Bach and Baroque: European Source Materials from the Baroque and Early Classical Periods With Special Emphasis on the Music of J.S. Bach

BACH

and

BAROQUE

PERFORMANCE

 3rd Edition 2023

ANTHONY NEWMAN

Bach and Baroque: European Source Materials from the Baroque and Early  Classical Periods With Special Emphasis on the Music of J.S. Bach

Copyright © 2023 by Anthony Newman

First Edition Published 1995

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BACH and BAROQUE

European Source Materials from the Baroque and Early Classical Periods with Special Emphasis on the Music of J.S. Bach

A vibrant performance of any type of music is contingent upon the recognition and projection of its inner qualities. Foremost among these are the rhythms intended by the composer, and these are precisely the qualities that are the hardest to discover through the inadequate symbols of musical notation. Only by finding the missing links between the written notes and the living rhythms they once symbolized can we arrive at a means of making the revival of Baroque music a resuscitation rather than a mere reconstruction.

Putnam Aldrich, Rhythm in the 17th-century Italian Monody

This Book is dedicated

to my family :

Mary Jane, Geoffrey, Matthew and Anthony, and to all my students at Indiana University and at Purchase College, S.U.N.Y.

FOREWORD

This text, which includes regular assignments, may be used as main material for a course on the performance of the music of J.S. Bach, or for a course on Baroque performance practice in general.

In tracing the development of Baroque performance practice research in this century we must mention the names Arnold Dolmetsch, Thurston Dart and Robert Donington. Since the 1950’s there have been many names in both American and European scholarship that have contributed to performance practice research in Baroque music. They have brought to light source material of the Baroque via translation, commentary, or both. To them, I am grateful.

Most articles written about performance practice deal with relatively small areas (trills, overdotting, etc.), placing emphasis on citing original sources, or collating several original sources in order to support a given position. There is not sufficient information in these articles to deal with all aspects of Baroque style. This text was built on the premise that as many conclusions as possible should be drawn from the sources themselves. Leaps to conclusions about other aspects of style insufficiently documented in sources are made on the basis of the author’s own experience as performer.

There are different conclusions that one can reach, as the area is large, and some aspects of style find the various sources in disagreement (e.g., time signatures) or are simply not discussed. Most of the source disagreements stem from national differences in style.

I have incorporated references into the text, citing the source and often the page.

The chapter, Concerning Cadences and Inequality Procedures was originally published in The Musical Quarterly, Summer 1992, Vol. 76, Number 2.

I am especially grateful to Dorothy Barnhouse, whose efforts both as translator and stylist made this book possible. I am also grateful to Richard Troeger, Scott Johnson, Gary Schultz, Edward Thompson, Maura Robinson, Alice Eaton Harris, Sara Doniach, Laurette Goldberg, Susan Shapiro, Clifford Gilmore, and Raphael Druian for their suggestions and comments, with a very special thanks to my wife, Mary Jane, to Howard Schott, Charlotte Mattax, George Lucktenberg and Ron Breines for their perspicacious reading of the manuscript and to Kathryn Mackes for typing the original manuscript. Thanks to T.D. Ellis for preparing this revision, both music and text. Finally, thanks to Richard Troeger and Marion Shepp for their contributions to the chapters on Dance and Symbolism in General, respectively.

PROBLEMS OF BIASES AND DRAWING CONCLUSIONS

Biases can cause immense problems. If we are accustomed to hearing music in a certain way, we become biased about the way it should sound. Music is an area that is most subject to biases because the enjoyment of it for any individual has to do with a balance between the familiar and the unfamiliar, the predictable and the unpredictable. If, for instance, we are used to hearing Wagner’s Wedding March played at church tempo and then hear it in the context of the opera Lohengrin (Act Ill), it sounds too fast. Hearing something familiar played in an unfamiliar way can cause great problems due to the fact that the energy needed simply to hear the piece in a new manner is spent instead on comparing the old and new manners of performance.

A good example of this problem is the opening bar of the Toccata and Fugue in D Minor, S. 565, which is usually played or heard:

Example 1: Bach: Toccata and Fugue in D Minor, S. 565

However, any study of 18th century beat patterns will show that placing an accent on the C sharp is impossible. Unless specifically marked by a slur, the natural order of accentuation would prevail, that is, alternating strong and weak beats at every level:

Example 2

  The first of every four notes is always accented more than the third. Consequently it certainly should be played:

Example 3: Bach: Toccata and Fugue in D Minor, S. 565

  Yet for those of us who have been used to hearing this passage with stylistically incorrect accentuation and slurring, a great deal of exposure is necessary before we are able to hear and accept it in the new way.

  When familiar elements of music are altered, similar problems are created. One example of this is the area of unequal notes, or inequality. (This subject is taken up in more detail later.) This particular area is quite subject to the problem of biases. If, for instance, we have been used to hearing a piece played in rhythmically even fashion and then suddenly hear it played with altered rhythms, we have a mental adjustment to make before we can hear the unaccustomed rhythmic pattern, much less react to it directly or make any judgments about it.

  Another problem in music is the traditional mystique surrounding a composer or attitude of reverence with which we regard him. If we look at Bach through the early 20th century eyes of Schweitzer, we see him as a mystical, pious Lutheran. But, in a so-called modern man’s view, that of Friedrich Blume, editor of MGG (Musik in Geschichte und Gegenwart), we do not really know whether Bach was religious or irreligious.

Many other conceptions which we have taken for granted regarding composers may not be true at all. People of differing types attach quite different sentiments to Bach and his music. If we are religious, we might see in his music a kind of religious quality. In fact, we tend to project onto him and his music many different kinds of personal feelings we happen to have. As a result, it is hard for us to believe that these qualities do not originate in Bach and in his music. It is often very difficult for us to free ourselves from strictures of this sort, and one may well ask whether it is even desirable or necessary to do so. But we should at least try to become aware of what indeed comes from Bach, and what comes from the personal myths which we attach to him or his music.

  Another problem that we encounter with Bach’s music might be termed miniaturization. By this I mean a reduction of any factor that would affect the correct or ideal energy level of a musical composition. In general, one can say that miniaturization occurs when the proper or needed insight into the performance of any music is lacking. This insight can be historical, structural or technical. Even an improper instrument tends to miniaturize. An incorrect edition tends to reduce or miniaturize the energy of the composition. Here are some more specific ways that miniaturization manifests itself.

  A. The building of unfaithful copies of Baroque instruments, and especially of organs, has been affected by this miniaturization. I believe it results either from a lack of knowledge or from a reverential attitude of unwillingness to question long-accepted beliefs. The music itself becomes altered when played on inappropriate instruments.

B. Miniaturization in performance occurs if we do not add proper stylistic ornamentation or if we neglect to fill out voices when needed. Sometimes we omit these because we are afraid to tamper with the printed page or are ignorant of the ornamental style. This is not just a recent problem, it seems to have concerned musicians during Bach’s lifetime as well. Mattheson said in 1731 (writing about Kirchmaier and Falke, who had written about music 40 or 50 years earlier),…even back in those days clever people noticed that it was not enough to play the General-Bass correctly, that is, without mistakes, but that it had to be brought out artfully and decoratively ... Even though this was known 50 years ago, rather than taking the trouble to read (not to mention study) what these fine people have written on the subject, these useless fellows [clavier players] would prefer to bite off one of their own fingers, of which they could well afford to do without a few, since they do not know how to use all of them as they should . . . those with empty shelves in their brains who criticize those who play with more than three fingers on the keyboard at once.

(Mattheson, Grosse General-Bass Schule, pp. 8-9)

  Miniaturization can also occur whenever one plays under tempo, under registration (on the organ), or with too little or no rubato. The reverse can also happen. All of these factors can be exaggerated or over done. However, miniaturization is by far the more common error. If we want to be safe, we restrict tempi (never play too fast or too slow), registration or rubato. We hear the music in a reduced or limited fashion. This makes it less possible for the original emotional energy to come out of the music.

  The idea of an urtext performance, i.e., a performance in which the text is in no way altered, is very much a part of the present day aesthetic. Performers are often criticized for playing too fast, less often too slow, but, as we will see, the source material tells us surprising things, especially about tempi, which, in many instances, seem to have been either faster or slower than traditionally associated with the Baroque. It is probably a latterday conceit that a very slow tempo in music—the very slow adagio—does not arrive until Beethoven’s time. There are places in Bach’s music where that kind of extremely slow tempo seems appropriate, especially when an indication such as adagissimo occurs.

Example 4: O Mensch bewein dein Sünde gross, S. 622 Adagissimo

Another bias is a dislike of metrical accents (a bias which influenced me until I understood what they do and how they actually function in the music). I refer to certain kinds of rubatos based on the concept of strong/weak as this pertains to measures or to beats. When we discover how strong/weak measures and strong/weak beats work, we see how they force metrical accents to occur; these accents, incidentally, are often indicated in the music either by a filling out of the texture, or by ornamentation which will naturally take a certain time away from tempo.

SOURCES … AND WHAT KINDS

OF CONCLUSIONS MAY BE DRAWN FROM THEM

  When we attempt to draw conclusions from the source material as it might pertain to Bach’s music several problems arise. Because Bach wrote nothing about the performance of his own works, we have to consult his contemporaries, friends, family and students. We will never be able to know exactly how Bach played his own music. Even if there were a student of his alive today whom we could question directly and who could demonstrate for us, our knowledge would still be inexact, since the information would be filtered through his own gift, his biases and his memory. It is quite impossible to know exactly how a composer wants something to sound unless he is present in the flesh to tell us. But even if Bach himself were alive to demonstrate, any given piece would not be performed the same way twice; I believe this is especially true given the 18th-century aesthetic and its high proclivity towards improvisation.

We know from contemporary composers that some are very dictatorial and would like to control every detail of performance, while others welcome quite broad interpretations, feeling that this latitude contributes to the music. Although we cannot know exactly how Bach played, or wished his music to be played, we can find out a great deal about the conventions of his time, the way musical words and symbols were used, and thus get close enough to the composer’s intention so that more of the affect and meaning of the music can come through to us in performance today. There is a large amount of source material available from the 16th, 17th, and 18th centuries. In fact, there is so much that it is necessary to limit it in a strategic manner when speaking about the music of J.S. Bach. We hope to be able to do this by examining information from a number of people who had differing kinds of relationships to Bach.

Johann Mattheson (1681-1764) was an organist, singer and composer from northern Germany. We are quite sure that he knew Bach personally. Bach was one of a number of organists from whom Mattheson solicited a biography. (Bach never sent it!) He wrote two large works about performance: Grosse General-Bass Schule (1731) and Der Vollkommene Kapellmeister (1739). Several themes by Bach are quoted in Mattheson’s Grosse GeneralBass Schule, in which he mentions Bach, Handel, Telemann, Pachelbel, Praetorius, Schütz and many other musicians, some of whom are remembered today, many of whom are not. His books provide us with a great deal of information about old style Baroque performance practice in Germany, that is, a Baroque style which had not yet gone through transformation to become the later styles of Rococo (galant) and Empfindsamkeit.

  J.P. Kirnberger (1721-1783) was a close friend and student of Bach. He copied some of Bach’s music and worked out realizations of the figured bass line of the third movement of the Trio Sonata from the Musical Offering. Bach evidently corrected these himself. Kirnberger wrote several pedagogical works, including Kunst des reinen Satzes in der Music (1774), which mainly reflect Bach’s teaching. In his time he was considered to be astute and penetrating, and an important and influential figure in musical performance.

Johann Joachim Quantz (1697-1773) probably knew Bach and certainly heard him play. Quantz wrote a treatise on playing the flute, Versuch einer Anweisung die Flöte Traversiere zu spielen, in which he speaks of Bach’s playing with great enthusiasm. Musicologists today often state that he was talking about a performance style different from that of Bach. But Quantz was very cosmopolitan, and though I think he was indeed speaking about an emerging style of composition, Quantz was very much rooted in Baroque performance practice. We can often see whether he is talking about old style or new style by looking at certain clues he gives us. Often, these clues are in his use of tempo words. For instance, when he uses the word affettuoso, we can assume he is talking about the newer style, as this term is rarely used by Bach and seldom found in older Baroque repertoire. (Bach uses this term in the second movement of the Fifth Brandenburg Concerto.) His treatise straddles both types of performance practice of his day: the Baroque and the galant, and amalgamates certain qualities from both of them. Thus, in using Quantz as a source, we must be aware that he has one foot in each of these periods. In my opinion, these three authors, with emphasis on Kirnberger, are the most important sources for the music of J.S.

Bach.

  It is important to realize that in the latter part of Bach’s life, both the old and the new styles were in vogue in various times and places. The galant style started in France in the early 1700’s and merged with the later French Baroque style. This French Baroque style did not die out until the French Revolution in the 1790’s. The Baroque in Germany and Austria died out sooner. So in studying source materials, it is important to relate the particular source to Bach’s work not only chronologically, but also nationally. The two great styles of the time were the Italian style and the French style. Some of the aspects of the two were incorporated into the German style. These two styles are discussed in detail on p. 11.

  The following authors, Leopold Mozart and Roger North, are helpful, but of less weight than those mentioned above.

Leopold Mozart (1719-1787) was both a composer and violinist. As a composer he is definitely associated with the new style and is not a part of the Baroque tradition in which Bach was writing. As an early Classical theorist he was, of course, thoroughly trained in Baroque style and knew it well. He sometimes ridicules the ‘old style’. Both styles are shown in his treatise on violin-playing.

Roger North (Roger North on Music, ca.1728), English theorist and composer, a follower of Corelli, wrote in great detail about performance practice. There are others whose writings throw a helpful light on the study of Baroque source material in general:

  J.G. Walther, a friend of Bach, wrote a Musikalisches Lexikon (1732); his work is mentioned by Mattheson.

Brossard was a French author who wrote a musical dictionary (1703).

  Georg Muffat (1653-1704) was Kapellmeister in Passau in 1702, and his work, Apparatus Musico-organicus, is cited by Mattheson. Muffat studied in France with Lully.

  Jean-Baptiste Lully (1632-1687) was an Italian who moved to France and became a naturalized citizen. Not much is known about his early life. However, through immense ambition and skilled use of intrigue, he acquired complete control of operatic music in France under Louis XIV. In a work entitled Florilegium Secundum, 1698, Muffat codified Lully’s teaching and techniques regarding orchestral playing, bowing, ornamentation and inequality. This text is especially helpful in considering the performance of the orchestral suites and other overture textures of Bach. This work was published in Augsburg in four different languages, and is a very good description of performance practice in the French style.

  Francois Couperin (1668-1733) wrote extensively about performance practice in the introduction to his first book of harpsichord works published in 1713, and in his l’Art de Toucher le Clavecin, 1717. He was the greatest composer of harpsichord music in the middle French Baroque period, and was quite explicit about the way in which he wanted his works performed. Bach copied one of Couperin’s works into a notebook which he compiled for Anna Magdalena Bach.

  Nicholas de Grigny (ca. 1699), published a Livre d ‘Orgue which Bach copied in his own hand.

We can also find information about Bach by looking at the music of his sons. Wilhelm Friedemann Bach (1710-1784), his eldest son, was a reclusive person, not well adapted to his times. (He preferred to compose in old style.) It was for him that J.S. Bach wrote the pedal-claVier trio sonatas, S. 525-530. W.F. Bach often communicated by letter with his father and was present during the famous trip to the court of Frederick the Great in 1747 , after which the Musical Offering was composed. The music of W.F. Bach shows many similarities to that of his father, including a predilection to writing in a fugal style. As we will see later, this son’s use of numerology as a compositional tool gives us information about J.S. Bach’s methods of composition, as this technique was certainly transmitted to him by his father.

Others who were close to Bach can be studied for clues about