An Wasserflüssen Babylon

"An Wasserflüssen Babylon"
Lutheran hymn
Super Flumina Babylonis, "An Wasserflüssen Babylon," from the 1541 Straßburger Gesangbuch
English By the rivers of Babylon
Text Wolfgang Dachstein
Language German
Based on Psalm 137
Published 1525 (1525)

"An Wasserflüssen Babylon" (By the rivers of Babylon) is a Lutheran hymn by Wolfgang Dachstein, which was first published in Strasbourg in 1525. The text of the hymn is a paraphrase of Psalm 137. Its singing tune, which is the best known part of the hymn and Dachstein's best known melody, was popularised as chorale tune of Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld". With this hymn text, Dachstein's tune is included in the Protestant hymnal Evangelisches Gesangbuch.

Several vocal and organ settings of the hymn "An Wasserflüssen Babylon" have been composed in the 17th and 18th century, including 4-part harmonisations by Johann Schein, Heinrich Schütz and Johann Sebastian Bach. In the second half of the 17th century, Johann Pachelbel, Johann Adam Reincken and Bach's cousin, Johann Christoph, arranged settings for chorale preludes.

The arrangements of "An Wasserflüssen Babylon" by Reincken and Pachelbel form the earliest extant transcriptions of Bach, copied on a 1700 organ tablature in Lüneburg when he was still a youth; remarkably, they were only unearthed in Weimar in 2005.

In 1720, in a celebrated organ concert at Hamburg, Bach extemporised a chorale setting of "An Wasserflüssen Babylon" in the presence of Reincken, two years before his death. Bach also composed three versions of the chorale prelude "An Wasserflüssen Babylon" as part of the Great Eighteen Chorale Preludes, the last dating from 1740–1750 in Leipzig, possibly as a tribute to Reincken's well-known chorale fantasia.

History and context

Woodcut of Strasbourg from Nuremberg Chronicle, Hartmann Schedel, 1493: Cathedral (r) and St Thomas (l)
Title page of the 1541 Straßburger Gesangbuch
Martin Bucer, "Icones quinquaginta vivorum": engraving by Jean-Jacques Boissard

"An Wasserflüssen Babylon" is a Lutheran hymn written in 1525 and attributed to Wolfgang Dachstein, organist at St Thomas' Church, Strasbourg.[1][2][3] The hymn is a closely paraphrased versification of Psalm 137, "By the rivers of Babylon", a lamentation for Jerusalem, exiled in Babylon.[1][4] Its text and melody, Zahn number 7663, first appeared in Strasbourg in 1525 in Wolf Köpphel's Das dritt theil Straßburger kirchenampt.[1][5] This Strasbourg tract, which comprised the third part of the Lutheran service, is now lost.[5] Despite the lost tract from 1525, the Strasbourg hymn appeared in print in 1526 in Psalmen, Gebett und Kirchenordnung wie sie zu Straßburg gehalten werden and later.[5][6][7]

Wolfgang Egeloph Dachstein was born in 1487 in Offenburg in the Black Forest. In 1503 he became a fellow student with Martin Luther at the University of Erfurt. He entered the Dominican monastic order in around 1520 in Strasbourg, where he started a collaboration with Matthias Greiter, a friend and contemporary. Greiter was born in 1495 in Aichach, near Augsburg in Bavaria, where he attended a Latin school, before enrolling in theology at the University of Freiburg in 1510 and becoming a monk in Strasbourg in 1520.[8][9][10][11][12]

During the Reformation, Protestantism was adopted in Strasbourg in 1524. The reforms involved the introduction of the German vernacular, the use of Lutheran liturgy ("Gottesdienstordnung") and congregational singing. Both Greiter and Dachstein renounced their monastic vows and married in Alsace. Their association continued, with Greiter becoming a cantor in the Cathedral and Dachstein an organist at St Thomas. Both played an important role in the musical life of Strasbourg, with many contributions to Lutheran hymns and psalms. Daniel Specklin, a 16th-century architect from Alsace, where the region Dachstein takes its name, described in detail how the pair engaged in "das evangelium" and "vil gute psalmen". A costly edition of the Straßburger Gesangbuch was published by Köpphel in 1541, with a preface by the Lutheran reformer Martin Bucer: the title, text and psalm were printed in characteristic red and black with woodcuts by Hans Baldung. During the Counter-Reformation, however, the Augsburg Interim resulted in Strasbourg reinstating Catholicism in October 1549: both Dachstein and Greiter renounced Protestantism and Bucer was sent into exile in England, where under Edward VI he became Regius Professor of Divinity.[13][14][15]

Dachstein's hymn "An Wasserflüssen Babylon" was rapidly distributed—it was printed in Luther's 1545 Babstsches Gesangbuch[16]—and spread to most Lutheran hymnbooks by central Germany.[1] After the Sack of Magdeburg in 1631, during the Thirty Years' War, it was decreed that Dachstein's 137th Psalm would be sung every year as part of the ceremonies to commemorate the destruction of Magdeburg.[17]

The melody of the hymn became better known than its text, through the association of that melody with Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld".[5][17] With that hymn text, the hymn tune of "An Wasserflüssen Babylon" is adopted as EG 83 in the Protestant hymnal Evangelisches Gesangbuch.[18][19] The hymn tune is Dachstein's best known composition.[3]

Miles Coverdale provided an early English translation in the Tudor Protestant Hymnal "Ghostly Psalms and Spiritual Songs," 1539. These Lutheran versifications were written in continental Europe while Coverdale was in exile from England.[20][21][22]

Text

The Lutheran text of Dachstein first appeared in 1525.[1] The English translation by Miles Coverdale dates from 1539.[21][23]

German text

    English translation

1. An Wasserflüssen Babylon,
  Da saßen wir mit Schmerzen;
  Als wir gedachten an Sion,
  Da weinten wir von Herzen;
  Wir hingen auf mit schwerem Mut
  Die Orgeln und die Harfen gut
  An ihre Bäum der Weiden,
  Die drinnen sind in ihrem Land,
  Da mussten wir viel Schmach und Schand
  Täglich von ihnen leiden.

  At the ryvers of Babilon,
  There sat we downe ryght hevely;
  Even whan we thought upon Sion,
  We wepte together sorofully.
  For we were in soch hevynes,
  That we forgat al our merynes,
  And lefte of all oure sporte and playe:
  On the willye trees that were thereby
  We hanged up oure harpes truly,
  And morned sore both nyght and daye.

2. Die uns gefangen hielten lang
  So hart an selben Orten
  Begehrten von uns ein Gesang
  Mit gar spöttlichen Worten
  Und suchten in der Traurigkeit
  Ein fröhlichn Gsang in unserm Leid
  Ach lieber tut uns singen
  Ein Lobgesang, ein Liedlein schon
  Von den Gedichten aus Zion,
  Das fröhlich tut erklingen.

  They that toke us so cruelly,
  And led us bounde into pryson,
  Requyred of us some melody.
  With wordes full of derision.
  When we had hanged oure harpes alwaye,
  This cruell folke to us coulde saye:
  Now let us heare some mery songe,
  Synge us a songe of some swete toyne,
  As ye were wont to synge at Sion,
  Where ye have lerned to synge so longe.

3. Wie sollen wir in solchem Zwang
  Und Elend, jetzt vorhanden,
  Dem Herren singen ein Gesang
  Sogar in fremden Landen?
  Jerusalem, vergiss ich dein,
  So wolle Gott, der G'rechte, mein
  Vergessen in meim Leben,
  Wenn ich nicht dein bleib eingedenk
  Mein Zunge sich oben ane häng
  Und bleib am Rachen kleben.

  To whome we answered soberly:
  Beholde now are we in youre honde:
  How shulde we under captivite
  Synge to the Lorde in a straunge londe?
  Hierusalem, I say to the,
  Yf I remember the not truly,
  My honde playe on the harpe no more:
  Yf I thynke not on the alwaye,
  Let my tonge cleve to my mouth for aye,
  And let me loose my speache therfore.

4. Ja, wenn ich nicht mit ganzem Fleiss,
  Jerusalem, dich ehre,
  Im Anfang meiner Freude Preis
  Von jetzt und immermehre,
  Gedenk der Kinder Edom sehr,
  Am Tag Jerusalem, o Herr,
  Die in der Bosheit sprechen:
  Reiss ab, reiss ab zu aller Stund,
  Vertilg sie gar bis auf den Grund,
  Den Boden wolln wir brechen!

  Yee, above all myrth and pastaunce,
  Hierusalem, I preferre the.
  Lorde, call to thy remembraunce
  The sonnes of Edom ryght strately,
  In the daye of the destruction,
  Which at Hierusalem was done;
  For they sayd in theyr cruelnes,
  Downe with it, downe with it, destroye it all;
  Downe with it soone, that it may fall,
  Laye it to the grounde all that there is.

5. Die schnöde Tochter Babylon,
  Zerbrochen und zerstöret,
  Wohl dem, der wird dir gebn den Lohn
  Und dir, das wiederkehret,
  Dein Übermut und Schalkheit gross,
  Und misst dir auch mit solchem Mass,
  Wie du uns hast gemessen;
  Wohl dem, der deine Kinder klein
  Erfasst und schlägt sie an ein Stein,
  Damit dein wird vergessen![24]

  O thou cite of Babilon,
  Thou thy selfe shalt be destroyed.
  Truly blessed shall be that man
  Which, even as thou hast deserved,
  Shall rewarde the with soch kyndnesse
  As thou hast shewed to us gyltlesse,
  Which never had offended the.
  Blessed shall he be that for the nones
  Shall throwe thy chyldren agaynst the stones,
  To brynge the out of memorie.

Hymn tune

Below is the 1525 hymn tune by Wolfgang Dachstein.

{ \key f \major \set Score.tempoHideNote = ##t \tempo 2=72 \set Staff.midiInstrument = "english horn" \override Score.TimeSignature #'transparent = ##t \override Score.BarNumber #'transparent = ##t \time 6/2 c''2 d''4 c'' a'2 c'' bes'4 bes' a'2 g'2 a'4 bes' c''2 bes'4 a' g'2 f' c''2 d''4 c'' a'2 c'' bes'4 bes' a'2 g'2 a'4 bes' c''2 bes'4 a' g'2 f' f'2 g'4 a' bes'2 g' a'4 g' f'2 f'2 a'4 bes' c''2 d'' a'4 bes' c''2 \time 5/2 a'2 c''4 d'' c'' a' bes'2 a' \time 7/2 d''2 d''4 d'' g'2 c'' bes'4( g') a'2 g' bes'2 a'4 g' f'2 g' e'4 (f') d'2 c' \time 8/2 c'2 f'4 g' a' bes' c''2(a'4 bes' g'2) f'1 \bar "|."}

Musical settings

Vocal settings

Georg Rhau, the Thomaskantor: woodcut by Lucas Cranach the Elder c. 1542
Johann Hermann Schein, 1620, Leipzig

There are several vocal works based on the hymn "An Wasserflüssen Babylon". In 1544 Georg Rhau composed two settings for several parts for his collection Neue Deutsche Geistliche Gesänge für die gemeinen Schulen.[25] Lupus Hellinck also set a 4-part setting in 1544, as part of his Newe deudsche geistliche Gesenge.[26] Benedictus Ducis wrote several settings in 3 and 4 parts of the hymn between 1541–1544.[27] Sigmund Hemmel used the text in the 1550s in his four-part setting, with the cantus firmus in the tenor: Der gantz Psalter Davids, wie derselbig in teutsche Gesang verfasse was printed in 1569.[28]

A native of Nuremberg, Hans Leo Hassler was taught by Andrea Gabrieli in Venice, where he excelled as a keyboard player and consorted with his younger uncle, Giovanni Gabrieli. Hassler's 4-part setting of "An Wasserflüssen Babylon" was composed in 1608.[29]

Johann Hermann Schein composed a setting of "An Wasserflüssen Babylon" for two sopranos and instrumental accompaniment, which he published in 1617.[30] His 1627 Cantional contained a four-part setting of the hymn, a setting which was republished by Vopelius's Neu Leipziger Gesangbuch (1682).[30][31][32][33] In 1628 Heinrich Schütz published a four-part harmonisation of "An Wasserflüssen Babylon", SWV 242, in the Psalmen Davids, hiebevorn in teutzsche Reimen gebracht, durch D. Cornelium Beckern, und an jetzo mit ein hundert und drey eigenen Melodeyen … gestellet, the Becker Psalter, Op. 5.[34][35] Samuel Scheidt, composed two settings of the hymn, SSWV 505 and 570, for soprano and organ in the Tabulatur-Buch hundert geistlicher Lieder und Psalmen of 1650.[36]

Franz Tunder composed a setting of the hymn for soprano, strings and continuo. Organist at the Marienkirche in Lübeck from 1646–1668, Tunder initiated his Abendmusik there. Buxtehude later married Tunder's daughter and succeeded him as organist at Lübeck.[37]

Bach also composed a number of four-part chorale harmonisations around 1735, including one setting of "An Wasserflüssen Babylon", BWV 276. The main copyist was Johann Ludwig Dietel, one of Bach's pupils from the Thomasschule zu Leipzig. Although considered to have been lost by Philipp Spitta, Dietel's manuscript (R.18)—containing one hundred and fifty chorales—was discovered recently in the Musikbibliothek der Stadt, Leipzig.[38][39][40]

Robin Leaver, the musicologist and theologian, has explained how to determine the key of a hymn tune from the text of an incipit: these apply to Bach's period and region. An example of Leaver's method is given from the 1736 Schemelli "Gesangbuch," taking "An Wasserflüssen Babylon" as the incipit: the key of G occurs 7 times and D once.[41][42]

The German composer of opera— Die lustigen Weiber von Windsor—and lieder, Otto Nicolai composed a 4-part setting of "An Wasserflüssen Babylon" in around 1832 as one of four songs in his op.17.[43]

Organ settings

Eisenach (1647), where Johann Christoph Bach became organist in 1665 and Johann Sebastian Bach was born in 1685
Engraving of "Eisenacher Gesangbuch", 1673
Musical Company, Johannes Voorhout, 1674: Reincken at the harpsichord with Buxtehude at the viol
The Predigerkirche in Erfurt

The hymn also inspired seventeenth and early eighteenth century organ compositions in Northern Germany. Organ chorale preludes and free works by Johann Christoph Bach[44] (Johann Sebastian's first cousin once removed), Johann Adam Reincken[45], Johann Pachelbel[46] and Johann Sebastian Bach[47] have been based on "An Wasserflüssen Babylon".

The 17th-century musical style of the stylus phantasticus covers the freely composed organ and harpsichord/clavichord works, including dance suites. They lie within two traditions: those from northern Germany, primarily for organ using the whole range of manual and pedal techniques, with passages of virtuoso exuberance; and those from central Germany, primarily for string keyboards, which have a more subdued style. Buxtehude and Reincken are important exponents of the northern school and Pachelbel those from the centre.[48][49][50][51]

Johann Christoph Bach was born in Arnstadt in 1642 and was appointed organist at St George's, the principal church of Eisenach, from 1665. The 4-part chorale prelude "An Wasserflüssen Babylon" has the same kind of expressive dissonances, with suspensions, as his Lamento "Ach, daß ich Wassers gnug hätte" for voice and strings.[52]

Born probably in 1643, Reincken was the natural successor to Scheidemann as organist at the St. Catherine's Church, Hamburg, with his musical interests extending beyond the church to the Hamburg Opera and the collegium musicum: as remarked by the 18th-century musician Johann Gottfried Walther, his famous, dazzling and audacious chorale fantasia "An Wasserflüssen Babylon" probably marked that succession; its vast dimension of 327 bars and 10 chorale lines, some broken into two, encompass a wide range of techniques, such as its "motet-like development, figuration of the chorale in the soprano, fore-imitation in diminished note values, introduction of counter-motifs, virtuoso passage work, double pedals, fragmentation, and echo effects."[53][50][54][55]

Pachelbel was born in Nuremberg in Bavaria and spent some of his early years as a musician in Vienna before being appointed as organist in the Predigerkirche, Erfurt in 1679–1690: part of his duties involved an annual concert in June lasting half an hour. Pachelbel's repertoire contained eight different types of chorale preludes, the last of which formed a "hybrid combination-form", one which he particularly favoured. The chorales on "An Wasserflüssen Babylon" were all of that type: a concise four-part fugue followed by a 3-part setting accompanying a slow cantus firmus in the soprano or bass; or a 4-part setting with the soprano in the cantus firmus.[56]

Johann Sebastian Bach set the chorale prelude "An Wasserflüssen Babylon" as the third chorale of the Great Eighteen Chorale Preludes, with two early settings from his period in Weimar (BWV 653a and BWV 653b) and a third reworking in Leipzig from 1740–1750, taken from the autograph manuscript of BWV 653.[57] The same melancholic sarabande-like music in the chorale prelude can be heard in Bach's closing movements of the monumental Passions: the increasing chromaticism and passing dissonances create a mood of pathos.[58] Bach's project for the Orgelbüchlein, dating from his period in Weimar, includes two blank manuscript pages for "An Wasserflüssen Babylon" (pages 116–117, Christian Life and Conduct) that were never set.[59]

Bach and Reincken

Reincken's organ chorale "An Wasserflüssen Babylon" in a tablature copy once owned by Bach

Stinson's describes a concert in 1720, when Bach extemporised for "almost half an hour" on An Wasserflüssen Babylon at the organ loft of St. Catherine's Church, Hamburg, with a well-known comment of Reincken, written 2 years before his death: "I thought that this art was dead, but I see that in you it still lives."[60][61]

Bach wrote three versions of the third chorale of the "Great Eighteen Chorale Preludes". The coda of the last version, dating from his last decade in Leipzig, shares some compositional features of Reincken's chorale prelude: the ornamental descending flourish at the end of Reincken's coda

can be compared with Bach's closing coda of BWV 653 with scales in contrary motion in the lower manual and pedal.

As Stinson writes, "It is hard not to believe that this correspondence represents an act of homage." [62] Despite being composed in Leipzig within the traditions of Thuringia, however, Bach's contemplative "mesmerising" mood is far removed from his earlier improvisatory compositions in Hamburg and Reincken's chorale fantasia: the later chorale prelude is understated, with its cantus firmus subtly embellished.[63][64]

Reincken's extended chorale fantasia elaborates the hymn tune with a broad variety of techniques.[65] The young Johann Sebastian Bach owned a copy of this work when he studied with Georg Böhm in 1700. Bach's copy, in organ tablature, was rediscovered in 2005 at the Herzogin Anna Amalia Bibliothek in Weimar by Michael Maul and Peter Wollny. These scholars believe the tablature to be in Bach's hand, which is however doubted by Kirsten Beißwenger. If it is, it would be one of Bach's oldest extant manuscripts.[66][67][68][69][70][71][72]

Further reading

  • Eduard Emil Koch: Geschichte des Kirchenlieds und Kirchengesangs der christlichen, insbesondere der deutschen evangelischen Kirche. Vol. 8: Zweiter Haupttheil: Die Lieder und Weisen. Stuttgart: Belser, 1876 (3rd edition), pp. 526–528. (in German)

Notes

  1. 1 2 3 4 5 Leahy 2011, pp. 37–38, 53
  2. ↑ Terry 1921, pp. 101–103
  3. 1 2 Julian 1907
  4. ↑ Stinson 2001, p. 78
  5. 1 2 3 4 Zahn 1891
  6. ↑ Zahn 1893, p. 7
  7. ↑ Trocmé-Latter 2015, pp. 255–265
  8. ↑ Weber 2001, pp. 70–71
  9. ↑ Brusniak 2001, pp. 121–122
  10. ↑ Fornaçon, Siegfried 1957, p. 465
  11. ↑ Müller, Hans-Christian 1966, pp. 41–42
  12. ↑ Trocmé-Latter 2015, pp. 28–32, 90–96, 201
  13. ↑ See:
  14. ↑ Trocmé-Latter 2015, pp. 233–234
  15. ↑ Hopf 1946, pp. 1–16
  16. ↑ Krummacher 2001, pp. 194–195
  17. 1 2 Werner 2016, p. 205
  18. ↑ Axmacher & Fischer 2002
  19. ↑ "Ein Lämmlein geht und trägt die Schuld" (in German). Württembergische Landeskirche. Retrieved 24 February 2018.
  20. ↑ Coverdale 1846, pp. 571–572
  21. 1 2 Terry, Charles Sanford. "Bach's Chorals. Part III: The Hymns and Hymn Melodies of the Organ Works". oll.libertyfund.org. Retrieved 24 February 2018.
  22. ↑ Trocmé-Latter 2015, pp. 237–239
  23. ↑ Coverdale 1846, pp. 571–572
  24. ↑ Modernised orthography, while the original wording is found in Philipp Wackernagel: Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des 17. Jahrhunderts. Vol. III. Teubner, 1870, No. 135 (p. 98)
  25. ↑ Mattfield, Victor H. "Rhau, Georg". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 8 April 2018. (subscription required)
  26. ↑ Blackburn, Bonnie J.. "Hellinck, Lupus". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  27. ↑ Thomayer, Klaus. "Ducis, Benedictus". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  28. ↑ Brennecke, Wilfried. "Hemmel, Sigmund". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  29. ↑ Blankenberg, Walter; Panetta, Vincent J. "Hassler, Hans Leos". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  30. 1 2 Snyder, Kerala J.; Johnston, Gregory J. "Schein, Johann Hermann". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  31. ↑ Young, Percy M. "Vopelius, Gottfried". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  32. ↑ Johann Hermann Schein (1627). Cantional, Oder Gesangbuch Augspurgischer Confession. Leipzig: Schein, pp. 325–327
  33. ↑ Gottfried Vopelius (1682). Neu Leipziger Gesangbuch. Leipzig: Christoph Klinger, pp.706–709
  34. ↑ Rifkin, Joshua; Linfield, Eva; McCulloch, Derek; Baron, Stephen. "Schütz, Heinrich". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 12 March 2018. (subscription required)
  35. ↑ Schütz 2013
  36. ↑ Snyder, Kerala J.; Bush, Douglas. "Ducis, Benedictus". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  37. ↑ Snyder, Kerala J. "Tunder, Franz". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  38. ↑ See:
  39. ↑ See:
  40. ↑ For the chronology of Bach's vocal works, see also:
  41. ↑ Leaver 2014, pp. 15–33
  42. ↑ Leaver 2017, p. 371
  43. ↑ Konrad, Ulrich. "Nicolai, Otto". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 10 April 2018. (subscription required)
  44. ↑ Rose 2017, pp. 228–229
  45. ↑ Beißwenger 2017, pp. 243–244
  46. ↑ Beißwenger 2017, p. 242
  47. ↑ Williams 2003, pp. 347–351
  48. ↑ Schulenberg 2003, p. 2003
  49. ↑ Schulenberg 2006, pp. 34–36
  50. 1 2 Collins 2005, p. 119
  51. ↑ Krummacher 1986, pp. 157–171
  52. ↑ Rose 2017, pp. 203, 224–226
  53. ↑ Apel 1972, pp. 605–606
  54. ↑
    • Grapenthin, Ulf. "Reincken, Johann Adam". In Deane L. Root. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 2 April 2018. (subscription required)
  55. ↑ See also:
  56. ↑ Butt 2004, pp. 199–200
  57. ↑ Williams 2003, pp. 347–351
  58. ↑ Stinson 2001, pp. 78–80
  59. ↑ Stinson 1999, pp. 2–9
  60. ↑ Bach 1998, p. 302
  61. ↑ Stinson 2001, pp. 78–80
  62. ↑ Stinson 2001, pp. 78–80
  63. ↑ Geck 2006, pp. 507–509
  64. ↑ Williams 2003, pp. 348–349
  65. ↑ Shannon 2012, p. 207.
  66. ↑ Adler, Margit (31 August 2006). "Earliest Music Manuscripts by Johann Sebastian Bach Discovered". www.klassik-stiftung.de. Klassik Stiftung Weimar.
  67. ↑ Bach 2006
  68. ↑ Stinson 2012
  69. ↑ Williams 2016
  70. ↑ Yearsley 2009
  71. ↑ Beißwenger 2017
  72. ↑ Rose 2017, pp. 226–227

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