. 275"Wenn wir in
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FORTUNES OF THE FAMILY. 277turned t
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APPENDIX (A,TO VOL. III.)I (p. 39).
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APPENDIX. 2812 (pp- 73. 75). This n
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APPENDIX. 283Ps. Ixxx., 15, 20; 173
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APPENDIX. 285again about this time,
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APPENDIX. 287the first year of the
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APPENDIX. 289his collection " Des E
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APPENDIX. 2917 (p. 181). The Chroma
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APPENDIX. 293had it gummed on to th
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APPENDIX. 295my opinion that these
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APPENDIX. 297US or our judges for o
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APPENDIX. 299IV.To Vol. I., p. 258.
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APPENDIX. 301Besides these there we
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APPENDIX^ 303III.To Vol. II., p. 18
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APPENDIX. 305music. The organ also
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KönigsDerJ.undPerAller-Durchlaucht
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APPENDIX. 309your Worships' notice
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APPENDIX. 311Emesti's reply, dated
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APPENDIX. 313further be pleased to
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APPENDIX.3^5enclosure,and in doing
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APPENDIX. 317Here follow such signa
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. -^ThisAPPENDIX. 319Cap.IV.OF TIME
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mAPPENDIX. 321The inner part when p
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' 1APPENDIX. 323Regula VII.When the
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APPENDIX. 325Regula III.When the ni
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11 ' ' iJ,I1.APPENDIX. 327EXEMPLUM
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APPENDIXEXEMPLUM VIII.When in the b
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APPENDIX. 331S Ü^^-d—1t ?S^^^^ll
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t176.APPENDIX.T P. fi I111333*3 d'
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II5 6b 7 6 7 6 7 6 6 7 6iJ—ä- -I
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APPENDIX. 337gT=£nr^-r%^^g^^^^^^**
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1 11I IJ.*'1! 11 1I1IiIÊ'1APPENDIX
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APPENDIX. 3416 G 6 Geggdd^fc^^g^*^^
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-r-T'^pAPPENDIX. 343With the first
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1APPENDIX. 34512. The ^, may be con
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IIIAPPENDIX. 347The most usual Clau
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APPENDIX. 349On page 30 of Bach's c
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APPENDIX. 3515. Ernesttis Andreas,
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APPENDIX. 353Cap, VII.In white meta
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APPENDIX. 355Brought forwardRambach
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APPENDIX. 357Johann Gottlieb Görne
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4 gr- 9 pf- II.2 thlrs. 4 gr. I pf.
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«J\^»p-..Supplement I.(Vol.I. p.i
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1367
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—376Allemandey^ Alleg:roIR^^^ p$
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378tr~[ü \i'~ tj \r a:\'j^- 1 i^m
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^^^ ^ r~^""tr-pf • « f r r Ü tf
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382J ^ Alleg^ro.m ^^^p ^^ ^^ rj'jP
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W=f:r îu\P-^\jj-^:u^'^Jp r r i'r^'
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, ..a^4fr—TI'3Sß1 2 12 4^" 2^^2
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Tô Supplement VI. (Vol. II. p. 2«
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390Alloii^ro
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392t}--l,\>^y^B^^rair^ -^-ti!£rtif
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-iU>4,f#,#f»«g#fÂdagio.MTHj si^#
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398^l.^^^^*•* i PIVf=^ * ^^TJL!_-
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400Supplement VIIia(Vol.III. p. I0f
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'1'"=£-'r«-,^g402li[t"T^rr='=sEgg
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"^404Supplement IX. (.Vol. III. p.
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;INDEX.Abel, C. F.,Viol-da-gambist,
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;:INDEX. 409his Weimar ptipils, \.
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;Hercules;INDEX. 411Nun komm der He
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;Flute—for flute and clavier, see
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INDEX. 415Frevlinghausen, J. A., hi
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f'Scarlatti,[Scheibe,I298, Scheibe,
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iINDEX. 419Weiss, Sylvius Leopold,
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422 ERRATA.Page 2x4, for note 59 re
Page 432:
^^^
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