J.S. Bach - Volume 1 by Schweitzer Albert

Author:Schweitzer,, Albert [Schweitzer,, Albert]
Language: eng
Format: epub
Publisher: Read Books Ltd.
Published: 2013-04-16T03:00:00+00:00

* In the Beantwortung der unparteiischen Anmerkungen über eine bedenkliche Stelle in dem sechsten Stück des kritischen Musikus,—Scheibe’s reply to Birnbaum’s first article, which appeared as a supplement to the first year’s volume of the Kritischer Musikus, in 1738. On page 22 he says: “the prime cause of this defect (i. e. Bach’s) deserves further consideration. This great man is not particularly well up in the sciences that are especially required of a learned composer. How can one be quite without blemishes in his musical work who has not, by knowledge of the world, qualified himself to investigate and understand the forces of nature and reason? How can one achieve all the benefits that come from the acquisition of good taste, who has barely concerned himself with critical observations, enquiries, and rules that are so necessary not only in rhetoric and poetry but in music that without them one cannot possibly be moving and expressive, principally because the attributes of good and bad style in writing, both in general and in particular, proceed almost entirely from these.”

* Mizler’s Musikalische Bibliothek, 1754; vol.IV, Part I, p. 173.

** Ehrenpforte, p. 231, note, referring to the fact that Mizler claimed to be a pupil of Bach.

*** Kritischer Musikus, 1739, II, 355. Scheibe is here praising Bach.

† See Bach’s rules for thorough-bass in the copy that has come to us from Peter Kellner (Spitta III, 315 ff.). Peter Kellner does not seem to have been a direct pupil of the master. See the preface to B. G. XXVII1.

* In 1736 Mizler gave lectures on mathematics, philosophy and music at the Leipzig University. In 1743 he went to Warsaw, where he later was made a Court counsellor. His journal, the Musikalische Bibliothek appeared from 1736—1754.

** Mizler’s Musikalische Bibliothek, Vol. IV, Part I. Leipzig, 1754, p. 105, 106.

*** See, for example, in Vol. IV, Part I (p. 48—68) the thorough anatomical description of the ear for musicians. The articles on general aesthetics are of less value.

† Peter’s ed. of the organ chorale preludes, V, 92—102.

†† 1754, Vol. IV, Part I, Supplement.

* 1754. Vol. IV, Part I, p. 104. “The Society is still working at the church cycle, and it will be some years yet before this can be finished.” It was never issued.

** 1754, Vol. IV, Part I, p. 108—111; from the report of the proceedings of the Society in 1746 and the following years, 5th „Packet”.

* M. Jacob Adlung, Anleitung zur musikalischen Gelahrtheit, p. 711: “Froberger was highly thought of by the late Bach of Leipzig, although he was already somewhat old.”

** Forkel, p. 24.

*** The clavier concertos are in B. G. XLII; the organ concertos in Vol. XXXVIII; the concerto for four claviers in Vol. XLIII.

* In the B. G. edition (Vol. XLII) all sixteen clavier concertos still figure as transcriptions from Vivaldi.

* Spitta (I, 411 ff.) is best acquainted with the Vivaldi concerto that forms the basis of Bach’s clavichord concerto No. 2. For later research into the question of Bach’s arrangements see:—(a) Paul Count Waldersee, Antonio Vivaldis Violinkonzerte unter besonderer Berücksichtigung der von J.

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