INDEX

Abel, Carl Friedrich, 148

Abel, Christian Ferdinand, 148

accentuation, Bach’s use of, 174-76

Adlung, Jakob, 93, 94, 172

Agricola, Johann Friedrich, quoted on Bach's organ, 92; on Silbermann, 94; on Bach and the pianoforte, 172

Ahle, Johann Georg, 77-78, 100

Albinoni, Tomaso, 118

Alcuin, 39

Altnikol, Johann Christoph, 285

Anglebert, Jean-Henri d', 85

Aria di Postilione, 67-68

Arndt, Johann, Pietism of, 105, 271; quoted on Tauler, 108; quoted on God, 111

Arnold, Johann Heinrich, 14

Arnstadt, Germany, 58-65, 74-78, 96

Art of the Fugue, 2.77, 280-82, 285-86

Augsberg Confession, 21

August II of Saxony, 22, 234

August III of Saxony, 262-63

B Minor Mass, 192-94, 262-64

Bach, Ambrosius (father), 8, 9

Bach, Anna Magdalena (wife), knowledge of French, 16; character and marriage, 151- 52; notebook of, 162; musical education from husband, 164; Lutheranism of, 179; Leipzig life, 187; mentioned, 207; travels to Cassel, 244; bears last child, 274; sad lot as widow, 288, 289

Bach, Carl Philipp Emanuel (son), memories of Bach clan, 8; memoirs of, 55; and use of grace notes, 83; on father's use of ornamentation, 85-88; on father's registration, 93; on father's library, 122; on father's reaction to opera house, 128; schooling of, 144; as father's pupil, 151; on father's preference for clavichord, 170- 71; comment on pianoforte, 173; and B Minor Mass, 194; mentioned, 209; on Mizler, 257; orthodoxy of, 258; presents father to Frederick the Great, 274; on canons, 280; note on father's death, 281; on father's last days, 284-85; applies for father's post as cantor, 287

Bach, Caroline. See Bach, Johanna Caroline

Bach, Christian. See Bach, Johann Christian

Bach, Elisabeth (daughter), 285

Bach, Emanuel. See Bach, Carl Philipp Emanuel

Bach, Friedemann. See Bach, Wilhelm Friedemann

Bach, Heinrich, 79

Bach, Johann Christian (son), 148, 258, 288

Bach, Johann Christoph (brother), 11, 14, 47

Bach, Johann Christoph (cousin), 9

Bach, Johann Christoph Friedrich (son), 215

Bach, Johann Elias (cousin), 273

Bach, Johann Ernst (cousin), 70, 78

Bach, Johann Gottfried Bernhard (son), 59, 144, 151

Bach, Johann Jacob (brother), 67

Bach, Johann Michael (father-in-law), 79

Bach, Johann Sebastian, modern man's emotional response to, 1-2, 5; Luther's influence on, 2-5; education centered in theology/ 2-5; early years, 8-17; schooling at Eisenach Gymnasium, 9-10; orphaned, 11; musical training at Ohrdruf Klosterschule, 11-14; enters Knights' Academy in Lüneburg, 14-17; theological focus of education, 18-27; shares Lutheran death desire, 20; classical curriculum of, 20-24; reconciles spirit and matter: incorporates secular music into religious works, 26-27; historical understanding conditioned by Lutheranism, 28-37; indifference to integrity of past styles, 36; views on musical speculation, 36-37; musical education in school, 38-47; as chorister, 41; Italian singing methods' influence on, 45; study of other men's masterpieces, 47; education as organist, 48-55; organist Böhm's influence on, 48-50; exposure to French music at Celle court, 51-55; first job at Duke Johann Ernst's Weimar court, 59- 60; organ as favorite instrument of, 62; as organist at Arnstadt, 62-66; immature compositions of Arnstadt period, 66-69; journeys to Lübeck to study with Buxtehude, 70-72; Passacaglia compared with Buxtehude's, 72-74; resigns from Arnstadt after court hearings, 74-78; becomes organist at Mühlhausen, 77-79; marriage to cousin Maria, 79; ornamentation of, 80- 88; score of “A Mighty Fortress” compared with Buxtehude's, 80-81; Italian and French influences on, 81-88; genius as independent of any one national style, 87- 88; powerful organ registration of, 92-93; preference in organs, 97; music as means to transcendental end, 99; musical creativity thwarted by Pietism in Mühlhausen, 100-12; city council commissions can-tata Rathsstuckchen, 101; religious orthodoxy in contrast to pietistic leaning, 103- 9; library described at length, 104-9; not a puritan, 109-10; Lutheran hymns sacred to, 110-11; departs for Weimar, 111-12; ideal of well-organized program for church music, 112; at Duke Wilhelm Ernst's court at Weimar, 113-22; organ compositions, 116-19; Weimar cantatas, 118-19; Weimar's congenial musical environment, 119-20; companionship with Walther, 120-22; musical speculation influenced by Kircher and Werckmeister, 123-38; knowledge of acoustics illustrated by opera-house anecdote, 128; growing reputation as an organist, 139-42; refuses Halle offer, 140; triumph over French organist Marchand, 141; joins Leopold's court at Kothen and happiness there, 142- 45; and theater composers, 145-47; artistic recognition as travels with Prince Leopold, 147-49; Handel avoids, 148-49; wife Maria dies, 149; declines Hamburg offer, 149-50; extemporizes G Minor Fugue for Reincken, 150-51; happiness in marriage to Anna Magdalena, 151-52; instrumental music of Kothen period, 153-59; improvisations by, 153-54; concerti combine secular and sacred music, 154-57; dance music of, 157-59; keyboard music of, 160- 76; as a teacher, 160-64; Hausmusik of, 164-65; fantasies of, 165-66; attitude towards instruments, 166-70; choices of keyboard instruments, 168-69; expressive capabilities of various instruments used by, 170-74; and pianoforte, 172-73; accentuation of, 174-76; spiritual substance of compositions of primary concern to, 176; Leipzig cantorship, 177-87; religious considerations in move to Leipzig, 178-80; duties at St. Thomas School, 183-87; liturgical works of, 190-229; Leipzig post enables to fulfill concept of “well-regulated” church music, 190; chorale-preludes of, 191; B Minor Mass, 192-94; Latin works of, 192-93, 196; interweaving of Catholic and Lutheran music, 192-93; Magnificat, 194-96; chorales of, 197-208; Orgelbuch- lein, 201-4; Klavierubung, 204-8; symbolism of canons, 205-8; cantatas of, 209-21; librettists used by, 214-17; why his cantatas are not performed today, 217-21; Passions of, 225-26; oratorios of, 226-27; his accomplishments as eternal, 227-29; fulfillment of his mission to integrate the Lutheran liturgy, 228-29, 232; his life work as the culmination of religious music's evolution, 232; controversies over authority of St. Thomas position, 232-44; Leipzig University strife with Gorner, 233- 35; conflict over hymn selections, 235-36; Prince Leopold's death a loss to, 236-37; Thomas choir controversy, 237-41; unable to find new position, 240-41; productive work while Gesner director of Thomas School, 241-44; trips through Germany to play various organs, 244; Enlightenment adds to Leipzig discomfort, 243-52; indifference to new rational philosophy, 253- 54; sons' orthodoxy, 258; seeks title of Royal Court Composer, 262-63; cantatas for royal family, 263-64; enmity with Thomas School's new rector Ernesti, 264- 70; imbroglio over choir praefect, 266-70; ceases to compose liturgical music, 270- 72; studies orthodox theology, 272; devotes last years to musical discipline as act of worship, 273-86; devoted family life, 273; travels in Germany to perform organ concerts, 273-75; performs for Frederick the Great, 274-75; Musical Offering to Frederick the Great, 275; contrapuntal intricacies of last works, 276-78; intensive study of canons in last works, 277-80; Art of the Fugue, 280-82; successor as Thomas cantor appointed even before death, 282; last days, 283-86; last hymn, 285-86; manuscripts neglected after death, 288-89; Mendelssohn performs St. Matthew Passion one hundred years after composition, 289-90; performance of his works in “pure style” desirable today? 290-91

Bach, Johanna Caroline (daughter), 215

Bach, Maria Barbara (wife), Bach's romance with, 71, 77; marriage to cousin, 79; death, 149

Bach, Regina Susanna (daughter), 274, 288

Bach, Wilhelm Friedemann (son), father's list of ornaments for, 86, 87; schooling, 144; father's notebook for, 151-52, 161- 63; own compositions in notebook? 162; orthodoxy of, 258; presents father to Frederick the Great, 274; sells father's manuscripts, 289

Becker, C. F., 168, 170

Beethoven, Ludwig, and noblemen as amateur musicians, 60; last years contrasted with BaCh's, 273

Bertali, Antonio, 45

Bibelauslegung, 207, 219

Biedermann, Johann Gottlieb, 282-84

Birnbaum, Johann Abraham, 85, 254

Bodenschatz, Erhard, 191

böhm, Georg, Bach uses works as a model, 47; as Bach's organ teacher, 48-50; influence on Bach, 116

Bontempi, Giovanni Andrea, 45

Bovicelli, Giovanni Battista, 82, 84

Brandenburg Concerti, 154-55

Brockes, Barthold Heinrich, 224, 225

Brühl, Count Heinrich von, 264, 282, 287

Bugenhagen, Johann, 40

Buno (Bunonus), Johannes, 29-33, 35

Burney, Charles, 122, 280

Busoni, Ferruccio, 175

Buxtehude, Dietrich, Bach models early works on, 47; chorale variations based on French dances, 50; Bach journeys to Lübeck to study with, 70; organ music of, 71-74; vesper music of, 71-72; use of ornamentation, 80-83, 85-86; organ used by, 94; influence on Bach, 116; as admirer of Werckmeister, 132; dance music of, 159; compared with Bach, 228

C Minor Minuet, 175-76

Caccini, Guilo, 83, 84

Calvisius, Sethus, 43, 132, 177

canons, singing of, 44; symbolism of, 203, 207-8; Bach's last works as intensive studies of, 278-80

cantatas, of Bach's Weimar period, 118-19; Bach's harpsichord concerti as, 156-57; as Lutheran Hauptmusik, 209-10; form of, 210-14; Bach's style, 217-21; librettists for, 214-17; why not performed today, 217- 21; Gottsched's criticism of, 259-60

capriccio, Bach's early, 67

Carissimi, Giacomo, 45, 211

Catholic music, interweaving with Lutheran, 193-94

Cavalli, Pier Francesco, 211

Celle, Court of, 51-55

Chambonnieres, Jacques Champion de, 85

Charlemagne, 39

Charles V, Holy Roman Emperor, 21, 24

Charpentier, Marc-Antoine, 54

choirs, education of, 39-42; vocal quality of schools’, 45-46; of Thomas School, Bach's controversy with church officials over, 238-40; Ernesti and Bach struggle over dominance of praefects, 264-69

chorales, Bach's, 191, 200-7; Lutheran, 197; evolution of, 197-99; Protestant, 198-200

Christina Eberhardine, Queen, 216, 234-36, 259

Christmas Oratorio, 227, 263-64

Chromatic Fantasy and Fugue, 165-66, 167

church music, Werckmeister's philosophy of, 135-36; Bach's concept of well-regu- lated, 190; Bach's, 190-229; Lutheran liturgy, 190-92; see also liturgy

Cicero, Marcus, 23-24, 33

Clauder, Christian, 263

clavichords, 170-72

clavier technique, 61

Coffee Cantata, 157 Colico, Adrianus Petit, 83

Collegium Musicum of Leipzig, 238

coloratura, Bach's use of, 81-84

Comenius (Johann Amos Komensky), educational reforms of, 10-12; and Buno, 30

concerti, Bach's reconcile secular and sacred music, 154-57; f°r harpsichord, 155-56

Corelli, Arcangelo, 51

Corresponding Society of Musical Sciences, 257, 277, 278

counterpoint, Heinichen's attack on, 145; intricacies of Bach's last works, 276-77

Couperin, Francois, 83, 85, 88

Cristofori, Bartolomeo, 172

Crüger, Johann, 83

Curtius, Rufus Quintus, 33

D Minor Concerto, 156

da capo aria, 211, 214, 260

dance, Buxtehude's chorale variations based on, 50; role in Bach's music, 157-59

d'Anglebert, Jean-Henri. See Anglebert

Dietel, Johann Ludwig, 266

Dieupart, Charles, 85

diminution, Bach's use of, 81-83

d'Olbreuse, Eleonore. See Olbreuse Doles, Johann Friedrich, 282

Drese, Adam, 100, 115, 139-42

Drese, Johann Samuel, 115, 116

Drese, Johann Wilhelm, 115, 139, 142

Easter Oratorio, 227

Eberhardine, Queen. See Christina Eber-hardine

Eccard, Johann, 78

Eckhart, Meister, 108

education, Bach's, 4-5; reforms in 17th Century German, 10-11; musical, in the schools, 38-47; Bach's pedagogical methods, 160-64; Wolff brings Enlightenment to German, 246-51; emancipation of Thomas School under Ernesti, 264-70

Effler, Johann, 59, 63

Eilmar, Georg Christian, 101-3, 214

Einicke, G. F., 283-84

Eisenach, Germany, 8-11

Eitner, Robert, 181

Enlightenment, 242-52, 254-58

Erasmus, 3

Erdmann, Georg, to Luneburg with Bach, 14; Bach's letters to, 178-79, 240

Ernesti, Johann August, indifference to music, 245-46; Wolff's influence on, 249, 251; godfather to Bach's son, 258; becomes Thomas School rector, clash with Bach, 262, 264-70; pictured, 265; Bach's final dig at, 283-84

Ernesti, Johann Heinrich, 238-39

Faber, Henricus, 43, 44

Falck, Georg, 42

falsetti, 46

“fantasies,” Bach's 165-66

Fasch, Johann Friedrich, as competitor for Leipzig post, 181; cantatas of, 209; carries on Bach tradition, 290

Finck, Hermann, 44, 83

Fischer, Johann Caspar, 85

Flacius, Illyricus Matthias, 28

Forkel, Johann Nikolaus, views on Bach briefly quoted or mentioned, 88, 93, 162, 163, 170, 274

Formula of Concord, 24-25

fortepianos, 172-74, 275

Franck, Salomo, secular cantata of, 64; Bach's admiration for, 103; modernity of, 141; as Bach's librettist, 119, 214, 217; hymn of, 225

Francke, August Hermann, 106, 108, 251

Frederick William I, King of Prussia, 250

Frederick William II (“Frederick the Great”), King of Prussia, Enlightenment of, 2, 251; Bach's conversation with, 16; Carl Philipp Emanuel Bach at court of, 258; Bach plays for, 274; Bach composes Musical Offering for, 274-75

Frederick, Prince of Hesse-Cassel, 92, 141, 244

French music, influence on organist böhm, 49-50; at Court of Celle, 51-55; influence on Bach's ornamentation, 84-88

Frescobaldi, Girolamo, 117

Froberger, Johann Jakob, a favorite of young Bach, 12, 67; Bach uses as model for his early works, 47; and toccatas, 117; Catholicism vs. Lutheranism of, 228

Frohne, Johann Adolph, 103

fuga, 44

fugues, Bach's extemporizing of, 150-51

Fulda, Adam von, 89, 166-67,

Fulde, J. G., 277

Funeral Ode for Queen Christina Eber- hardine, 216, 234, 235, 259

G Minor Fantasy and Fugue, 150-51, 153

Gass, Wilhelm, 18, 24

Gaudon, Louis, 54

Gellert, Christian, a good poet, 217; Emanuel Bach uses as librettist, 259; philosophy of, 264

Genesius, Justinius, 285

Georg Wilhelm, Duke of Celle, 52-54

Gerber, Heinrich Nikolaus, 169

Gerhard, Johann, 105, 271-72

Gerhardt, Paul, 21, 199

Gesner, Johann Matthias, and Josephus, 35; quoted on Bach's pitch, 46; Weimar friendship with Bach, 119-20; praise of Bach's organ playing, 207; becomes rector of Thomas School, 239; modernizes methods of education, 241-43; pictured, 241; leaves Thomas School, 245-46; mentioned, 269

Gibelius, Otto, 42

Gleistmann, Paul, 65

Goethe, Johann Wolfgang, 187

Goldberg Variations, 162, 277, 278

Gorner, Johann Gottlieb, 180, 233-35, 243

Gottsched, Johann Christoph, as Bach's librettist, 215, 217; as a Wolffian disciple, 246, 249, 255, 259-60; criticism of Bach by, 259-60; homage to August III, 270

Grabner, Christian, 243

Graun, Karl Heinrich, 287

Graupner, Christoph, 180-82, 209

Gaudlitz, Gottlieb 235

Guidonian hand, 43

Gumpelzhaimer, Adam, 43

Günther, Anton, 62-65, 75

Gunther, Johann Christian, 215

Gymnasium at Eisenach, 9-11

Hamburg, Germany, 96

Handel, George, possibility of appointment at Lübeck, 70-71; seemingly avoids Bach, 148-49; voluminous production of, 210

harmonizations, chorale, 199

harpsichord, concerti for, 155-56; Bach's attitude towards, 171-72

Harrer, Johann Gottlob, 282, 287-88

Hasse, Faustina, 259

Hasse, Johann Adolf, and Scarlatti, 90; and Catholic Mass, 192; Bach's friendship with, 244, 259

Hassler, Hans Leo, 198

Hauptmusik, cantatas as, 209-10

Hausmusik, Bach's, 164-65

Haydn, Joseph, 210

Hegel, Georg, 290

Heinichen, Johann David, 144-47, l82, 202

Heitman, Johann Joachim, 150

Helbig, Johann Friedrich, 215

Henrici, Christian Friedrich. See Picander Herbst, Johann Andreas, 83

Herder, Elias, 13-14

Hering, Bartold, 94

Herthum, Christoph, 65

Hildebrandt, Zacharias, 170, 274

Historia Universalis, Buno's, 13, 29, 30-33

history, Lutheran interpretation of, 28-37

Hunold, Christian Friedrich. See Menantes Hutten, Ulrich von, 28

Hutter, Leonard, Compendium as exposition of Lutheran faith, 24-25; Gerhard pupil of, 105, 271; catechism of, 111

hymns, Bach's devotion to Lutheran, 110-11; use in Lutheran service, 198-200; Bach's Kyries, 204-5; Bach's last, 285-86

improvisations, Bach's, 153-54

instrumental music, of Bach's Kothen period, 153-59

instruments, instruction in use of, 46-47; 18th Century musician's attitude towards, 60-61; Bach's choice of, 166-70; of Bach's day, expressive capacities of, 170-74

Isidore of Seville, 39

Italian music, influence on German singing, 45; ornamentation in, 81-84

Johann Ernst, Duke of Weimar, 59-60, 113-14

Josephus Flavius, 33-36, 104

Junghans, 40, 46

Karl Ludwig, Elector Palatine, 247

Kauffmann, Georg Friedrich, 182

Keiser, Reinhard, 50, 224

Kepler, Johannes, 129, 135

keyboard instruments of Bach's time, 170-74

keyboard music, Bach's, 160-76

Kiesewetter, Johann Christoph, 120

Kirchbach, Hans Carl von, 234

Kircher, Athanasius, later generation's rejection of, 37; musical speculation of, 124-31; theory of analogies, 205; influence on Mizler, 256

Kirnberger, Johann Philipp, 201, 219

Kittel, Johann Christian, 167, 277

Klavierübung, 62, 200, 204-7

Klosterschule, 12

Knights' Academy, 15-17, 29

Kobelius, Johann Augustine, 59

Komensky, Johann Amos. See Comenius

Kothen, Court of, 142-52, 236

Krause, Gottfried Theodor, 266-69

Krause, Johann Gottlieb, 267-69

Krebs, Johann Ludwig, 266, 268, 287

Kuhnau, Johann, Bach's work reminiscent of, 67; Bach's meeting with, 141; death of, 177; objections to cantata form, 210; against theatricals, 225; Leipzig University role, 233; and Thomas School choir, 238

Kyries, 204-5

Lammerhirt, Tobias, 78

Landowska, Wanda, 171

Lange, Nicolaus, 42

Latin, use of in Lutheran liturgy, 192; Bach's works in, 192-94

Lebeque, Nicolas, 85

Leibniz, Gottfried, 247

Leipzig, Germany, 177-87

Leipzig University, 233-35

Leopold, Prince of Kothen, relationship with Bach, life at court of, 142-45; wedding of, 151; musical soirees of, 153; Bach's cantata for, 158; mentioned, 159; releases Bach, 183; death of, 236

librettists, for cantatas, 214-17; for Passions, 223-24; Gottsched's attack on, 260

Lippius, Johannes, 132

Little Organ Book, The, 200-4

liturgy, 190-229; Lutheran, 190-92; Bach's B Minor Mass, 192-94; Bach's Magnificat, 194-96; chorales, 197-208; cantatas, 209- 21; Passions, 222-26; oratorios, 226-29; Bach's as eternal, 227-29; Bach ends creation of, 270-71

Loewe, Johann Jakob, 50

Lorbeer, Johann Christoph, 119

Lübeck, Germany, 70

Lully, Jean-Baptiste, 53-55, 84-85

Lüneburg, Germany, 14-17, 50

Luther, Martin, influence on Bach, 1-5; as anti-scholastic, anti-rational, anti-intellectual, 3-5; reformed Christianity of, 18-20; view of history, 28-29; music valued as spiritual discipline by, 38-40; Bach's veneration of works of, 105-6; and Tauler, 107; and music, 136; and conjugal sex, 159; liturgy of, 190; love of Latin, 192; views on congregational singing, 197- 98; quoted on polyphony, 205; quoted on Passions, 222; see also Lutheranism

Lutheranism, strife among followers of, 21-22; accord with Catholicism, 21; history as interpreted by, 28-37; reformation of church music by, 38-40; conflict with Pietism, 100-11; Bach's desire to bring up children in, 179; liturgy of, 190-92; see also Luther, Martin

Magnificat, 194-96

Marchand, Louis, 141

Maria Josepha, Electress of Saxony, 263

Masses, Bach's B Minor, 192-94; German vs. Latin, 192

Mattheson, Johann, at Lübeck, 70; and Kircher, 124; quoted, 141; and Mizler, 254, 257; esthetics of, 260-61; involved in musical controversy, 283

Melanchthon, Philipp, and the classics, 3-4; and Augsburg Confession, 21; mentioned, 24; view of history, 28-29; and music education, 40; as corruptor of Lutheranism, 106

Menantes (Christian Friedrich Hunold), and Pietism, 106; Bach sets texts to music, 215; Gottsched's attack on, 260

Mendel, Arthur, 219

Mendelssohn, Felix, 68, 229, 289-90

Mersenne, Marin, 83

Merula, Tarquinio, 45

Meyfart, Johann Mattaeus, 107

“Mighty Fortress, A,” 80-81

Mizler, Lorenz, memoirs of, 55; Wolff's influence on, 249; career and personality, 254-58; mentioned, 278

Monteverdi, Claudio, choir music of, 45; and use of coloratura, 84; emphasis on text, 210-11

Mourning Ode for Queen Christina Eber-hardine, 216, 234, 235, 259

Mozart, Wolfgang, 68

Muffat, Georg, 86

Mühlhausen, Germany, 77-79, 100-12

Müller, Heinrich, 107

Münzer, Thomas, 102

music, Bach's incorporation of secular into religious, 26-27; Lutheran reformation of church, 38-40; role in school curriculum, 38-47; theory as taught in Gymnasia, 42- 45; 18th Century's attitude towards, 60; Bach's as means to transcendental end, 99; Bach's concept of “well regulated” program of liturgical, 112, 190; philosophic speculation on, 123-38; Werck- meister's theories of, 123-38; Kircher's Musurgia Universalis definitive book on history of, 125-30; Enlightenment's disciples attack, 249, 251; see also liturgy

Musical Offering to Frederick the Great, 275, 277, 279, 281

Musurgia Universalis, 125-30

Naumann, Ernst, 118

Neri, Philippo, 226

Neumeister, Erdmann, cantata innovation of, 119; recommends Bach for Hamburg post, 149, 150; defense of the cantata form, 212-13; picture of, 213; work pirated, 215

Newton, Isaac, 247, 248

Niedt, Friedrich Erhard, 27, 146

noblemen as amateur musicians, 60

Obrecht, Jacob, 223

Oeder, Georg Ludwig, 225

Ohrdruf, Germany, 11

Olbreuse, Eleonore d', 52

Olearius, 65-66, 75-77

opera form adopted by cantata composers, 210-13

oratorios, 226-29

organ, Bach's education in techniques of, 48-55; as Bach's favorite instrument, 62; Buxtehude's compositions for, 71-74; as a religious instrument, 89-93; evolution of the baroque, 93-97; pictured, 96; contemporary vogue for, 97-99; Bach's Weimar compositions for, 116-19

Orgelbuchlein, 200-4

ornamentation, Bach's and Buxtehude's versions of “A Mighty Fortress” pictured, 80-81; Italian origins of, 81-84; meaning of, 84; French influence on Bach's, 84-88; Bach's pictured, 87

Pachelbel, Johann, Johann Christoph Bach a pupil of, 11; influence on Bach's music, 47, 116

Pachelbel, Wilhelm Hieronymus, 118

Palestrina, Giovanni, 36, 84

Passacaglias, 72-74

passagi, 85

Passions, evolution of, 222-25; Bach's, 225- 26

Pastorale in F Major, 66-67

Peasant Cantata, log, 157, 215

pedagogical music, Bach's, 160-64

Pfeiffer, August, 179

philosophy, of music, Kircher and Werck- meister's 123-38; rationalism of the Enlightenment in conflict with Lutheranism, 246-51; Wolff's as differing from Leibniz's, 248-49

“Phobus und Pan,” 283

pianoforte, 172-74, 275

Picander (Christian Friedrich Henrici), as Bach's librettist, 215-17; mentioned, 226; text for Leopold's funeral ode, 236; Gottsched attacks, 260; poem for August's son, 263

Pietism, 100-11, 137, 271

Pirro, Andre, 75, 201

Plato, 38, 136

Praetorius, Michael, and Italian ornamentation, 83; description of organs, 92-94, 99

preludes, chorale, 200-8

Printz, Wolfgang Caspar, textbooks of, 42; on trillo, 82; on tirata, 83; and Kircher, 127

Pythagoras, and Jewish wisdom, 37; evaluation of music, 38; mathematical concept of music proportions, 124,127, 135-37, 280

Quantz, Johann Joachim, 88

Rabener, Gottlieb, 217

Raison, Andre, 55, 73

Rambach, Johann Jacob, 106, 217

Rathsstuckchen cantata, 101

rationalism, Bach's indifference to, 253-54; Mizler shows influence of, 254-58; of the Enlightenment, 246-50

Reincken, Johann Adam, influence on Bach, 47/ 50-51/ 86; Bach's “transcriptions” of, 83; organ of, 96; Bach extemporizes on fugal theme for, 150, 153; compared to Bach, 228

Reineccius, Georg Theodor, 120

religion. See theology

Rhau, Georg, 177

Rhenanus, Beatus, 28

Richter, Bernard F., 183

Rid, M. Christoph, 43

Ritteracademie, 15-17, 29

Rognoni, Riccardo, 82, 83

Rolle, Christian Friedrich, 181

Rossi, Luigi, 211

Rudloff, Johann Christian, 13

St. Gregory of Nazianzus, 222

St. John's Passion, 225

St. Matthew Passion, 225-26, 229, 238, 289

St. Thomas Church and School, 177-78, 183-86, 238-46, 264-70

Scarlatti, Alessandro, 90, 211

Scheibe, Johann Adolph (father), organ improvements of, 97; organ built by, 147, 274

Scheibe, Johann Adolph (son), quoted on Bach's use of ornamentation, 85; criticism of Bach, 97, 147; Wolff's influence on, 249; and Bach's indifference to rationalism, 253, 272; ridicules Mizler, 254

Scheibler, Christoph, 107, 272

Schein, Johann Herman, 42, 177

Schemelli, Christian Friedrich, 266

Schering, Arnold, 46, 219

Schlegel, Elias, 217

Schmidt, Balthazar, 200

Schmidt, Johann, 277

Schmidt, Michael, 283

Schola pietatis . . . , 271-72

Schott, George Baltasar, 180, 182

Schroter, Cristoph Gottlieb, 283-84

Schubart, Johann Martin, 100

Schubert, Franz, 68

Schütz, Heinrich, 50, 223, 228

Schweitzer, Albert, and organs, 97; and Bach's selection of instruments, 170; quoted on Bach's librettists, 213-14, 217

Sebastiani, Giovanni, 223

Selnecker, Nikolaus, 22, 24

sight-reading, Bach's emphasis on, 164

Silbermann, Gottfried, organ innovations of, 93-95; Bach's reaction to pianoforte of, 172-74; pianofortes of, 275

singing, education in, 39, 40-42, 44; Italian influence on German style, 45; falsetti, 46; Luther's views on, 197-98

Sleidanus, 28-29

Smend, Friedrich, 236

Society of Musical Sciences. See Corresponding Society of Musical Sciences

sonatas, Bach's, 165-66

speculation, musical, 123-38

Spener, Philipp Jakob, founder of Pietism, 102; as Pietist author, 104; quoted on Tauler, 108; and music, 109-10

Spinoza, Baruch, 247

Spitta, Philipp, views on Bach briefly quoted or mentioned, 13, 59, 149, 183, 193, 217, 259, 274, 289

Stauber, Johann Lorentz, 79, 101

Sweelinck, Jan Pieterszoon, 45

symbolism, of Bach's canons, 203, 207-8; of Kyries, 205; of cantatas, 219

Tauler, Johannes, sermons in Bach's library 107; and Luther, 107-8; and musical speculation, 136; music as divine to, 167

Taylor, John, 284

Telemann, Georg Philipp, Bach's competitor for Leipzig post, 180; receives Leipzig offer, 181-82; cantatas of, 209, 212

Terry, C. S., views on Bach briefly quoted or mentioned, 54, 59, 75, 149, 199, 217, 234/ 274

theater compositions, 145-47

theology, Bach's education centered in, 2-5, 17-27; Bach's Lutheran orthodoxy vs. his pietistic leanings, 103-9; texts in Bach's library, 104-9; scientific viewpoint of Enlightenment in conflict with Protestantism, 248-51; diminishing prestige in Germany follows Wolff's rationalism, 250-51; Bach's increased study of orthodox Lu- theranism, 270-72; see also Lutheranism

theory of music, as taught in Gymnasia, 42-45; Bach's influenced by Kircher and Werckmeister, 123-38 Thomas School. See St. Thomas Church and School

Thomas, Friedrich August, 13, 29

Tinctoris, Johannes, 44, 82

toccatas, Bach's 117-18, 165-66

Torgau Articles, 22, 24

Tosi, Pier Francesco, 46

Trieber, Johann Philipp, 64

Tufen, Andreas Christoph, 182

Tunder, Franz, 83

tuning of instruments, Werckmeister's system of, 132-35

vesper music, Buxtehude's, 71-72

violin players, of Bach's time compared with he present, 60-61

Vogel, Magister, 46

“Vom Himmel Hoch da Komm' Ich Her” 277, 279

von Brühl, Count. See Brühl

von Fulda, Adam. See Fulda

von Kirchbach, Hans Carl. See Kirchbach

von Ziegler, Marianne. See Ziegler

Vopelius, Gottfried, 191, 199

Vulpius, Melchior, 43, 191

Waelrant, Hubert, 43

Wagner, Paul, 199

Walther, Johann Gottfried, influence on Bach, 37; comradeship with Bach, guiding influence in his musical study, 120-22; shares Bach's studies of musical philosophy, 123-38 passim ; and Werckmeister, 131-32, 136-38; lexicum of, 181; and Passions, 223

Weimar, court of, 59-60, 113-21, 139-42

Weiss, Christian, 215

Well-Tempered Clavier, 161-62, 168-69, 277

Werckmeister, Andreas, on organ tuning, 92; musical speculation of, 124-38; as kindred spirit to Bach and Walther, 131- 33; tuning theories of, 132-35; and dance music, 159; music as divine to, 166-67; and Mizler, 256-57

Westhoff, Johann Paul, 63

Wilhelm Ernst, Duke of Weimar, rivalry with brother Johann, 59; invasion of Arnstadt by, 63; offers Bach a court position, 111; temperament and life at court of, 113-15; conservatism of, 139, 142; refuses to release Bach, 142; mentioned, 159

Wilhelmsburg castle, pictured, 114

Willeart, Adrian, 82

Wolff, Christian, and Francke, 106; philosophy and influence on German life, 246- 51; influence on Mizler, 254-58; influence on Ernesti, 264

Wolgast, Johann, 49

Zacconi, Lodovico, 82

Zelter, Carl Friedrich, 289-90

Ziegler, Marianne von, Bach enriches Leipzig life, 207; as a Bach librettist, 216; a disciple of Wolff, 249

Zwingli, Huldreich, 26