MUSICAL-RHETORICAL FIGURES IN THE ORGELBUCHLEIN OF J. S. BACH by Vincent P. Benitez Tallahassee, Florida INTRODUCTION ‘Treatises on the art of musical composition (musica poetica), which were primarily written by Lutheran cantors, appeared in the sixteenth and seventeenth centuries. Musica poetica, a term first appearing in Nicolaus Listenius’s Rudimenta musicae planae (Wittenberg, 1533), emphasized the creativity of the composer with instructions not only in necessary fundamen- tals but in setting a text to music! Works dealing with musica poetica bor- rowed from rhetorical terms of speech in order to define compositional pro- cesses and structures. George Buelow notes that “‘such a viewpoint remain- ed valid well into the eighteenth century.”? If a musical composition was analogous to rhetoric in its power of persuasion, then it was a teachable skill. “Music was an art which, like thetoric, relied on rules and formulas to be studied, digested, and applied.” An examination of the work of Johann Mattheson (Der vollkommene Capelimeister, 1739)* reveals the following procedures: () Inventio—the invention of the musical idea (2) Dispositio—ordering of the parts of a composition according to the rhetorical parts of a speech ‘The musical dispositio has six parts: (a) Exordium—preface or introduction (b) Narratio—statement of the facts (©) Propositio—thesis of the musical speech (@) Confirmatio—confirmation of the thesis (©) Confutatio— refutation or rebuttal, ‘‘a dissolution of the excep- tions,"S antithesis () Peroratio—conclusion (3) Decoratio—the elaboration of the musical ideat (4) Pronuntiatio or Elocutio—delivery of the musical speech Musical-rhetorical figures were related to rules for preaching (linked to rhetoric and obligatory for a minister's sermon).7 Luther believed that ‘a composition should be a predicatio sonora (a musical sermon).”® Cantors, considered musical-rhetorical figures as important elements in the musical settings of the texts and as the best means of attaining Luther's goal. Thus, by reinforcing the meaning of the text with musical-rhetorical figures, com- posers could function as the preachers of musical sermons. Many German writers who transferred rhetorical terms to musical figures also invented a number of new independent musical figures without rhetorical counterparts. On the other hand, there were many rhetoricalfigures which were not transferable to music. While some figures shared ‘common names in both rhetorical and musical use, their functions were dif- ferent.® Nevertheless, despite conflicts in terminology, the use of musical- rhetorical figures played an important role in Lutheran music and influ- enced the thought of its composers: First presented in an organized manner by Joachim Burmeister in his Musica poetica, Rostock, 1606, musical-rhetorical figures in- fluenced the art of composition in Lutheran Germany through the time of Bach,in whose music, along with that of Schiitz, the use of figures is especially prominent. These figures were not an in- novation of the Lutheran cantors, for Brandes has traced some of them as far back as the music of Dufay, but apparently no other ‘school of composition assigned them such an important role in the art of composition as did Lutheran Germany!? ‘The present study investigates the use of musical-rhetorical figures and their possible applications towards the Affections in selected chorale set- tings (BWV 606, 614, 615, 625, 637, 644) of the Orgelbiichiein of J. 8. Bach, which was according to Albert Schweitzer, “‘the lexicon of Bach’s musical speech.”"' Although the importance of musical rhetoric in Baroque music is regarded highly today in some musical circles}? it is viewed with suspi- cion in others This study does not purport to be a “blueprint” for ab- solute truth but seeks a better understanding of the art of J. S. Bach, as seen through Baroque rhetorical concepts. BACH AND RHETORIC—BACKGROUND J. 8. Bach's connection with rhetoric began as a student at the lyceum in Ohrdruf. The curriculum there consisted of studies in Latin, New ‘Testament Greek, and Theology with some work in rhetoric and arithmetic. Cicero and Cornelius Nepos were among the Roman authors studied. Extensive exercises in Latin grammar were emphasized. Bach attended the Micbaelisschule in Liineburg after having left ‘Ohrdruf. The Michaelisschule probably used Heinrich Tolle’s Rhetorica Got- tingensis to instruct its students!5 The curriculum did not differ from that used in Ohrdruf, with Latin authors—Cicero, Curtius, Horace, Terence, and Virgil—studied more extensively When Bach left Lineburg, he had prob- ably completed two years in the Michaelisschule’s first class” During Bach's years at Miblhausen and Weimar, he might have been exposed to rhetorical treatises by Johann Georg Ahle, his predecessor at Miihlhausen, and Johann Gottfried Walther, his cousin and the author of both the Praecepta der musicalischen Composition and the Musikalisches Lexikon. Walther borrowed from the Ausfilbrlicher Bericht of Christoph Bernhard (1627-1692), a student of Heinrich Schitz and writer on musical- rhetorical figures in writing the sections that deal with musical rhetoric in his two treatises. Walther also utilizes Bernhard’s nine ‘superficial figures’— found in the newer, rhetorical style of composition according 4to Bernhard? In addition to borrowing from Bernhard, Walther quotes ‘Wolfgang Mylius (1636-1712; a student of Bernhard) and Thomas Balthasar Janowka’s Clavis ad thesaurum magnae artis musicae (1701; one of the early music dictionaries of the Baroque) in his Lexikon.” Besides being Bach's cousin, Walther was his exact contemporary (1684-1748), close friend, and musical colleague, especially during Bach's Weimar years (1708-17). It is possible that Bach knew the treatises of Bernhard and Janowka—Clark and Peterson speculate that the Clavis might have been available to both Walther and Bach in the music library of the Weimar court." Bach taught Latin as one of his duties at the St. Thomas School in Leip- zig. Philipp Spitta elaborates on his responsibilities: This consisted in giving five Latin lessons weekly to the third and fourth classes; in these the course included written exercises, grammar, the Colloquia Corderii [Leipzig, 1595], and an explanation of Luther's Latin Catechism.2 In addition to his official duties as Cantor, Bach had several private music pupils. Johann Nikolaus Forkel might be describing Bach's musical pedagogy when he writes; He considered music entirely as a language, and the composer as a poet, who, in whatever language he may write, must never be without sufficient expressions to represent his feelings. He considered his parts as if they were persons who conversed together like a select company. If there were three, each could sometimes be silent and listen to the others till it again had something to the pur- pose to say.%4 Bach might have been influenced further as regards to rhetoric by Johann Matthias Gesner, a rector during part of Bach's years in Leipzig (1730-34) who wrote a laudatory description of Bach in note to a Quintilian edition. Jobann Abraham Birnbaum, a Professor of Rhetoric at the University of Leip- zig, defended Bach (possibly in consultation with Bach himself) against Johann Scheibe's diatribes. Birnbaum’s defense reveals Bach as a master rhetorician: ‘The parts and advantages, which the elaboration of a musical piece has in common with rhetoric, he [Bach] knows so perfectly, that one doesn’t listen to him only with satisfying pleasure, when he directs his thorough discourses to the similarity and conformity of both; but one admires also the skillful application of the same, in his works. His understanding of poetry is as good, as one can expect from a great composer.26Bach referred to inventio (discovery of ideas) and elocutio (verbali- zation of ideas) in the title page of his two-part Inventiones (1723).27. Spit- ta details the relationship between the Inventiones and rhetoric as follows: Having formerly been a first-class scholar in St. Michael’s School, at Liineburg, he [Bach] had not so far forgotten the terminology of thetoric as not to know that collocatio (order) and elocutio (expres- sion) are indispensable to inventio (invention); and thus, immediately after his observations on good inventions, we find order or arrange- ment discussed, and a cantabile handling; otherwise, certain other sec- tions might have seemed more nearly connected with it. The ancient rules of rhetoric come in again in another place, when he teaches that in two-part pieces purity of execution is essential, but in three-part pieces correct and finished playing—not meaning, of course, that purity is less requisite in three parts, or correctness and finish in two. It is perfectly clear that these words stand for the emendatum (correct), perspicuum (pure—ie,, clean and neat) and ornatum (finished—ic., ‘winning or graceful) of the old rhetoricians, the three chief requisites of a good image or statement.28 Regarding performance (elocutio—expression, presentation), Bach emphasized adherence to the Affections (Affekten) of the text when he in- structed his pupils. Johann Gotthilf Ziegler (1746) comments on Bach as a teacher: ‘As concerns the playing of the chorales, I was instructed by my teacher, Capelimeister Bach, who is still living, not to play the songs merely offhand but according to the sense (Affect) of the words. C.PE. Bach wrote to Forkel in 1774 concerning his father's church works and the importance that the Affections had on them: As to the church works of the deceased [J. S. Bach], it may be men- tioned that he worked devoutly, governing himself by the context of the text, without any strange misplacing of the words, and without elaborating on individual words at the expense of the sense of the whole... .% J.J. Quantz, a colleague of C. P. E. Bach, adds further insight into eighteenth- century performance rationale: Musical execution may be compared with the delivery of an orator. The orator and the musician have, at bottom, the same aim in regard to both the preparation and the final execution of their produc- tions, namely to make themselves masters of the hearts of their listeners, to arouse or still their passions, and to transport them now to this sen- timent, now to that. Thus it is advantageous to both, if each has some knowledge of the duties of the other."Musical-rhetorical figures and the Affections were practical guides and suggestions for German Baroque composers, not sets of rigid formulae. Bach's superior technique and imagination are the obvious difference be- tween his use of rhetoric and that of lesser composers. CHORALE SETTINGS Vom Himmel hoch, da komm’ ich ber BWV 606 Published in 1535 and based on Luke 2:8-14, Vom Himmel boch, da komm’ ich ber was described as a children’s Christmas song in a Wittenberg songbook.*? Containing fifteen verses, it is in the form of a dialogue be- tween “an angel (stanzas 1-5) and the congregation (stanzas 6-15)."%9 A suspirans figure (a melodic pattern rebounding from a rest)% dom- inates the texture in the manuals, even invading the soprano chorale melody (sce Example 1). The figure itself is derived from the first four notes of the chorale melody and is presented in both its original and inverted permuta- tions. The distribution of this figure in the overall texture results in anaphora. Catabasis (downward motion)** is evident in the pedal line, especially in the first and last phrases; the manual figuration also descends in the last, phrase (see Example 2). ‘The syncopated pedal phrase of mm. 9-10 resembles the texture of Da Jesus an dem Kreuze stund BWV 621. Clark and Peterson note Anton Heiller's observation that the mixing of Christmas and Passion elements represents Christ coming into the world to suffer. They conclude that “‘Christ's Incarnation and Passion are inseparable, and [that] Bach tried to express this through musical means.”37 Perhaps Bach's use of syncopes (Suspensions) in the pedal line of mm. 9-10 demonstrates this Christmas/ Passion relationship. Das alte Jabr vergangen ist BWV 614 The text of Das alte Jabr vergangen ist is a prayer of thanksgiving and supplication addressed to Jesus for His protection in the old year and guidance in the new. The melody dates from 1588 and is attributed to Johann Steurlein (1547-1613). The five phrases of the melody were distributed in various ways to make a stanza of differing lines. The first and last lines of cach stanza must be repeated in order to fit the Orgelbiichlein melody. Das alte Jabr vergangen ist is one of the three ornamented preludes in the Orgelbtichlein. Aside from its coloratura interest, this choraledemonstrates a fascinating use of passus durtusculus (chromatic fourth). ‘This interval appears twenty times in the course of twelve measures, func- tioning as an imitative counter-subject to the ornamented melody. Measures 3-4 reveal the passus durtusculus in cannonic stretto (see Example 3) which results in anaphora, Brinkman notes the motivic derivation of the passus duriusculus as used by Bach in this piece: The ascending chromatic figure that is used in imitation throughout the prelude is derived by ornamentation of the first four notes of the third phrase. This relationship is made clear when the chromatic figure occurs in the cantus firmus in measure 5 [the begin- ning of the third phrase]. Does the chromaticism of Das alte Jabr vergangen ist express melancholy thoughts or grief at the passing of the year? Clark and Peterson aptly state that “the assumption that chromaticism automatically expresses grief may lead to a limited concept of Affekt."*? Das alte Jabr vergangen ist is a New Year's Day hymn according to the Erfurt Gesangbuche, 1611,49 and reflects an objective utilization of the chromatic fourth. ‘The ornamented melody exhibits a variety of musical figures“ which are artistically incorporated into the melismas: (1) groppo (a four-note figure whose initial note is decorated by its upper (second or fourth note) and lower (second or fourth note) auxiliaries), (2) messanza (a “mixed” four-note figure containing steps and leaps), (3) mezzo circolo (a figure which moves away from and back to its initial note), (4) suspirans, This incorporation is an example of variatio (sce Example 4): Variation, called passaggio by the Italians and coloratura in general, occurs when an interval is altered through several shorter notes, so that, instead of one long note, a number of shorter ones rush to the next note through all kinds of step progressions and skips. This figure is so fertile that it is impossible to exhibit all its examples.*5 ‘The last measure is a dramatic illustration of a rising figure which leaves the outline of the chorale melody. Commonly known as a “sighing motive,” it can be thought of as ‘'a cutting up of the line, a separation of notes;” an example of suspiratio whose “content is enhanced through written-out, accented suspensions. "46 In dir ist Freude BWV 615 The text of In dir ist Freude (J. Lindemann, 1598) became associated with a melody derived from a balletto L'innamorato by G. G. Gastoldi in the seventeenth century.*7 A two-verse Liebe zu Jesu hymn, In dir ist Freude ‘was incorporated into a Christmas and New Year's song collection.4® Resembling a chorale fantasia,** In dir ist Freude displays a unique com- positional procedure in the Orgelbticblein where the cantus firmus is fragmented and passed from one voice to another; it is the most ex- tended work in the collection. The prelude begins with an incipit of 8the chorale melody distributed between various parts. Stated fourteen times in the first twenty-nine measures (mm. 1-12 = mm. 18-29), this inci lustrates a use of polyptoton® (see Example 5). Bach skillfully incorporates short figures such as groppo and messanza as an integral part of much of the eighth-note manual figuration. Striking examples of anabasis (ascen- ding motion)*! are presented with manual figures ascending three octaves, reflecting the sense of joy and exalta the text (see Example 6). ‘The second phrase of the cantus firmus is treated like the first with entrances at measures 30-31 (soprano), 32-33 (tenor), and 34-35 (pedal), another use of polyptoton. Bach departs from the lenthy manual scales associated with the first twenty-nine measures and introduces a suspirans figure into the keyboard texture, producing anapbora (see Example 7). Bach's cantus-firmus tweatment changes after measure 40. The chorale melody appears primarily in the soprano although ornamented and imitated in other parts.52 An ornamented rendition of the sixth phrase is ‘treated in stretto beginning at measure 44 (anaphora). The ornamented sixth phrase overlaps the final statement of the seventh phrase in the soprano (m. 48). Christ lag in Todesbanden BWV 625 The text of this chorale is Luther’s paraphrase of the Easter sequence Victimae paschali laudes (verses 4 and 5)* and of an eleventh-century hymn, Christ ist erstanden.* \n fact, the Easter sequence also serves as the melodic source for both Christ lag in Todesbanden and Christ ist erstanden BWV 627. The mood of Christ lag in Todesbandeen is one of great joy: “Life gained the victory and devoured death."55 The pedal tine of measure 1 contains a descending figure which dominates the texture of this prelude (see Example 8). This “‘changing- note figure idiomatically related to alternate-toe pedaling’’® is an cx- ample of superjectio. Brinkman notes the derivation of the figui ‘The most important recurring contour in this prelude can be analyzed as an ornamented descending scale line . . . . This descending line is related to the contour of the last phrase—the setting of the word “‘hallelujah."57 The use of superjectio might reflect exclamations of triumph (“‘hallelu- jah”), The distribution of this figure throughout all voices is an example of anaphora (see Example 9). Use of suspensions (syncopes) and exclamative leaps (exclamatio),®* especially in the tenor (mm. 11-12), also contribute to a very vivid picture of the triumph over death. An interesting departure from the superjectio figure in the pedal occurs at measure 8 with the introduction of passus duriusculus and two resulting false relations (parrbesia).5Durch Adams Fall ist ganz verderbt BWV 637 ‘The text of Lazarus Spengler’s hymn (1524) expounds upon the “fall and redemption of the human race.”® Bighley notes its significance to the Lutheran church: As one of the carliest Lutheran hymns to present clearly and powerfully the basic idea of the Reformation, this chorale had much influence and symbolic importance. It enjoyed wide and general ac- ceptance and did much to bring an understanding and joyful accep- tance of the Lutheran faith. The doctrinal significance of this chorale must have had an impact on Bach, for this setting reveals an abundant utilization of musical-rhetorical figures. The first line of the chorale, ‘“Through Adam’s fall, the nature and essence of man is wholly corrupted,”®? is vividly suggested by a series of descending diminished sevenths in the pedal separated by rests (see Exam- ple 10). The diminished sevenths are examples of salt# duriusculi—harsh melodic leaps. Harsh leaps, if called for by the text, were a part of stylus modernus and suggested in seventeenth-century German theory books.® The rests separating the series of “falling” diminished sevenths illustrate tmeses, “‘serving in its gaps or rests to express the effect (Affekt) ‘suspiran- tis animae; ‘of a sighing of the spirit; in Athanasius Kircher’s words."®4 Bach uses many motives which, coupled with chromaticism, create a vigorous picture of the corruption of man; of special note are the occur- rences of parrbesia and figurae cortae (anapest thythm)®5 which vacillate between major and minor thirds (see Examples 11 and 12). ‘The constant diatonic chorale melody contrasts with the “falling” sevenths in the pedal, illustrating an example of antitheton (musical con- trast).®° The use of antitheton might express trust in Christ (diatonic melody) as stated in verses 4-5 and 7-8 of the text, contrasted with original sin (sevenths) as stated in verses 1-3. Another utilization of antitheton occurs in the last two measures, where Bach combines successive descending sevenths in the pedal with a rising figure in the manuals. Ach wie nichtig, ach wie fitichtig BWV 644 ‘The text of this hymn describes the frailty of temporal existence. ‘The thirteen verses of Michael Franck’s (1609-1667) hymn were published in 1652. Bighley notes some unique features: In the original presentation of this chorale, the words Nebel and Leben in lines 4 and 6 of stanza 1 were set in capital letters to emphasize the word play (Nebel is Leben spelled backwards). The first two lines of all the verse in the orignal were not the same, as they are in Schemelli 10but rather alternating, the first beginning “Ach wie fliichtig, ach wie nichtig,” the second “Ach wie nichtig, ach wie fliichtig,” the third “Ach wie flichtig, ach wie nichtig,” and so on. Johann Criiger’s Praxis Pietatis melica, 1661, appears to have been the first to make the first two lines of all verses identical.67 Ascending and descending scales permeate the manual texture (see Ex- ample 13). Illustrating fuga (literally “‘flight’”’),®8 the scales may relate to the “evanescence and constant change of fog, cloud and human life”*® described in the text. Scale patterns are also used in the opening chorus of Cantata 26 (Ach wie nichtig, ach wie fliichtig), perhaps as a sign of association.” The pedal motive consists of octave leaps, possibly derived from the repeated notes in the cantus firmus.” The pedal is enhanced by the thetorical use of tmeses (unexpected interruption in a musical texture), possibly relating to the nécbtig (emptiness) of the text (see Example 14).72 False relations (parrbesia) are particularly apparent in the last three measures (sce Example 15). CONCLUSION Aristotle stated that the province of rhetoric has “‘no particular limited class of subjects."78 The purpose of this study has been to demonstrate that the fusion of rhetorical concepts with Baroque musical compositional pro- cedures has direct bearing on the composition of J. S. Bach's Orgelbiichlein and a subsequent importance to modern performances of the collection. Analyses of the Orgelbtichlein’s musical-rhetorical figures can only serve as a foundational beginning to any organist. A musician should thoroughly probe all figures and their implications and not arbitrarily assign them prescribed meanings. ‘Whether one agrees with the influence of musical rhetoric on Bach's music, or not, one should not dismiss historical evidence. German Baroque theorists, although not highly noted for their compositional skills, were sub- jective observers of a common language which derived from a common cultural background. Their catalogs of devices were not recipes or cryptic messages but suggestions from which composers’ expressive craftsmanships evolved.” Slavish adherence to any historical information provides an ex- tremely limited basis for interpretation. What is needed in modern perform- ance is a creative and vital imagination coupled with a respect and observ- ance of historic principles. It is the intent of this writer that this study serve as a point of departure 1for a better understanding of Bach's music and its performance, as seen through Baroque rhetorical concepts. Perhaps Spitta’s words describe wholly the obligation of any writer on Bach's music: ‘We .. .have our duty too, each in his degree, to labour that the spirit of the great man may be more widely understood and loved.” 12END NOTES ‘Harold E. Samuel, The Cantata in Nuremberg during the Seventeenth Century (Ann Arbor: UMI Research Press, 1982), pp. 170-71 2George Buelow, SV., “Rhetoric and Music” in The New Grove's Dic- tionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Mac- millan, 1980), Timothy Edward Albrecht, ‘Musical Rhetoric in Selected Organ Works of Johann Sebastian Bach" (D.M.A. dissertation, Eastman School of the University of Rochester, 1978), p. 32 Johann Mattheson, Jobann Mattheson’s Der vollkommene Capellmeister—A Revised Translation with Critical Commentary (Hamburg: Christian Herold, 1739; trans. Ernest C. Harriss; Ann Ar- UMI Research Press, 1981), pp. 469-72. Sidem, p. 471. ®An orator relied on the formulae of the decoratio in order to empower the speech with passionate expression. These formulae were transferred to music leading to theories of musical-rhetorical figures, first. systematized in the Hypomnematum musicae (1599), Musica autoschediastike (1601), and Musica poetica (1606) of Joachim Burmeister (1564-1629) (Buclow, SV., “Rhetoric and Music,” Albrecht, p. 34). 7Giinther Stiller, Jobann Sebastian Bach and Liturgical Life in Leipzig (trans. from Jobann Sebastian Bach und das Leipziger gottesdienst- liche Leben seiner Zeit, Berlin: Evangelical Publishing Company, 1970, by Herbert J. A. Bouman, Daniel F. Poellot, Hilton C, Oswald; ed. Robin Leaver; St. Louis: Concordia Publishing House, 1984), p. 2: ®Samuel, p. 181. *Albrecht, p. 104 Samuel, p. 172. “Albert Schweitzer, J. S. Bach (French edition, 1905; English translation by Ernest Newman, 2 vols.; London: Breitkopf and Hartel, 1911; reprint ed., New York: Dover Publications, 1966), 1:284. '2George J. Buelow, ‘Music, Rhetoric and the Concept of the Affec- tions: A Selective Bibliography.” Notes 30 (Dec., 1973): 250-59. ‘Peter Williams, ‘Need Organists Pay Attention to Theorists of Rhetoric?,” The Diapason 73 (April 1982):3-4. 13,“Phillip Spitta, Johann Sebastian Bach: His Work and Influence on the Music of Germany, trans. Clara Bell and J. A. Fuller-Maitland, 3 vols. (London: Novello, 1884-85; reprint ed., New York: Dover Publications, 1951), 1:187. ‘SAlbrecht, p. 160. *6Spitta, 1:217. Idem, 1:218. ‘Johann Gottfried Walther, Praecepta der musicalischen Composition (Weimer: 1708; reprint ed., Leipzig: Breitkopf und Hartel, 1955);Mustkalisches Lexikon Leipzig: 1732; reprint ed.,Kassel: Barenreiter, 1953). 18Myron Rudolph Falck, “‘Seventeenth-Century Contrapuntal Theory in Germany,” 2 vols. (Ph.D. dissertation, Eastman School of the University of Rochester, 1964), 1:137; Walter Hilse, ‘“The Treatises of Christoph Bernhard,” translated by Walter Hilse in The Music Forum, vol. 3, ed. William J. Mitchell and Felix Salzer (New York: Columbia University Press, 1973), pp. 90-91. Z0Wolfgang Michael Mylius, Rudimenta musices, das ist: eine kurtze und grand-richtige Anweisung zur Singe-Kunst (Mihlhausen: 1685); see Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music (Princeton, NJ.: Princeton University Press, 1978), p. 108; Thomas Balthasar Janowka, Clavis ad thesaurum magnae artis musicae (Prague: 1701; reprint ed., Buren: Uitgeverij Frits Knuf, 1973). 21Robert Clark and John David Peterson, “The Orgelbiichlein: Musical Figures and Musical Expression,” The American Organist 19 (March 1985):80; Falck, 1:137. ‘22Spitta, 2:184-85. 23Johann Nicolaus Forkel, On Jobann Sebastian Bach's Life, Genius, and Works (1802), trans. A. C. F. Kollmann, quoted in Hans T. David and Arthur Mendel, The Bach Reader, 2nd ed. (New York: W. W. Norton, 1966), p. 318. 24Idem, p. 330. 25David and Mendel, pp. 22, 231; Ursula Kirkendale, “The Source for Bach's Musical Offering: The Institutio oratoria of Quintilian,” JAMS 33 (1980):132. Johann Adolph Scheibe, Critischer Musikus (Leipzig: Breitkopf, 1745; reprint ed., Hildesheim: Georg Olms Verlag, 1970),p. 997. 1427Albrecht, p. 162 spitta, 2:56. *David and Mendel, p. 237. 2fdem, p. 276. ‘S¥Johann Joachim Quantz, Versuch einer Anweisung die Fléte traversiere zu spielen, Berlin 1752; trans. and ed. by Edward R. Reilly as On Playing the Flute (New York: Free Press, 1966), chap. 11, para. 1, p. 119. 32Mark Steven Bighley, ““The Lutheran Chorales in the Organ Works of J. 8. Bach” (D.M.A. dissertation, Arizona State University, 1985), p. 221. “Ibid. ‘Walther, Lexikon, p. 244. ‘°SBelonging to an emphasis group (figures of melodic repetition), anaphora was one of the ways a composer stressed a musical idea (see Buelow, SY., “Rhetoric and Music.” %Catabasis is often related to concepts of humility, sadness, and de- jection Janowka, p. 56; Walther, Lexikon p. 148). 37]. 8, Bach, Orgelbiichlein, ed. Robert Clark and John David Peterson (St. Louis: Concordia Publishing House, 1984), p. 75. S*Buclow, SY., “Rhetoric and Music.” ‘Peter Williams, The Organ Music of J. S. Bach, 3 vols. (Cambridge: Cambridge University Press, 1980-84), 2:43. “9Hilse, pp. 103-4 ‘Alexander Russell Brinkman, “Johann Sebastian Bach's Orgelbiichlein: A Computer-Assisted Study of the Melodic Influence of the Cantus Firmus ‘on the Contrapuntal Voices” (Ph.D. dissertation, Eastman School of the University of Rochester, 1978), p. 355. 42). S. Bach, Orgelbiichlein, ed. Clark and Peterson, p. 62. “Bighley, p. 65. “*walther, Lexikon pp. 292, 401; J. S. Bach, Orgelbiicblein, ed. Clark and Peterson, p. 17. “Hilse, p. 96; see also Walther, Praecepta, pp. 51, 153-54; and Lexikon, p. 465. 15,‘*Albrecht, p. 125; see also Buelow, SV., “Rhetoric and Music.” ¢7Williams, 2:45. “9Bighlcy, p. 148. 49spitta regards this work as being influenced by “Bohm and the northern composers” (1:603). S0Buelow, SV., “Rhetoric and Music.” StJanowka, p. 56; Walther, Lexikon, p. 34. "Brinkman, p. 365. S3Williams, 2:66. S4James Moeser, ‘‘Symbolism in J. S. Bach's Orgelbiichlein, The American Organist” 48 (April 1965): 15; Bighley, p. 48. SSpighley, p. 50. 88}. $, Bach, Orgelbticblein, ed. Clark and Peterson, p. 17. S7prinkman, p. 430. ‘S8walther, Lexikon, p. 233. S®Albrecht, p. 115. Bighley, p. 75. S\Idem, p. 76. “Ibid. Samuel, p. 186. ‘Williams, 2:88. See also Athanasius Kircher, Musurgia Universalis (Rome: 1650; reprint ed., Hildesheim: Georg Olms Verlag, 1970), part 2, para. 8, p. 144 *5"Figura corta consists of three fast notes, one of which by itself is as long as the other ones" (Walther, Lexikon, p.244). *sWolfgan Budday, “‘Musikalische Figuren als satz-technische Frei- heiten in Bachs Orgelchoral ‘Durch Adams Fall ist ganz verderbt;" Bach- Jabrbuch 63 (1977):146. e7Bighley, p. 26. Samuel, pp. 182-83. 16®8Clark and Peterson, ‘*The Orgelbtichlein: Musical Figures and Musical Expression,” p. 81. 7ewilliams, 2:101. Brinkman notes that this cantus firmus “has the highest incidence (by per cent) of repeated notes in the Orgelbtichlein” (p. 568). 7, §, Bach, Orgelbiichlein, ed. Clark and Peterson, p. 132; sce also Albrecht, p. 124. TAristotle Treatise on Rbetoric, trans. Theodore Buckley (London: Henry G. Bohn, 1857), p. 11. ™Clark and Peterson, “The Orgelbiichlein: Musical Figures and ‘Musical Expression,” p. 80. *spitta, 2:278. 17MUSICAL EXAMPLES Ex. 1: J. S. Bach, Orgelbiichlein, BWV 606, mm. 1-2 Ex. 2: BWV 606, mm. 9-10 Ex. 3: BWV 614, mm. 3-4 a 1 jii-~iwm — — Ex. 4: BWV 614, mm. 1-2Ex. 5: BWV 615, mm. 1-3 Ex. 6: BWV 615, mm. 10-12 Ex. 7: BWV 615, mm. 31-33 Ex. 8: BWV 625, mm. 1-2Ex. 9: BWV 625, mm. 8-10 Ex. 10: BWV 637, mm. 1-2 Ex. 1: BWV 637 (parrhesia), mm. 10-12 x al Ex. 12: BWV 637 (figurae cortae), mm. 7-9 Ex. 13: BWV 644, mm. 1-3 20Ex. 14: BWV 644, mm. 6-8 =e SSS Ex. 15: BWV 644, mm. 8-10 o 21