known Letters from C. P. E. Bach to J. J. H. Westphal," JAMS, XXIII (1970), 119-127, and "Three Additional Letters from C. P. E. Bach to J. J. H. Westphal, JAMS, XXVII (1974), 119-125; Darrell M. Berg, "Towards a Catalogue of the Keyboard Sonatas ofC. P. E. Bach," JAMS, XXXII (1979), 276-303. 8 Little is known about Michel. As early as 1776, he was a tenor in the choir of Bach's church in Hamburg; his name continues to appear on choir payrolls for 1789, a year after Bach's death (see Georg von Dadelsen, Bemerkungen zur Handschrift Johann Sebastian Bachs, seiner Familie und seines Kreises, Tubinger Bach-Studien, I [Trossingen, 1957], 24). 9 Berg, 282- 284. '"The correct key and sequence of movements are also clear from the incipits in the two early catalogues (see Figs. 1 and 2) and from the sequence of movements in Michel's manuscript. Only the Zingel and Weidensaul editions have retained the proper sequence. "See Terry, 107 and 115. 12 Lists of musicians in Frederick's employ are found in the following: for his ensembles at Ruppin (1732- 1735) and Rheinsberg (1735-1740), Eugene Helm, Music at the Court of Frederick the Great (<strong>No</strong>rman, Oklahoma, 1960), 87; for Frederick's orchestra in the years 1740-1744, C.H. Bitter, Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Bruder, 2 vols. (Berlin, 1868), I, 20- 22; for the year 17 54, Friedrich Wilhelm Marpurg, Historisch-Kritische Beytrage zur Aufnahme der Musik, I (Berlin, 1754), 75 ff.; for 1766, Johann Adam Hiller, Wochentliche Nachrichten und Anmerkungen die Musik betreffend, I (Leipzig, 1766), 73 ff. '"Our knowledge of the harp and harp playing throughout much of the eighteenth century is still very sketchy. For surveys of the history of the harp in this period, see Hans J. Zingel's articles in Die Musik in Geschichte und Gegenwart, V (1956), cols. 1548- 1563 and 1573-1575, and his monograph, Harfenspiel im Barockzeitalter, Koiner Beitriige zur Musikforschung, LXXVII, 21- 29, 56- 62. "For a survey of the history of the harp in France from 1749 to the end of the century, see France Vernillat, "Harp Literature in France in the 18th Century," This Journal, IV (Spring 1974), 6-21. 15 See Karl Friedrich Zelter's biography, Karl Friedrich Christian Pasch (Berlin, 1801), 14-20. Fasch (1736-1800) was engaged in 1756 as the King's second accompanist, and Frederick found the young harpsichordist more pliable and to his liking than the recalcitrant Emanuel Bach. For Fasch, the war interrupted what had promised to be a highly successful career. 1 6The first volume of Sonatas with Varied Reprises, Wq SO (Berlin: <strong>Winter</strong> 1760) and the Six sonates pour le clavecin a /'usage des dames, Wq 54 (Amsterdam: Hummel, 1770) were dedicated to Amalia, and, according to Westphal's catalogue, his prelude and six sonatas for organ, Wq 70/1- 7, were composed for her (Westphal seems to have based his information on a remark in the preface of a quite unreliable posthumous edition of these works: Preludio e sei sonate pel organo, ed. Johann Carl Friedrich Rellstab [Berlin, 1790]). Although the King, whom Emanuel Bach accompanied on the harpsichord regularly, seems to have had little liking for Bach or his compositions, Princess Amalia treated him with great respect. When Bach left for Hamburg, she named him her honorary Capellmeister. "See the article "Anna Amalia" in the Allgemeine deutsche Biographie, I (Leipzig, 1875), 470 and also Eva Renate Blechschmidt's catalogue, Die Amalien-Bibliothek, Musikbibliothek der Prinzessin Anna Amalie von Preuj]en (1723-1787), Berliner Studien zur Musikwissenschaft, VIII (1965), 21-26. '"References to Elisabeth Christine which mention the harp (but only in passing) are Pierre Gaxotte, Frederick the Great, tr. RA. Bell (New Haven, 1942), 238, and George Peabody Gooch, Frederick the Great, the Ruler, the Writer, the Man (New York, 1947), 116. Both of these authors refer vaguely to older biographies of the Queen, rare and inaccessible for the present study. '"Bitter, I, 20. '"Marpurg, I, 158. ''Ibid. '"Carl Freiherr von Ledebur, Tonkunstler Lexikon Berlin's von der iiltesten Zeiten bis auf die Gegenwart (Berlin, 1861 ), 7 S. 18 23 In Marpurg's list of musicians for 1754 (see n. 12), no harpist is listed, and it seems highly unlikely that Frederick the Great added a harpist between 1756 and 1763 (the period of the Seven Years' War). 24Information about Therese Petrini's career can be found in Marpurg, I, 158, and in Johann Wilhelm Hertel's Autobiographie, Wiener Musikwissenschaftliche Beitriige, III, ed. Erich Schenk (Graz, 1957), 48-49, 99, n. 156. "Marpurg, I, 158. 2 6Hertel, 4-43 passim, 48. 2 71-Iiller, I, 81. 21 'Hertel, 99, n. 156. 29 Zelter, 19-20. ""Vernillat, 17-18. "'See, for example, Hans J. Zingel, Harfe und Harfenspiel von Beginn des 16. bis ins zweite Drittel des 18. Jahrhunderts (Halle, 1932), 204. 32 The work also appeared in publications attributed to Graun and J.C. Bach. I am indebted to Prof. Helm for information about this work. See also Jacobi, "Five Hitherto Unknown Letters ... ," 120. ""Although some of these editions, e.g., collections of keyboard sonatas listed as Wq 265, Wq 266, and Wq 268, are frightfully corrupt, they are nevertheless based on works which Bach did compose. '"Zingel, Harfe und Harfenspiel, 203. '"William S. Newman, The Sonata in the Classic Era, 2nd ed. (New York, 1972), 450 and 585, mentions works by Adolph Carl Kunzen (1720-1781) and Friedrich Wilhelm Rust (1739-1796) respectively. France Vernillat, 6, mentions sonatas by Jean Baur (c. 1719- ?). " 6 See Bach's Essay, 165, for one reference to the gallant style. An excellent study of the concept of galant in the eighteenth century is David Sheldon's article, "The Galant Style Revisited and Reevaluated," Acta Musicologica, XLVII (1975), 240-270. Important Corrections of Accidentals in Published Editions of C.P.E. Bach's Harp Sonata Professor Berg has pointed out three incorrect accidentals which appear in available editions. In view of her unique expertise in matters of C.P.E. Bach style, it is my opinion that her authority should be accepted without question. -Ed. 1. In m. 15 (and the corresponding m. 48) of the Adagio, the second 32nd note of the last beat should be G-natural (and C-natural respectively). It was a notational convention to repeat accidentals for subsequent notes, even those m the same measure. 2. In m. 17 of the Adagio, Michel seems to have omitted a sharp sign from the appoggiatura. But C-natural is correct. Bach liked the lowered seventh degree as an upper neighbor to the sixth, especially in this kind of cadential formula, and he liked the cross-relationship between C-natural and the C-sharp which follows hard upon it. AMERICAN HARP JOURNAL
FINALLY, A PEDAGOGY TEXT ... ON TEACHING THE HARP For Individual or Class Use by Suzanne Balderston Mrs. Balderston draws on her thirty years of teaching experience to organize under one cover a practical "how to" manual for use by harpists in the teaching field. In addition to her extensive playing career, she has taught at the University of Alabama, the University of California Santa Barbara, California State University <strong>No</strong>rthridge. and the Music Academ.y of the West. She is a Past National President of the American Harp Society and is currently president of International Harp Corporation, U.S. distributor of Salvi Harps. • • • • • • • • • • • • To Teach Or <strong>No</strong>t To Teach The Proper Tools Basic Teaching Principles How The Body Works Acquiring Students Sample Lesson Plans Teaching <strong>No</strong>tereading Practicing Examples On Memorization Group Teaching The Magnificent Computer The Adult Beginner Master Classes Your Studio . .. and much more Available from ... Salvi Publications 1830 Fourteenth Street Santa Monica, California 90404 <strong>Winter</strong>/<strong>1980</strong> 19
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