SCHEDULE

Wednesday, 2.30-5.30 PM, M263

14 January    1. Introduction

21 January    2. JSB repertory and sources
28 January    3. Repertory from Weissenfels, Lüneburg and Leipzig: overview

  4 February  4. Repertory from Weissenfels, Lüneburg and Leipzig: case studies

 11 February 5. JSB working repertory: concerted settings I

18 February  6. Performing parts and their interpretation

25 February  7. JSB working repertory: concerted settings II

  4 March      8. JSB working repertory: old-style polyphony

 11 March     9. Sanctus settings I

[SPRING BREAK]

 25 March   10. Sanctus settings II

   1 April     11. BWV 233-36

  8 April      12. [Hiatus]

15 April      13. BWV 232: Selected topics

22 April      14. Presentations    1.                    2.                    3.

29 April      15. Presentations    4.                    5.

TOPIC

J. S. Bach's Mass repertory as a starting point for the study of early eighteenth-century music.

GENERAL INFORMATION

Prof. Daniel R. Melamed    M325C, dmelamed (AT) indiana.edu
Office hours: TBA. E-mail questions are welcome at any time and are the fastest way to get an answer.

Course information, assignments, reserve lists and this schedule can be found at http://dmelamed.pages.iu.edu/M602-JSB_Masses-2015.htm, also reachable through  http://M602.melamed.org.

REQUIREMENTS

• Class attendance/participation. Seminar members are expected to attend every meeting; please do not schedule conflicting activities. Religious commitments and serious illness are ordinarily the only acceptable reasons for missing a meeting; please let the instructor know beforehand by e-mail. Members of the seminar are expected to participate actively in discussions and to be fully prepared to do so every time.
   
• Assignments for each meeting. Most meetings will be led (in shorter or longer segments) by members of the seminar based on assignments carried out beforehand in consultation with the instructor.
   
• Final paper and presentation. The last meetings will be devoted to presentations by members of the seminar. At the first meeting we will establish dates for the presentations, which will be based on research papers circulated in advance. Completed papers will be due in electronic form for circulation one week before the date of  presentations.

GRADING

The course grade will be based on presentations, participation and the final paper. There will be no examinations.

SEMINAR MEMBERS

Caitlin Brown

Patrick Domico

Kirby Haugland

Amanda Jensen

Aaron Riedford   

D. Melamed

REFERENCE TOOL

 Basic questions about research materials on Bach are answered in

Daniel R. Melamed and Michael Marissen. An introduction to Bach studies. New York, 1998. [Ref ML134.B1 M45]

ASSIGNMENTS

2. JSB repertory and sources

Our first task will be to compile a list of JSB's Mass repertory: his own compositions, misattributed pieces assigned to him over the years, compositions in his working repertory, and works he is known to have had contact with.

Resources for our search include:

--Kirsten Beisswenger. Johann Sebastian Bachs Notenbibliothek. Kassel: Bärenreiter, 1992. [Ref ML113 .C35 v.13]

--The various editions of Wofgang Schmieder, Bach-Werke Verzeichnis, including the appendices.

--For works currently securely attributed, work group E in Christoph Wolff and Hans-Joachim Schulze, Bach-Compendium.

--The BG, especially vol. 11.

--The various source catalogues in the NBA

--Recent discoveries covered in issues of the Bach-Jahrbuch.

For each work you identify as belonging to our repertory, be sure to note the sources (if any) that have been the basis for including the work, possibly together with other evidence that has been offered in support of Bach's authorship or contact.

I suggest that each of you make a summary list of your candidates (not every detail of your research)--a list, say, with one work on each line, including BWV and BC numbers as appropriate. Send this to me in editable electronic form by 9 AM Tuesday morning, and I will compile a complete list. Please also suggest a work you would like to present in detail as part of our meeting on Wednesday.

3. Repertory from Weissenfels, Lüneburg and Leipzig: overview

This week we will examine the Mass repertory in three places associated with J. S. Bach: the court of Weissenfels, the St. Michael's School in Lüneburg, and the Thomasschule in Leipzig.

For each, the goal will be to compile a list of Mass repertory represented in catalogues and inventories, in electronic form. A spreadsheet with columns for composer, title, scoring/key/other information, and inventory number (where relevant) probably makes most sense. You will need to transcribe entries from the printed literature; please take into account both MS and printed music.

I suggest that two of you work on Lüneburg, two on Weissenfels, and one on the Leipzig Thomasschule; please decide among yourselves how to divide responsibility and how to collaborate. (It may be that you decide that this is not a good division, depending on the amount of repertory involved. You are free to suggest a different combination.) You should learn about the place and the collection (or performances in the case of the court) and about the documentation of the collection or repertory, particularly the date of the inventory or catalogue (where relevant) on which our knowledge is based.

Once your list is complete, do as much analysis as you can of the repertory. Who is it by? Where is it from? How old is it? What sorts of scoring are reperesented? What patterns of transmission are suggested? In the case of Leipzig, what can we tell about the state of the collection during Bach's time? In the case of Weissenfels, what are the patterns of performance over time? Track down surviving copies of the repertory to the extent you can.

Prepare a presentation on your findings and plan to lead our discussion of these collections.

Starting points:

Leipzig

Andreas Glöckner. Die ältere Notenbibliothek der Thomasschule zu Leipzig: Verzeichnis eines weitgehend verschollenen Bestands. Leipziger Beiträge zur Bachforschung 11. Hildesheim: Georg Olms, 2011. [Ref ML136.L4 A47]

Note also an older study:

Arnold Schering. "Die alte Chorbibliothek der Thomasschule in Leipzig." Archiv fur Musikwissenschaft 1 (1918-19): 275-88.

Weissenfels

Klaus-Jürgen Gundlach. Das Weissenfelser Aufführungsverzeichnis Johann Philipp Kriegers und seines Sohnes Johann Gotthilf Krieger (1684-1732). Sinzig: Studio Verlag, 2001. [Ref ML134.K93 G8] online

There is an older transcription in the introduction to

Johann Philipp Krieger. 21 ausgewählte Kirchenkompositionen. Edited by Max Seiffert. DDT 53/54. Leipzig: Breitkopf & Härtel, 1892. [M2 .D3 v. 53-54] online link

Lüneburg

MS music is in

Max Seiffert. “Die Chorbibliothek der St. Michaelisschule in Lüneburg zu Seb. Bach’s Zeit.” Sammelbände der Internationalen Musik-Gesellschaft 9, no. 4 (1908): 593–621. online

Printed music is in

W. Junghans. “Johann Sebastian Bach als Schüler der Partikularschule zu St. Michaelis in Lüneburg, oder Lüneburg: eine Pflegstätte kirchlicher Musik.” In Programm des Johanneums zu Lüneburg: Ostern 1870. Lüneburg, 1870. online

General

For a study that uses inventories as sources in the study of transmission see

Friedhelm Krummacher. Die Ueberlieferung der Choralbearbeitungen in der frühen evangelischen Kantate. Untersuchungen zum Handschriftenrepertoire evangelischer Figuralmusik im späten 17. und beginnenden 18. Jahrhundert. Berlin: Merseburger, 1965. [ML3184 .K94, on carrel 1-092]

On 17th-century Mass settings in a study that includes information from inventories see

John Brooks Howard. "The Latin Lutheran Mass of the Mid-Seventeenth Century: A Study of Andreas Hammerschmidt's Missae (1663) and Lutheran Traditions of Mass Composition." Ph. D. diss. Bryn Mawr College, 1983. online

Please ask if you have questions about the assignment.

4. Repertory from Weissenfels, Lüneburg and Leipzig: case studies

This week we will look at some Mass settings from among surviving pieces listed in the inventory, diary and catalogue we examined last week. Pick a concerted work from the seventeenth or very early eighteenth century from among those pieces; choose something whose score (modern edition, old sources, or both) you can put your hands on. (This will take some work surveying what is available.)

Please keep everybody posted about your choice so we get some variety. Choose your work soon and identify a useable score in electronic form (online, or scanned yourself) and send me a link or a copy; let's do this by mid-day Monday so I can post the repertory for everyone to look at before Wednesday's meeting. If you identify a recording, send a link to that, too.

Thoroughly trace the history and transmission of the work, sources, composer, context, and so on. Spend analytical time with the piece--how do we approach literature like this? Prepare a short presentation and be ready to lead a discussion.

[CEB]   Peranda, Missa in a                                               score                           recording (video)

[PD]     A. Scarlatti, Messa per il Santissimo Natale           score K G C SA          recording

[KH]    H. Praetorius, Missa super paratum cor meum        score       

[AJ]     Kerll, Missa superba                                              score                             recording

[AR]    Capicornus, Missa I (Opus Musicum)                     score

5. JSB working repertory: concerted settings I

This week we will focus more intensely, as a group, on a few pieces from Bach's library, starting with works transmitted only in scores. Please familiarize yourself thoroughly with the Mass settings by Baal, Lotti, Wilderer and the anonymous BWV Anh. 167.

Examine the JSB-connected sources in detail; follow the trail of paper and copyists; figure out the criteria by which each document has been dated. Examine relevant secondary literature (Beisswenger, etc.) on these sources. Connect the sources (and the composition) with what is known of collections and inventories including the ones we have examined, Breitkopf's holdings, and so on.

Familiarize yourself with the composers (where known) and the place of these pieces in outputs.

Examine the compositions. Make outlines; consider compositional technique, style, scoring, etc. Examine relevant literature on this repertory in the context of Bach studies.

Resources are linked below; there are recordings available for all four works. I would like every member of the seminar to work on all four compositions.

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Concerted works in autograph JSB sources

6/7. JSB working repertory: concerted settings II

Let's continue learning repertory from Bach's library, this time concentrating on works transmitted in performing parts. You have analytical and stylistic tools to deal with the works; we will add an examination of what it means to realize a work for performance and (for us) to approach that realization from the evidence of performing parts.

For a comparative example from Bach's concerted repertory, please start with the original material for "Wär Gott nicht mit uns diese Zeit" BWV 14.

Original performing parts:

    --Main set from the Bach-Archiv in Leipzig
    --Additional parts transmitted separately, in the Berlin library
    --One more part transmitted separately, from the Fitzwilliam Museum [poor copy, unfortunately]

Other resources (not all directly relevant to our focus):

Text and translation     "Wär Gott nicht mit uns diese Zeit"    Text derivation   Gospel: Mt 8:23-27

Recordings:    Gardiner    Suzuki    Rilling    Leonhardt

A suggested approach: Print the template here, and go carefully through each part noting the movements present. (Put the movement number in the appropriate column if it is in the part; leave the column blank if the movement isn't there. The first part (Corne) is done for you as an example. What are the principles by which this set of parts is constructed? What information is supplied to singers and instrumentalists? The autograph score is here; I suggest not looking at it (or at a modern score) until you have thoroughly learned the work from the parts. Then you might examine it in thinking about what parts tell us compared to what we learn from the score.

Then please study the Mass settings by Pez, Peranda (A minor), Peranda (C major), and Johann Ludwig Bach. Materials are cited above, and literature is cited in Beisswenger and in the modern editions. (We don't have access at the moment to the Leipzig sources of  JLB Anh. 166 but can work from the critical report in the modern edition.

How were the parts prepared? What is in them? What elements of performance do they document? What changes were made in realizing the pieces? In some cases we have the scores from which parts were made; how does that affect what we can say? What position are we in when we have only parts?

8. JSB working repertory: old-style polyphony

Please become expert in Bach's repertory of old-style polyphonic Mass settings and related problems. Issues most relevant to our work are discussed in the Bach-Jahrbuch articles cited below.

Old-style works in JSB-related sources

 

I/P/2	Palestrina	Missa sine nomine	D-B Mus. ms. 16695 D-B Mus. ms. 16714	Ed. Haberl	Recording
	Palestrina	Missa Ecce sacerdos magnus	D-B Mus. ms. 16695 D-B SA 424/ZC 629		Rec: Kyrie Agnus III
	Palestrina	Missa O Regem coeli	D-B Mus. ms. 16695
	Palestrina	Missa Virtute magna	D-B Mus. ms. 16695
	Palestrina	Missa Gabriel Archangelus	D-B Mus. ms. 16695		Rec: Benedictus
	Palestrina	Missa Ad coenam agni providi	D-B Mus. ms. 16695		Rec: Kyrie
	Palestrina	Missa Pro defunctis	D-B Mus. ms. 16695
II/B/5	Bernhard, Christoph	Missa Durch Adams Fall ist ganz verdebt	D-B Mus ms 1620	Ed Möseler CW 107	Recording
II/B/6	Bernhard, Christoph	Missa Christ unser Herr zum Jordan kam	D-B Mus ms 1620	Ed Gerber CW 16
II/S/1	Schmidt, Johann Christoph	Missa D	D-B Mus ms 1620	Ed in WolffStA
	Gasparini, Francesco	Missa Canonica [see Wollny BJb 2013]	D-WFe 191	Score D-B
1/B/48	Bassani, Giovanni Battista	Acroama missale	D-B Mus. ms. 1160		Recording

Related repertory

Walther Kyrie                         D-B Mus mus 16704    Score               Recording                  

Palestrina Missa ad fugam                                            Score               Recording: Kyrie

BWV 233a                                                                 Score                Recording      

 

Relevant Palestrina Masses in modern edition    (more or less according to JSB-related sources)

 

Literature

Christoph Wolff. Der stile antico in der Musik Johann Sebastian Bachs. Studien zu Bachs Spätwerk. Beihefte zum Archiv für Musikwissenschaft 6. Wiesbaden: Steiner, 1968. [ML5 .A67 Suppl. Bd.6]

 

Barbara Wiermann. “Bach und Palestrina: Neue Quellen aus Johann Sebastian Bachs Notenbibliothek.” Bach-Jahrbuch 88 (2002): 9-28.

 

Daniel R. Melamed. “Bach und Palestrina—Einige praktische Probleme I.” Bach-Jahrbuch 89 (2003): 221-4. [English]

 

Barbara Wiermann. “Bach und Palestrina—Einige praktische Probleme II.” Bach-Jahrbuch 89 (2003): 225-7.

 

Daniel R. Melamed. "Johann Sebastian Bach, Johann Gottfried Walther und die Musik von Giovanni Pierluigi da Palestrina." Bach-Jahrbuch 98 (2012): 73-93. [English]

 

Peter Wollny. “Ein unbekannte Bach-Handschrift und andere Quellen zur Leipziger Musikgeschichte in Weissenfels.” Bach-Jahrbuch 99 (2013): 129-69.

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9. Sanctus settings I

 

This week we will look at Sanctus settings by Bach and from his library. Please familiarize yourself thoroughly with this repertory from the point of sources, performance, and compositional/stylistic/analytical matters.

 

JSB repertory

 

BWV 237       BC E10		Sanctus C	D-B P 13 D-B St 114	BG 11/1	Helbich Rilling
BWV 238       BC E11		Sanctus D	D-B P 13 D-B St 116	BG 11/1	Rilling
BWV 232III    BC E12		Sanctus D	D-B P 13 D-B St 117	[BG 6]	Luks Rifkin

 

JSB library repertory

 

BWV 241        BC E17	I/K/3	Sanctus D [Kerll arrangement]	D-Cv V. 1109.1 [score] D-Cv V. 1109.1 [parts]	BG XLI	Rilling
BWV 239	I/An/5	Anon Sanctus d	D-B P 13 P-Kj St 113	BG 11/1	Helbich
BWV 240	I/An/6	Anon Sanctus G	D-B P 13 S-B St 115	BG 11/1	Helbich Rilling

 

[Note also these works probably connected with the Leipzig Neukirche; we won't deal with them for now:

 

Anh. 28   II/An/1        Anon               Sanctus Bb      B-Br II 3893   Gerlach-Breitkopf 1761- Fétis                                   

Anh. 27   III/K/1         Krebs, JL       Sanctus F         B/Br II 3892   Krebs composing score]

 

NBA II/2 KB

NBA II/9 KB

 

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10. Sanctus settings II

 

This week we will look at the Sanctus repertory in a convolute manuscript assembled by Georg Poelchau as a sample of contemporary repertory. The MS is D-B Mus. ms. 30221 available here. The relevant volume of Poelchau's own catalogue of his collection (with annotations and additions made over the years) is here.

 

Please make yourself an inventory of the collection; survey everything in the composite manuscript but then focus on the Sanctus settings. Track down the repertory, information on composers, concordances, and so on; determine what you can about the copies themselves (possible only in some cases and in a limited way from where we sit).

 

Then spend time with the settings, taking our familiarity with JSB-related repertory as a starting point. Consider them from analytical and stylistic points of view.

 

I would like everyone to deal with all the repertory, but you can make a division of labor for some matters and share your results.

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11. BWV 233-36

 

This week we will look at Bach' four shorter Kyrie-Gloria settings BWV 233-36. We need to start with the issue and problem of parody in Bach's music. The literature on this subject is large; please read the following as an overview:

"Parody." In Malcolm Boyd, ed. Oxford composer companions: J.S. Bach. Oxford, 1999. [Ref ML410.B12 J15]

Hans-Joachim Schulze. "The parody problem in Bach's music: an old problem reconsidered." Bach 20, no. 1 (1989): 7-21.

Classic studies of Bach's parody (for your reference):

Arnold Schering. “Über Bachs Parodieverfahren.” BJb 18 (1921): 49–95.

Werner Neumann. “Über Ausmaß und Wesen des Bachschen Parodie­verfahrens.” BJb 51 (1965): 63–85.

Friedrich Smend. Bach in Köthen. Berlin, 1951. Translated by John Page and edited and revised by Stephen Daw as Bach in Köthen. St. Louis, 1985.

Then please get to know the four short Mass settings BWV 233-236. Consider two principal matters: these pieces as examples of early eighteenth-century Mass compositions, in the context of the repertory we have studied; and these works as the products of Bach's parody.

Scores: BWV 233  BWV 234  BWV 235  BWV 236

Recordings (Purcell Quartet): BWV 234 and 235    BWV 233 and 236

Two summaries of parody in BWV 233-236: One  Two

Study in detail the Mass in A major BWV 234. Compare the texts of the Latin movements with those of the parody models. Examine the scores and texts of the known model movements, and study the process of adaptation. What features of the models are retained? What features are changed? What can we surmise about the two movements for which no models are known? Do you think they are also parodies? Why?

Outline of BWV 234, with texts of parody models

Scores of parody models:

                                  
Mass mvt            Parody model

BWV 234/1        ?   

BWV 234/2        BWV 67/6

BWV 234/3        ?

BWV 234/4        BWV 179/5

BWV 234/5        BWV 79/2

BWV 234/6        BWV 136/1

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13. BWV 232

 

I don't think we can end a course on Bach's Mass repertory without talking at least a little about the Mass in B Minor. We will do that by reading some recent scholarship in English and discussing the issues that come up as a way into the work.

 

Familiarize yourself with the work (BG score is on IMSLP, and numerous recordings on Naxos), and then please read the first essay, as an overview, in

Yo Tomita, Robin A. Leaver and Jan Smaczny, eds. Exploring Bach's B-minor Mass. Cambridge: Cambridge University Press, 2013.

Then choose one of the other essays from this collection that interests you, coordinating with other seminar members, who should also read the essay you choose. Prepare a short presentation on the issues raised by the essay in light of what you now know about Mass composition and about the study of Bach's Mass repertory.

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