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Dietel manuscript

The Dietel manuscript, D-LEb Peters [de] Ms. R 18, also known as the Dietel Collection and, in German, Choralsammlung Dietel, is the oldest extant manuscript with a large collection of four-part chorales by Johann Sebastian Bach. It contains 149 of Bach's chorale harmonisations (not 150 as is written on its title page) and originated around 1735. The music in the manuscript was copied by Johann Ludwig Dietel [scores], one of Bach's pupils from the Thomasschule.[1][2][3][4]

Context

In 1727, at age 13, Johann Ludwig Dietel became a pupil of the St Thomas School in Leipzig.[5] His oldest extant work as copyist of Johann Sebastian Bach's music dates from two years later (performance parts of BWV 120.2 and 174).[6][7][8] By then, mid 1729, Bach had just begun his seventh year as cantor at St Thomas, and had already composed hundreds of church cantatas, the St John and St Matthew Passions, and several motets: all of these are sacred compositions mostly containing one or more four-part harmonisations of Lutheran chorale melodies, setting the text of usually one, and sometimes two, stanzas of a Lutheran hymn, to be sung by a SATB choir.[9][10][11][12] Apart from these four-part chorales which are movements in larger-scale compositions, Bach also wrote such SATB settings of hymn tunes down in, for instance, the Notebook for Anna Magdalena Bach (begun 1725), and the Three Wedding Chorales manuscript (1730s).[13][14] In Bach's autographs, four-part chorale harmonisations are characteristically written down with a colla parte instrumentation and figured bass accompaniment, sometimes also with interludes connecting the phrases of the hymn or independent instrumental figuration, and more exceptionally, for instance the setting of "Dir, dir, Jehova, will ich singen", BWV 299, a chorale in Anna Magdalena's notebook as a piece exclusively for four singing voices.[13][14]

In the autumn of 1729 Dietel worked on the performance parts of BWV 201, one of Bach's secular cantatas.[15][16] His work on the performance material of Johann Bernhard Bach's overtures in D major (BNB I/B/4) and G major (BNB I/B/6) is from slightly later.[15][17][18] In August 1730 Johann Sebastian ranged Dietel among those singers of the school who were fit to perform the solo parts of his church music.[19][20] On New Year's Day 1731, or, less likely, a year earlier, Carl Gotthelf Gerlach performed Gehet zu seinen Toren ein mit Danken, FWV D:G1 (=FR 9/2), a church cantata for New Year by Johann Friedrich Fasch.[21][22][23] Dietel had copied the score for this performance.[24][23][25] Both Dietel and Gerlach, who was nearly a decade older, were born in Calbitz [de]: this, and the fact that they were distant relatives, may explain how they became close in Leipzig.[5][26][27] Gerlach had become a student of the St Thomas school in 1716, which he still was when Bach moved into the school buildings as cantor in 1723.[26][28] From 1727 Gerlach studied at Leipzig University.[26] In 1729 Georg Balthasar Schott [de], who until then had been the music director of Leipzig University's church, that is the New Church (German: Neukirche), and of the Collegium Musicum founded by Telemann, left for a position in Gotha: Bach, who as music director of Leipzig's principal churches had some say on the matter, manoeuvred his former pupil Gerlach in the position of music director and organist at the Neukirche, while he assumed himself the leadership of the Collegium Musicum.[26][29]

In 1731 Dietel helped copy out the performance parts of two further church cantatas by Johann Sebastian Bach (BWV 112 and 29).[30][31][32] Late 1731 or early 1732 Dietel copied the score of Bach's early church cantata BWV 196, followed, before 25 March 1732, by a copy of the score of the Gottes und Marien Kind cantata attributed to Fasch (FWV D:G3, FR 1400).[33][34][35][36] From 1733 to 1734 Dietel copied performance material for three more secular cantatas by Bach (BWV 213, 214 and 215).[30][37][38][39] Further manuscript copies by Dietel from around 1734:[40]

In 1734, or possibly 1735, Dietel copied the organ part of BWV 100, a chorale cantata by Bach.[45][46] Bach presented his Christmas Oratorio, BWV 248, for the first time as a set of six cantatas, each of these performed on one of the six Feast Days and Sundays from 25 December 1734 to 6 January 1735.[47] For two of these cantatas, those for New Year's Day (No. IV) and Epiphany (No. VI), Dietel was the main copyist of the performance material.[30][48][49] On 30 January 1735 Bach premiered his cantata BWV 14.[1][50] Likely some time after that, the closing chorale of BWV 14 being its most recent datable entry, Dietel started the manuscript named after him, which contains 149 four-part chorales copied from manuscripts with compositions by Bach.[1][19] By that time Dietel belonged to the inner circle of Bach's pupils who had broad access to the composer's musical library.[51]

Who asked Dietel to produce the chorale collection, and also, for what purpose it was penned, are questions for which the answer can not be ascertained. It would have been highly unlikely that Dietel took the initiative for the collection: copying music was generally not done without remuneration. The manuscript contained many errors and inaccuracies, none of which were corrected by Bach, something the composer would normally have done if he had commissioned this copy of his music. On the other hand, Dietel had produced many manuscripts for Gerlach, for instance the Fasch cantatas for performance at the Neukirche, and would continue to collaborate with him, for instance also in 1735 (or later) on performance material for Bach's Sanctus BWV 238. In 1736 Dietel started his studies at Leipzig University, and like that earlier main copyist of Bach's music, Johann Andreas Kuhnau [scores], had done a decade earlier, he continued to work for the music director of the Neukirche while discontinuing to work for Bach, after the switch from St Thomas school to University.[52][53]

Content

Dietel's manuscript, R 18, contains 149 SATB settings, without instrumental accompaniment or interludes, of chorale tunes.[1][54] Two settings, Nos. 119 and 134, are identical,[55][56] thus the collection contains 148 unique settings.[57] A few settings are related, but not identical:

All settings are by Bach and/or feature in larger-scale compositions by Bach.[62] Two settings are strictly speaking not by Bach:[63]

In general, Bach based his harmonisations on pre-existing hymn tunes. There are, however, some hymn tunes (or versions thereof) for which there appear to be no earlier extant sources than Bach's compositions. In the Dietel manuscript:

A couple of settings in the Dietel manuscript are SATB versions of voice and continuo settings found in Schemellis Gesangbuch (1736):[73]

Also the R 18 No. 148 version of "Liebster Gott, wenn werd ich sterben" appears to be related to the Schemelli variant BWV 483.[61] R 18 No. 48 shares its soprano (S) and bass (B) lines with BWV 512 from Schemellis Gesangbuch.[70]

Around two thirds of the settings in the Dietel manuscript can also be found in Bach's extant cantatas, motets, Passions and oratorios.[65] Many of the chorale settings for which R 18 is the earliest extant source may derive from lost larger works, such as the St Mark Passion, BWV 247, of 1731, and several cantatas of the Picander cycle of 1728–29.[75] However, not all four-part chorales of the Dietel collection originated in such larger works (e.g., BWV 299).[65] Also, Bach re-used some chorale settings in several works (e.g., BWV 75/7 = BWV 100/6) so that it can't always exactly be determined from which original Dietel copied in his collection.[56]

All chorales have a number (however with collation errors),[57] and, except for No. 145, a title referring to a text of a Lutheran hymn, but are otherwise untexted.[62] The titles in R 18 do not always refer to the hymns from which stanzas are extracted in musically corresponding movements of larger works.[62] There is no over-all organisational principle for the collation, but some ranges appear to have some logic: for example, the range from Nos. 67 to 96 follows through the liturgical year, more or less consequentially, from the fourth Sunday after Trinity to the first Sunday of Advent.[56]

Reception

When Gerlach died in Leipzig in 1761 he apparently had no heirs living in the town: a large part of his music collection, for instance the copies of the Porpora cantatas, came in the possession of the music publishers Bernhard Christoph and Johann Gottlob Immanuel Breitkopf.[26][45] The earliest trace of the Dietel manuscript dates from 1764, when the Breitkopf publishing firm offered (manuscript) copies of the chorale collection for sale.[1][80] The earliest prints of Bach's four-part chorale collections, two volumes published by Birnstiel in 1765 and 1769 respectively, drew from other manuscripts than the Dietel Collection.[81][82] Bach's son Carl Philipp Emanuel (C. P. E.), who had collaborated on Birnstiel's 1765 volume, fell out with the publisher and left further plans for a complete edition of his father's four-part chorales to Johann Kirnberger, who negotiated with the Breitkopf firm on the subject.[82][83] In 1777 Kirnberger wrote to Breitkopf:[57]

The "150 Stück" (150 pieces) mentioned by Kirnberger refer to the Dietel manuscript.[57] Kirnberger was also the librarian of the Amalienbibliothek, the library of his employer Princess Anna Amalia of Prussia.[84] The library contained these manuscripts:

When Kirnberger died in 1783, no new edition of Bach's four-part chorales had materialised.[89] Shortly thereafter, in 1784 and 1785, Breitkopf published the first two volumes of their new edition of these chorales, edited by C. P. E. Bach.[90] These volumes reflected, to a large extent, the two Birnstiel volumes, that is, none of the chorales contained in them were extracted from the Dietel manuscript: the chorales from that manuscript, or rather, from the Am.B 46/II, Fascicle 3, selection, were only included in the third (1786) and concluding fourth (1787) volumes of Breitkopf's edition.[81] Within two decades after the publication, Breitkopf disposed of the Dietel manuscript, Otto Carl Friedrich von Voß [de] becoming its new owner.[1][80] A later owner of the manuscript was Ernst Rudorff, and from 1917 it resided in the Music Library Peters [de] in Leipzig, where it got the shelf mark R 18.[1][80] Eventually the collection of the Peters library was adopted in the Leipzig City Library [de], from where the R 18 manuscript was transmitted, as a permanent loan, to the Bach Archive in 2014.[1]

The Dietel manuscript only started to attract stronger attention from scholarship in the second half of the 20th century.[27][91] In 1991 the New Bach Edition published the entire manuscript, edited by Frieder Rempp [scores]: the edition included several chorales from the manuscript which had not been given a BWV number in the 1950 first edition of the Bach-Werke-Verzeichnis.[77][92] Four chorales from the Dietel manuscript were given a BWV number in the 1122–1125 range in the 1998 edition of the Bach-Werke-Verzeichnis.[93]

References

  1. ^ a b c d e f g h Ebata 2020.
  2. ^ § Dietel (A1) in Quick key to the early chorale collections at www.bach-chorales.com
  3. ^ Melamed & Marissen 1998, p. 125.
  4. ^ Schulze 1983, pp. 84ff.
  5. ^ a b "Dietel, Johann Ludwig". Bach Digital. Leipzig: Bach Archive; et al. 2019-10-28.
  6. ^ Glöckner 1982, pp. 62, 64, 66.
  7. ^ "D-B Mus.ms. Bach St 43". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-16.
  8. ^ Ebata 2019.
  9. ^ Shabalina 2009, p. 91.
  10. ^ "St. John passion (first version) BWV 245". Bach Digital. Leipzig: Bach Archive; et al. 2020-04-24.
  11. ^ "St Matthew Passion (early version) BWV 244.1". Bach Digital. Leipzig: Bach Archive; et al. 2020-04-23.
  12. ^ Melamed 1995, p. 102.
  13. ^ a b Waldersee 1894.
  14. ^ a b "D-B Mus.ms. Bach St 123". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-13.
  15. ^ a b Glöckner 1982, pp. 64, 66.
  16. ^ "D-B Mus.ms. Bach St 33a". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-16.
  17. ^ "D-B Mus.ms. Bach St 318". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-13.
  18. ^ "D-B Mus.ms. Bach St 319". Bach Digital. Leipzig: Bach Archive; et al. 2020-07-26.
  19. ^ a b Schulze 1983, p. 84.
  20. ^ Bach 1730.
  21. ^ Glöckner 1982, p. 64.
  22. ^ Gille 2019, "9/2: Gehet zu seinen Toren ein mit Danken (D:G 1)", pp. 21–22.
  23. ^ a b RISM 200022353
  24. ^ Gille 2019.
  25. ^ Glöckner 1982, pp. 57, 64.
  26. ^ a b c d e "Gerlach, Carl Gotthelf". Bach Digital. Leipzig: Bach Archive; et al. 2019-05-24.
  27. ^ a b Glöckner 1982, p. 60.
  28. ^ Richter 1907, p. 66.
  29. ^ Wolff 2001, pp. 252, 341.
  30. ^ a b c Glöckner 1982, p. 62.
  31. ^ "D-LEb Thomana 112, Fascicle 1 (Depositum im Bach-Archiv)". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-13.
  32. ^ "D-B Mus.ms. Bach St 106, Fascicle 1". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  33. ^ Glöckner 1982, pp. 57, 66–67.
  34. ^ "D-B Am.B 102-104, Fascicle 2 (formerly: D-B Am.B 103)". Bach Digital. Leipzig: Bach Archive; et al. 2020-06-17.
  35. ^ Gille 2019, "1400: Gottes und Marien Kind (D:G3)", pp. 296–297.
  36. ^ RISM 200022355
  37. ^ "D-B Mus.ms. Bach St 65". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  38. ^ "D-B Mus.ms. Bach St 91". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  39. ^ "D-B Mus.ms. Bach St 77". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  40. ^ Glöckner 1982, pp. 57, 60, 67–68.
  41. ^ "B-Br Ms II 3893 Mus (Fétis 1879)". Bach Digital. Leipzig: Bach Archive; et al. 2019-06-11.
  42. ^ Gille 2019, "1401: Welt und Teufel, tobt ihr noch (D:W2)", pp. 297–298.
  43. ^ RISM 200022364
  44. ^ RISM 225004110
  45. ^ a b Glöckner 1982, p. 68.
  46. ^ "D-B Mus.ms. Bach St 97". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  47. ^ "Christmas oratorio BWV 248". Bach Digital. Leipzig: Bach Archive; et al. 2019-11-25.
  48. ^ "D-B Mus.ms. Bach St 112 IV, Fascicle 1". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  49. ^ "D-B Mus.ms. Bach St 112 VI, Fascicle 1". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  50. ^ "Wär Gott nicht mit uns diese Zeit BWV 14". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  51. ^ Glöckner 1982, pp. 59–60.
  52. ^ Schulze 1983, p. [page needed].
  53. ^ Glöckner 1982, p. [page needed].
  54. ^ Schulze 1983, pp. 84–85.
  55. ^ "Ermuntre dich, mein schwacher Geist BWV 248/12 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2018-07-15.
  56. ^ a b c Schulze 1983, p. 90.
  57. ^ a b c d e Schulze 1983, p. 87.
  58. ^ "Sei Lob und Ehr dem höchsten Gut BWV 117/4 (Variante) ChS". Bach Digital. Leipzig: Bach Archive; et al. 2019-01-10.
  59. ^ "Sei Lob und Ehr dem höchsten Gut BWV 117/4 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2019-05-24.
  60. ^ "Liebster Gott, wenn werd ich sterben BWV 8/6 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2019-05-22.
  61. ^ a b "Liebster Gott, wenn werd ich sterben BWV deest (NBA Serie III:2)". Bach Digital. Leipzig: Bach Archive; et al. 2018-07-15.
  62. ^ a b c Schulze 1983, p. 85.
  63. ^ a b c Dürr & Kobayashi 1998, p. 468.
  64. ^ Platen 1976, p. 51.
  65. ^ a b c Schulze 1983, p. 89.
  66. ^ Platen 1976, pp. 50–52.
  67. ^ a b "Dir, dir, Jehova, will ich singen BWV 299 [2]". Bach Digital. Leipzig: Bach Archive; et al. 2019-06-23.
  68. ^ "Ich bin ja, Herr, in deiner Macht BWV 345". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  69. ^ BWV 1122 at www.bach-chorales.com
  70. ^ a b "Gib dich zufrieden und sei stille BWV 315". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  71. ^ "Warum sollt ich mich denn grämen BWV 422". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  72. ^ "Warum sollt ich mich denn grämen BWV 248/33 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2018-07-15.
  73. ^ Four–part Realizations of Two–Part Schemelli Chorales at www.bach-chorales.com
  74. ^ "Auf, auf, mein Herz, mit Freuden (sacred song) BWV 441". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  75. ^ Speculations Regarding the Original Liturgical Occasions of the Individual BWV 253–438 Chorales at www.bach-chorales.com
  76. ^ Smend 1966, pp. 30–40.
  77. ^ a b Rempp 1991.
  78. ^ Schulze 1983, pp. 94–100.
  79. ^ Die Melodien der deutschen evangelischen Kirchenlieder, aus den Quellen geschöpft und mitgeteilt von Johannes Zahn (6 volumes), Verlag Bertelsmann, Gütersloh (1889–93). [further edited by the Gesellschaft zur wissenschaftlichen Edition des deutschen Kirchenlieds. Hildesheim, New York: Georg Olms Verlagsbuchhandlung, 1998. 6 volumes. ISBN 3-487-09319-7]
  80. ^ a b c Schulze 1983, p. 86.
  81. ^ a b Schulze 1983, pp. 88–89.
  82. ^ a b Wachowski 1983, pp. 54–55.
  83. ^ Schulze 1983, pp. 81–82, 87.
  84. ^ Schulze 1983, pp. 87–88.
  85. ^ a b "D-B Am.B 46/II, Fascicle 3". Bach Digital. Leipzig: Bach Archive; et al. 2019-11-25.
  86. ^ a b Schulze 1983, p. 88.
  87. ^ a b Schulze 1983, pp. 86–88.
  88. ^ "D-B Am.B 48". Bach Digital. Leipzig: Bach Archive; et al. 2020-06-17.
  89. ^ Schulze 1983, p. 81.
  90. ^ Wachowski 1983, pp. 56–58.
  91. ^ Smend 1966, pp. 17ff.
  92. ^ Neue Bach-Ausgabe: Band 2/1. Choräle und geistliche Lieder, Teil 1: Repertoires der zeit vor 1750 (1991): Scores at the International Music Score Library Project
  93. ^ Dürr & Kobayashi 1998, p. 303.

Sources

External links