Über die Autorinnen und Autoren

Gregory G. Butler is a professor of musicology at the University of British Columbia and the editor of Bach Perspectives, Volume 7: J. S. Bach's Concerted Ensemble Music: The Concerto. George B. Stauffer is a professor of music and Dean of the Mason Gross School of Arts at Rutgers University. He has published seven books, including Bach: The Mass in B Minor. Mary Dalton Greer is the founder and director of the series Cantatas in Context, in collaboration with the Orchestra of St. Luke's. She has taught at Yale and Montclair State University.

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About Bach

UNIVERSITY OF ILLINOIS PRESS

Contents

Preface................................................................................................................................................ixAbbreviations..........................................................................................................................................xiA Master Teacher Revealed: Johann Pachelbel's Deutliche Anweisung BY KATHRYN WELTER...................................................................3From the House of Aaron to the House of Johann Sebastian: Old Testament Roots for the Bach Family Tree BY MARY DALTON GREER...........................15Combinatorial Modeling in the Chorus Movement of Cantata 24, Ein ungefärbt Gemüte BY ALEXANDER J. FISHER....................................35Choral Unison in J.S. Bach's Vocal Music BY DANIEL R. MELAMED.........................................................................................53You Say Sabachthani and I Say Asabthani: A St. Matthew Passion Puzzle BY MICHAEL OCHS.................................................................61Sein Segen fliesst daher wie ein Strom, BWV Anh. I 14: A Source for Parodied Arias in the B-Minor Mass? BY WILLIAM H. SCHEIDE.........................69Johann Friedrich Schweinitz, "A Disciple of the Famous Herr Bach in Leipzig" BY HANS-JOACHIM SCHULZE..................................................81Johann Christian Bach and the Church Symphony BY JEN-YEN CHEN.........................................................................................89Scribes, Engravers, and Notational Styles: The Final Disposition of Bach's Art of Fugue BY GREGORY G. BUTLER..........................................111Notes on J.S. Bach and Basso Continuo Realization BY TON KOOPMAN......................................................................................125Music for "Cavaliers et Dames": Bach and the Repertoire of His Collegium Musicum BY GEORGE B. STAUFFER................................................135A Print of Clavierübung I from J.S. Bach's Personal Library BY ANDREW TALLE......................................................................157Carl Reinecke's Performance of Mozart's Larghetto and the Nineteenth-Century Practice of Quantitative Accentuation BY ROBERT HILL.....................171"Grand Miscellaneous Acts": Observations on Oratorio Performance in London after Haydn BY MARK RISINGER...............................................181Back from B-A-C-H: Schumann's Symphony No. 2 in C Major BY DOUGLASS SEATON............................................................................191Contributors...........................................................................................................................................207Index..................................................................................................................................................211

Chapter One

Johann Pachelbel's Deutliche Anweisung

Kathryn Welter

For musicians of the Baroque Era, the ability to teach and attract students was essential to establishing their reputations, supplementing their incomes, and helping them to fulfill their myriad duties in church, city, or court positions. In Germany, the teaching tradition is well illustrated by Johann Pachelbel, whose treatise Deutliche Anweisung verifies his position in the long line of Lehrmeister, or master teachers, that began in the seventeenth century with Jan Pieterszoon Sweelinck and continued with Pachelbel's colleagues Dieterich Buxtehude and Johann Adam Reinken and successors Johann Heinrich Buttstett, Johann Christoph Bach, and Georg Böhm. This impressive chain of pedagogues culminated with Johann Sebastian Bach.

Johann Pachelbel has long been known to church musicians and scholars as an organist and composer. In his time he was also a renowned teacher. For instance, Buttstett, his most famous Erfurt student, specifically referred to Pachelbel as his "master teacher." Although historians have focused mainly on Pachelbel's accomplishments as a performer and composer, his achievements as an instructor are equally important, for they shed light on the central role that teaching played in transmitting Baroque musical traditions.

For Pachelbel and many of his fellow pedagogues, we have very little evidence of actual teaching methods, except for a few manuscript collections copied and circulated among students and occasional descriptions by students in letters or publications. The Deutliche Anweisung, one of Pachelbel's little-known writings, offers evidence that bears directly on his teaching practices. Written in Nuremberg sometime during the last decade of Pachelbel's life, the Anweisung is an organ-instruction manual in the composer's hand that was most likely intended for personal reference and student instruction (Plate 1). Its full title runs as follows:

Deutliche Anweißung. Wie man durchs ganze Jahr bey wehrenden Gottesdienst, so wohl in den Vespern als Tagambt, bey S: Sebald mit der Orgel zu intonieren und zu respondiren sich zu verhalten habe. [Detailed Instruction. How one should use the organ to intone and respond during the Holy Church Service throughout the entire year, in Vespers as well as in Daily Worship at St. Sebald's Church.]

The Deutliche Anweisung reveals in detail how one should perform on the organ during the various worship services at the city's foremost Protestant church, St. Sebald. In the process, it tells us a great deal about Pachebel's teaching career, the liturgical practices at St. Sebald's Church, and the use of instrumental pieces within the services there.

The weekly services at St. Sebald's Church were similar to those at many other Lutheran churches in Germany during Pachelbel's time. In particular, they reflected the weekly rites in the other Lutheran churches in Nuremberg. Saturdays began with a Communion Service with sermon, followed by a Choir Service. Vespers was held in the late afternoon. Sunday mornings began with the Early Communion Service, followed by the Holy Communion Service with sermon (known at the time as the Early Sermon Mass) and the Office Service, or Tagamt. Vespers was celebrated in the afternoon. In the Deutliche Anweisung, Pachelbel provides guides to the music of the Saturday Choir Service and the Sunday Office Service and Vespers Service.

The basic difference in the seven services, aside from the inclusion of Holy Communion or a sermon, appears to be in the number of deacons assigned to each and the music provided by the deacons, choir, and organist. The services at St. Sebald's appear to fall into two categories, depending on the number of personnel involved. The primary services were the Saturday Communion Service and Vespers Service and the Sunday Early Communion Service and Holy Communion Service with sermon. Each of these called for the participation of at least four clerics, a host of deacons (assistant clergy), and a choir. The secondary services—the Saturday Choir Service, the Sunday Office Service, and the Sunday Vespers—required only a principal cleric and two deacons. In addition, student singers commonly replaced the full choir.

The secondary services would have been ideal occasions for Pachelbel to use student apprentices. These rites already called for student singers in place of the choir, and the smaller number of clergy and the presumably smaller number of...