| Contents |
Chapter 1. The traditional image of Bach's years at Kothen ; The incompleteness of the records ; Factual information concerning Bach's connections with the Kothen court ; History of research into that period ; Aims and objectives of this study -- Chapter 2. Archive sources. Accounts and records of the royal household -- The evaluation of these. (1) material items of expenditure - instruments, scores, printed texts ; (2) items of expenditure relating to persons - permanently engaged singers, visiting and guest vocalists and instrumentalists -- Bach's visits to Kothen after 1723 ; The choir at the Lutheran school in Kothen ; The instrumentalists in the court orchestra ; The composition of the court orchestra ; Bach's conducting from the viola stand -- Chapter 3. Orchestration of Bach's instrumental works composed at Kothen ; The sixth Brandenburg concerto (BWV 1051) ; The fifth Brandenburg concerto (BWV 1050) ; The remaining instrumental concertos and the ensemble suites -- Chapter 4. Hunold's verse ; Figuralmusik used in the divine service at Kothen ; Parodies. Durchlauchtster Leopold (BWV 173a) ; Erhohtes Fleisch und Blut (BWV 173) ; Die Zeit, die Tag und Jahre macht (BWV 134a) ; Ein Herz, das seinen Jesum lebend Weiss (BWV 134) -- Chapter 5. Der Himmel dacht auf Anhalts Ruhm und Gluck (BWV 66a) ; Erfreut euch, ihr Herzen (BWV 66) ; The remaining Hunold texts ; Heut ist gewiss ein gutter Tag (BWV Anh. 7) -- Chapter 6. Parodies of lost originals. Erwunschtes Freudenlicht (BWV 184) ; Auf, mein Herz, des Herren Tag (BWV 145) -- Chapter 7. Additional Leipzig cantatas that may be traced back to Kothen. Singet dem Herr nein neues Lied (BWV 190) ; Ihr Tore zu Zion (BWV 193), and Ihr Hauser des Himmels (BWV 193a) -- Chapter 8. Solo cantatas. Weichet nur, betrubte Schatten (BWV 202), and Liebster Jesu, mein Verlangen (BWV 32) -- Sonata for harpsichord and violin in G major (BWV 1019) ; The central movement of the latter ; The opening number of Gott, man lobet dich in der Stille (BWV 120), and the second number of Geist und Seele wird verwirret (BWV 35) -- Chapter 9. Cantatas shown to have belonged to the Kothen period 1717-23 ; Their orchestration and chronology ; Concerning the "amusa" ; Cantatas composed for Kothen during the years 1723-28 -- Chapter 10. The death of Leopold ; Bach's compositions for the funeral service to texts by Picander (BWV 244a etc.) ; Preparation of the performance material of parody compositions ; Discovery of the original sources of the funeral music; description in the archive documents ; Three versions of the Picander text ; Evidence regarding the setting to music of two previously unknown numbers of this work -- Chapter 11. The fact that Bach wrote two compositions for the funeral ceremonies at Kothen ; The burial at night and Bach's composition for the ceremony ; The "Commemorative sermon" and Bach's great funeral music that accompanied it ; Structure of the work and its incorporation in the divine service ; Forkel's possession of the score of the first of these two works -- Chapter 12. The form of Bach's Kothen vocal works ; The relationship with the instrumental concerto, the outer movements of the concertos and their middle numbers ; Relationships with the suite and dance forms ; Influence of the vocal works on the instrumental -- Chapter 13. Further development in the early Leipzig years ; The pastoral cantata of 1725 (BWV 249a) ; Kothen instrumental compositions that received a libretto in Leipzig ; Instrumental forms in the original vocal works ; Sehet, welch eine Lieve (BWV 64) ; Christen, atzet diesen Tag (BWV 63) ; Hochsterwunschtes Freudenfest (BWV 194) -- Chapter 14. Concerto- and suite-movement forms in the original church compositions by Bach that arose in Kothen ; Jesus nahm zu sich die Zwolfe (BWV 22) ; Du wahrer Gott und Davids Sohn (BWV 23) ; Overall structure of the St. John Passion (BWV 245) -- Chapter 15. The "secular" as opposed to "spiritual" issue ; In which order did Bach store his manuscripts? ; The scope of Bach's secular compositions ; The parody process and the shortcomings of previous apologias ; Bach's relationship to the baroque period -- Chapter 16. The St. John Passions of Bach and Handel (BWV 245, HWV) ; The Postel-Handel version as a source of Bach's composition, textually and musically ; Bach's aria "Es ist vollbrach" ; The symbolic nature of form in Bach's church compositions ; The St. John Passion and the cantata Du wahrer Gott und Davids Sohn (BWV 23) -- Chapter 17. The relationship between "secular" and the "spiritual" in Bach, seen from the viewpoint of his Lutheranism ; The opinions of the pietists ; Christian Gerber's verdict on elaborated passion music ; The behavior of the Leipzig church towards Bach ; The Lutheran conception of the "world" ; The relevance of this question to the present day -- Chapter 18. Supplementary Material (editorial). The principality of Anhalt and its rulers from the second partition until the death of August Ludwig I (1755) ; Leopold I and his apparent attitudes and behavior ; The musicians of the Hofkapelle and available musician in Kothen during the Bach period ; Two large Bach performances in the 1720s and Johann Mattheson's report quoted by Werner Neumann ; The palace architecture and the use of the buildings in the time of Bach ; The Kothen music, and why most of it is almost certainly irretrievably lost -- Appendix A. Text of Hunold's poem, written in praise of Leopold I for presentation to him by his Hofkapelle on Dec. 10, 1719 (his 25th birthday) -- Appendix B. Recitative and aria from the setting of Postel's Johannes-Passion (1704), formerly attributed to G. F. Handel -- Appendix C. List of music attributable to Bach's Kothen period (December 1717 to May 1723) on positive documentary and/or historical grounds. |
