The Double-Choir "Heilig" by C.P.E. Bach BR-CPEB F 77: An Unknown Pasticcio of 1785

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The Double-Choir “Heilig” by C.P.E. Bach BR-CPEB F 77:

An Unknown Pasticcio of 1785

Tatiana V. Shabalina

Abstract

The article focuses on the first study of the source found in the Foreign Books Department of the National Library of Russia. The printed booklet contains the original text of the work performed in the Dreyfaltigkeitskirche in Berlin in 1785 under Johann Christoph Kuhnau (1735-1805), a cantor and music director. It is revealed, that the libretto gives evidence of a hitherto unknown Pasticcio compiled from the famous “Heilig” for double choir by Carl Philipp Emanuel Bach (1714-1788) and his Aria “Wie prachtig wird dein Lob erschallen”, as well as some movements from the Oratorio “Das Weltgericht” and “Te Deum” by J. C. Kuhnau. Based on the research of the existing letters, manuscripts, and other sources along with the printed text of 1785 the conclusion about Kuhnau's role in distribution and popularization of vocal works by “Hamburg Bach” in the late 18th century is drawn. One more important fact concerning the early reception history of “Heilig” BR-CPEB F 77 is added to our knowledge of its performances during the author's life-time.

Keywords: C.P.E. Bach, “Heilig”, J. C. Kuhnau, “Das Weltgericht”, Pasticcio, libretto, the National Library of Russia

Àííîòàöèÿ

«Heilig» äëÿ äâîéíîãî õîðà Ê. Ô. Ý. Áàõà BR-CPEB F 77:

íåèçâåñòíîå Ïàñòè÷÷î 1785 ãîäà

Òàòüÿíà Âàñèëüåâíà Øàáàëèíà

 ñòàòüå âïåðâûå èññëåäóåòñÿ èñòî÷íèê, íàéäåííûé â Èíîñòðàííîì êíèæíîì ôîíäå Ðîññèéñêîé íàöèîíàëüíîé áèáëèîòåêè è ñîäåðæàùèé òåêñò ñî÷èíåíèÿ, èñïîëíåííîãî â Òðîèöêîé öåðêâè Áåðëèíà â 1785 ãîäó ïîä ðóêîâîäñòâîì êàíòîðà è «ìóçèêäèðåêòîðà» Èîãàííà Êðèñòîôà Êþíàó (1735-1805). Âûÿâëÿåòñÿ, ÷òî ëèáðåòòî îòíîñèòñÿ ê íåèçâåñòíîìó ðàíåå Ïàñòè÷÷î, ñîçäàííîìó èç çíàìåíèòîãî «Heilig» äëÿ äâîéíîãî õîðà Êàðëà Ôèëèïïà Ýìàíóýëÿ Áàõà (1714-1788), åãî Àðèè «Wie prachtig wird dein Lob erschallen», à òàêæå ÷àñòåé èç îðàòîðèè «Das Weltgericht» è «Te Deum» È. Ê. Êþíàó. Íà îñíîâå èçó÷åíèÿ ïå÷àòíîãî òåêñòà 1785 ãîäà, ñîõðàíèâøèõñÿ ïèñåì, ðóêîïèñåé è äðóãèõ èñòî÷íèêîâ äåëàåòñÿ âûâîä î ðîëè Êþíàó â ðàñïðîñòðàíåíèè è ïîïóëÿðèçàöèè âîêàëüíûõ ïðîèçâåäåíèé «ãàìáóðãñêîãî Áàõà» â êîíöå XVIII âåêà. Ê èñòîðèè èñïîëíåíèÿ «Heilig» BR-CPEB F 77 äîáàâëÿåòñÿ åùå îäèí âàæíûé ôàêò ðàííåé èñòîðèè åãî ðåöåïöèè ïðè æèçíè àâòîðà. double choir bach heilig

Êëþ÷åâûå ñëîâà: Ê.Ô.Ý. Áàõ, «Heilig», È. Ê. Êþíàó, «Das Weltgericht», Ïàñòè÷÷î, ëèáðåòòî, Ðîññèéñêàÿ íàöèîíàëüíàÿ áèáëèîòåêà Among the recent discoveries of originally printed texts for German music of the 17th and 18th centuries at the National Library of Russia (St. Petersburg) a group of Berlin sources of the second half of the 18th century deserves special attention (see [14, 51-58]). Although they are not so numerous as Leipzig, Dresden, and Hamburg “Texte zur Music” found in St. Petersburg, nevertheless they contain some exemplars, which are very rare or even have been hitherto unknown. Hence, among the texts for Berlin church music of the last decades of the 18th century, there were found some libretti of works performed under Johann Christoph Kuhnau (1735-1805), a cantor and music director of the Dreyfaltigkeitskirche.

Let us give short information about the life and work of this composer. Johann Christoph Kuhnau was born on 10 February 1735 in Volkstadt, near Eisleben. Having finished the Schullehrerseminar in Klosterbergen, in 1763 he moved to Berlin, where he first became a teacher at the Realschule; there he founded a choir which was regularly performing Oratorios in the so-called Concert der Musikliebhaber since the 1770s. During that period, supposedly since 1779, he began taking music theory lessons with a famous teacher and composer Johann Philipp Kirnberger (1721-1783), which surely happened to be an important addition to his musical education [9, 823]. After 1783 Johann Christoph became a music director of the Berlin Dreifaltigkeitskirche and then a cantor there. The exact date of this appointment is not clear. In some biographical articles about Kuhnau there is information that he became a cantor and music director of the Dreyfaltigkeitskirche in Berlin since 1788 (see, for example, [15, 1982]). However, judging by the earliest manuscript score of the Oratorium “Das Weltgericht” (see further), he began to perform these duties earlier (at least he became a music director of the Dreyfaltigkeitskirche as early as in 1783). In the article by Ulrich Leisinger it is stated that Kuhnau became the music director of the Dreyfaltigkeitskirche not later than in 1784 whereas he became a cantor there in 1788 [9, 823]. Kuhnau was the author of a number of vocal and organ compositions; he compiled and published two volumes of his contemporaries' works, including his own settings under the title of “Vierstimmige alte und neue Choralgesange” Vierstimmige alte und neue Choralgesange, <...>von Johann Christoph Kuhnau. Berlin: Im Verlag des Autors, 1786-1790. 2 Tle. 230 S.; 274 S. as well as organ and clavier arrangements of chorales under the title of “Choral-Vorspiele fur die Orgel und das Klavier.” Choral-Vorspiele fur die Orgel und das Klavier / gesammlet und herausgegeben von Johann Chris-toph Kuhnau, Kantor und Musikdirektor. Berlin: Im Verlag des Autors, [1790/1791]. 63 S. He died on 13 October 1805 in Berlin, where he had spent the most part of his life.

The libretto Heilig, Heilig, Heilig ist GOTT! mit untermengten neuen Arien in der Dreyfaltigkeitskirche auf-gefuhrt von Johann Christoph Kuhnau. Berlin: George Ludewig Winters Wittwe, 1785. 4 S. which is the subject of the present article was found in the Hall no. 6 of the Foreign Books Department of the National Library of Russia, St. Petersburg, The sigle of the National Library of Russia according to RISM -- RUS-SPsc. under a shelfmark 6.35.1.406. Its title page (Figure 1) contains the following:

Heilig, | Heilig, Heilig | ist | GOTT! | mit untermengten neuen Arien | in der Dreyfaltigkeitskirche aufgefuhrt | von | Johann Christoph Kuhnau. || Berlin, 1785. | Gedruckt bey George Ludewig Winters Wittwe.

It is a small booklet of printed texts consisting of four pages, measuring 19.2 x 15.5 cm. Unfortunately, the provenance of the source is unknown. It does not contain any stamps or handwritten markings of its previous owner, which could help us to ascertain its provenance. At the same time the absence of any registry-based marks is evidence that it belongs to the oldest repository of the Imperial Public Library. The accession number (a number assigned to an item when added to the Imperial Public Library written as a form of fractional numbers indicating the year and the number assigned in special registra-tion books) was written as a rule on the last page of an exemplar. Nowadays in the Department of the Archive Documents it is possible to ascertain when and who passed a book to the library. However, such accession numbers started being recordered in the most systematical way mainly since the second half of the 19^th century. Their absence indicates as a rule belonging of exemplars to the oldest repository of the Imperial Public Library compiled in the late 18^th to early 19^th centuries. Concerning the history of the National Library of Russia and recent findings of the original texts for the German music of the 17^th and 18^th centuries in its halls see [12; 13; 14].

A grey cover of the booklet was made in later times, and its flyleaf contains a label typical for the old book funds of the library:

çàëà 6 Hall 6

øêàôú 35 Bookcase 35

ïîëêà 1 ¹ 406 Bookshelf 1 no. 406

The text of the work printed in this libretto consists of the following divisions (further the original indications at the beginning of every one of them as well as their incipits in original spelling are given, see Figures 2-4):

Eine Stimme:

Herr, werth dafi Schaaren der Engel Dir dienen...

Chor der Engel: Heilig.

Chor der Volker: Heilig.

Engel: Heilig ist Gott!

Volker: Heilig ist Gott!

Engel: Der Herr Zebaoth!

Engel und Volker: Der Herr Zebaoth!

Alle Lande sind seiner Ehren voll!

Engel: Herr Gott, dich loben wir...

Volker: Herr Gott, dich loben wir...

Engel: Alle Lande sind seiner Ehren voll.

Volker: Alle Lande sind seiner Ehren voll.

Engel: Heilig ist Gott der Herr!

Volker: Alle Lande sind seiner Ehren voll.

Engel: Heilig ist Gott der Herr!

Volker: Alle Lande sind seiner Ehren voll.

Engel: Alle Lande sind seiner Ehren voll.

Engel und Volker: Alle Lande sind seiner Ehren voll!

Zwo Stimmen:

A. Zittre vor dem Tag der Rache...

B. Hor' es, hor' es, und erwache...

Von Anf.

Zwey Chore:

Chor 1.: Taglich, Herr Gott, wir loben Dich,

Chor 2.: Und ehr'n Dein'n Namen stetiglich.

Beyde. Amen.

Aria: Wie prachtig wird Dein Lob erschallen.

Beyde Chore. Choral: Dir sey Anbetung, Dank <...>



Figure 1. “Heilig”, the title page of libretto, the original print (1785) RUS-SPsc. 6.35.1.406



Figure 2. “Heilig”, libretto, the original print (1785), page 2



Figure 3. “Heilig”, libretto, the original print (1785), page 3



Figure 4. “Heilig”, libretto, the original print (1785), page 4

Judging by the text, the opening movement of the whole work was an Arietta “Herr, werth daB Schaaren der Engel” by Carl Philipp Emanuel Bach (1714-1788) and then his “Heilig” for two choirs (BR-CPEB F 77; H 778; Wq 217) Its full title is “Heilig, mit zwey Choren und einer Ariette zur Einleitung.” The numbering of the work is given according to the widely-used system of the thematic catalogues of works by C. P. E. Bach: BR-CPEB [5]; H [7]; Wq [18]. followed. Having been composed by 1776 at the latest, the double-choir “Heilig” The text is based on the German variant of “Sanctus” (Isaiah 6 : 3, Martin Luther's translation). was performed in Hamburg during the author's life-time more than once. The Arietta “Herr, werth daB Schaaren der Engel” for Alto and string instruments, having become somewhat of an introduction to the choral movement, was written and added to the work two years later (from 1776 to Michaelistag 1778 “Heilig” was performed with another introduction and as a part of different compositions). See about the history of performances of “Heilig” in the 1770s-1780s and the first variants of its introductory movement [5, 125-726; 6, XIII]. In 1779 the work was published with the Arietta “Herr, werth daB Schaaren der Engel.” Bach C. P. E. Heilig, mit zwey Choren und einer Ariette zur Einleitung. Hamburg: Verlag des Autors; Leipzig: Breitkopf, 1779.

It is known, that the composer called this work his “Swan Song” and asked the publisher about printing the score on special paper (see about this and about success of numerous performances of “Heilig” during the composer's life in the articles [10, 177-178; 4, 273-289; 6,XI-XVII],

Written for extensive performance forces with two choirs and double orchestra with six trumpets, four oboes, string instruments and organ, it became one of the most successful sacred works by C. P. E. Bach due to its laconic form with very impressive contrasts, dynamic opposition of Choir of Angels and Choir of People as well as the novelty of its tonal plan and expressiveness of the final Fugue. The full coincidence of the text and the opening movements of the Berlin libretto of 1785 with its division to the Choir of Angels (Chor der Engel) and the Choir of People (Chor der Volker) as well as all the other peculiarities of these movements Among them there are repetitions of all words and lines as in the work by C. P. E. Bach as well as the inclusion into this movement of the lines “Herr Gott, dich loben wir! | Herr Gott, wir danken dir! ” which are absent in Isaiah 6:3 and completely correspond to Bach's “Heilig” representing its original compositional idea. indicate Kuhnau's usage of this famous double-choir opus by the second son of Johann Sebastian Bach. The surviving Tenor part of another Pasticcio, made by Kuhnau in the 1790s years (see further) proves that the Berlin cantor performed this work by C. P. E. Bach not once and evidently appreciated it. There is evidence of earlier performances of the double-choir “Heilig” by C.P. E. Bach in Berlin on 31 October and 3 November 1779 in Petrikirche and Dreyfaltigkeitskirche, as well as on 15 September 1782 in the Dreyfaltigkeitskirche [17, 458-459, 461]. However, if it is unknown who con-ducted such a performance in 1779, in 1782 it took place under Johann Christoph Kuhnau, as the news-papers of that time informed (“<...> Am vorigen Sonntag ward in der Dreyfaltigkeits-Kirche das Heilig! nach der erhabenen Composition des Herrn Bachs in Hamburg, bey einer sehr schonen und groBen Begleitung der Instrumental- und Vocalstimmen, von dem Herrn Cantor Kuhnau aufgefuhrt,” see ibid.).

After the full text of “Heilig” there comes a duet “A. Zittre vor dem Tag der Rache; B. Hor' es, hor' es, und erwache” with an indication at the end “Von Anf.” (the German analog of “Da Capo”). It occurred, that this text coincides completely with the duet from the Oratorio “Das Weltgericht” by J. C. Kuhnau. The difference between the two movements is that in the Pasticcio of 1785 this duet was performed by Alto and Bass (“A.” and “B.”, as indicated in the libretto), while in “Das Weltgericht” this movement was written for Soprano and Tenor. There is a manuscript score of this Oratorium with the year of 1783 and the following title on its title page (D-SWl: Mus. 3223 D-SWl is a library siglum according to RISM: Schwerin, Landesbibliothek Mecklenburg-Vorpom-mern; Mus. 3223 is a shelfmark of the manuscript in this library.).

Das | Weltgericht, | ein | Oratorium, | in | Musik gesetzt | von | Johann Christoph Kuhnau, | Cantor und Lehrer bey der Realschule | und Musikdirektor in der Dreyfaltigkeits- | Kirche zu Berlin. | 1783.

In 1784 the Klavierauszug of the Oratorium Kuhnau, Johann Christoph. Das Weltgericht, ein Singestuck, in Musik gesetzt und als Klavier-auszug herausgegeben <...>. Berlin: Verfasser, 1784., edited and prepared for the print by Kuhnau himself, was published at his own expense (Figure 5):

Das Weltgericht, | ein Singestuck, | in Musik gesetzt | und | als Klavierauszug | herausgegeben | von | Johann Christoph Kuhnau, | Musikdirektor und Lehrer bey der Konigl. Realschule zu Berlin. || Berlin, auf Kosten des Verfassers. | In Kommission bey C.F. Stahlbaum in der Buchhandlung der Konigl. Realschule. | 1784.



Figure 5. J.C. Kuhnau. Oratorium “Das Weltgericht” Klavierauszug. Berlin, 1784. The title page D-SLUB. Mus. 3379-D-1

Several years after the composition of this Oratorio Kuhnau might have decided to use his duet “Zittre vor dem Tag der Rache” in the Pasticcio of 1785. In all probability, the music of the duet from “Das Weltgericht” was transposed down from D major to G major as more corresponding to the general tonal plan of the Pasticcio as well as to the performance of the movement in the new composition by Alto and Bass. The inclusion of this movement as well as the others into this compilation explains the expression “mit untermengten neuen Arien” on the title page of the libretto 1785 (see above p. 446 and Figure 1).

As for the movement for two choirs “Taglich, Herr Gott, wir loben Dich”, judging by another compilation by Kuhnau (see further), it was also a chorale setting written by him. The fifth strophe of the hymn “Herr Gott! dich loben wir” (“Te Deum Laudamus” in its German Martin Luther's translation) was used in the Pasticcio of 1785. Settings of this chorale for organ made by the Berlin music director survive; among its vocal settings there is “Te Deum” E minor for two choirs and the large orchestra including three trumpets, four trombones, timpani and organ (D-B: Mus. ms. autogr. Kuhnau, J. C. 1a N): D-B is a siglum of Staatsbibliothek zu Berlin, PreuBischer Kulturbesitz, Musikabteilung; further the shelfmark of the manuscript kept in this library is given.

Das | TE DEUM | LAUDAMUS. | Oder | Herr Gott! dich loben wir | <...> | von | Johann Christoph Kuhnau | Kantor und Musikdirektor zu Berlin. Even if “Te Deum” for two choirs and the big orchestra dates back to 1786, as is given in RISM (https:/rism.online/sources/464141316), a chorale setting for four voices “Herr Gott! dich loben wir”, included into the first volume of the “Vierstimmige alte und neue Choralgesange” (ð. 76-79), was written by Kuhnau not later than in 1784, as his preface to this collection was dated by him [8, X]. Supposedly “Te Deum” for two choirs and orchestra was also composed by Kuhnau before 1784, because the preface to the above mentioned collection contains the indication of its performance parts [ibid., IX].

Supposedly, the same music was used in “Taglich, Herr Gott, wir loben Dich” in the Pasticcio of 1785, the more so that this movement was included into another compilation, made by Kuhnau in the 1790s. The Tenor part of this Pasticcio written by Kuhnau himself has come down to us (D-LEb D-LEb: Bach-Archiv, Leipzig.: Depositum Kulukundis II.3 Wq 217 [3], see [5, 730] and Figures 6-8). Its title is:

Tenore. | Zum | Chor der Volker, | aus dem | Heilig. | von | C. P. E. Bach. | JCKuhnau.

In this Pasticcio, besides Arietta and “Heilig”, the Aria “Wie prachtig wird dein Lob erschallen” by C. P. E. Bach (movement 5 from his Ostermusik “Gott hat den Herrn auferwecket” BR-CPEB F 5; H 803; Wq 24418), and the chorale “Taglich, Herr Gott, 455 wir loben Dich” were also used (Figures 7 and 8). This movement of the cantata by C. P. E. Bach was set on the text “Freudig seh ich dir entge- gen”, but Kuhnau changed it to “Wie prachtig wird dein Lob erschallen”. Moreover, the initial text from Bach's cantata was also added into the surviving Tenor part of the Pasticcio of the 1790s in red ink and under the new text (see Figures 7 and 8). It is hard to say why such a double text was included into that manuscript. Probably Kuhnau was going to perform the Tenor part in his compilation with the original text of the cantata by Carl Philipp Emanuel. However, the musical text of the existing part corresponds completely to the changed verbal variant (a part of the rhythmical revisions in it concerns another syl-labic correlation in the new text). The comparison of this movement from the Pasticcio and the Tenor part of the fifth strophe of “Te Deum” by J. C. Kuhnau from his edition of “Vierstimmige alte und neue Choralgesange” (p. 78-79) demonstrates, that the musical text of the Tenor part in both works coincides complete-ly. It proves that Kuhnau included this setting into his compilations with double-choir “Heilig” by C. P. E. Bach. The incipits of this compilation are the following ones:

1. Arietta and “Heilig”

2. Aria “Wie prachtig wird dein Lob erschallen”

3. Chorale “Taglich, Herr Gott, wir loben dich”

4. Repetition of “Heilig”

As we can see, in this Pasticcio the same movements as in the Pasticcio of 1785 were used (Arietta and “Heilig”, the Aria “Wie prachtig wird dein Lob erschallen” by C. P. E. Bach, and the chorale “Taglich, Herr Gott, wir loben dich”). However, the changing of the general structure -- the exchange of the movements “Wie prachtig wird dein Lob erschallen” and “Taglich, Herr Gott, wir loben dich”, as well as the lack of “Heilig” repetition at the conclusion of the Pasticcio of 1785 and the addition of new movements into it -- proves that those were both close and different compilations. Let us demonstrate their comparison in this table:

Pasticcio 1785:

Pasticcio [c. 1790-1799]:

1. Arietta with “Heilig” (BR-CPEB F 77)

2. Aria “Wie prachtig wird dein Lob erschallen” (movement 5 from BR-CPEB F 5)

3. Chorale “Taglich, Herr Gott, wir loben dich”

4. Repetition of “Heilig”

1. Arietta with “Heilig” (BR-CPEB F 77)

2. Duet: “Zittre vor dem Tag der Rache”

“Hor' es, hor' es, und erwache”

3. Chorale “Taglich, Herr Gott, wir loben Dich”

4. Aria “Wie prachtig wird dein Lob erschallen” (movement 5 from BR-CPEB F 5)

5. Chorale “Dir sey Anbetung”

Apart from the duet “Zittre vor dem Tag der Rache” mentioned above, it is ascertained, that in the concluding chorale of the Pasticcio 1785, performed by two choirs, the chorale “Dir sey Anbetung”, which ends the Oratorio “Das Weltgericht” by Kuhnau, was used.

Figure 6. The manuscript of the Pasticcio with “Heilig” by C. P. E. Bach.

The Tenor part handwritten by J. C. Kuhnau, the title page D-LEb. Depositum Kulukundis II.3 Wq 217 [3] / Bach digital

Figure 7. The manuscript of the Pasticcio with “Heilig” by C. P. E. Bach.

The Tenor part handwritten by J. C. Kuhnau

D-LEb. Depositum Kulukundis II.3 Wq 217 [3] Fol. 2v / Bach digital



Figure 8. The manuscript of the Pasticcio with “Heilig” by C. P. E. Bach.

The Tenor part handwritten by J. C. Kuhnau

D-LEb. Depositum Kulukundis II.3 Wq 217 [3] Fol. 4v / Bach digital

G major, the key of this movement in the Oratorio, most likely, was kept in the Pasticcio of 1785 and corresponded in this way to the general tonal plan of the new work with the return of the opening key at its end (G major -- C major -- [G major] -- E minor -- C major -- G major).

If the performance of the version, which the Tenor part has survived from, took place in the 1790s, the Pasticcio of 1785 was chronologically the first of them. While the Pasticcio of the 1790s consisted mainly of works by C. P. E. Bach (we can identify an inclusion of only one movement by Kuhnau), in the Pasticcio of 1785, along with the same movements by Bach, three movements from works by Kuhnau were evidently used. It is peculiar, that its performance took place in the life-time of C. P. E. Bach.

It is known that both composers were acquainted with each other and had creative relations. Kuhnau settled in Berlin from 1763 and C. P. E. Bach lived there from 1738 to 1768. So during five years -- from 1763 to 1768 -- they lived and worked in one city. Although nowadays there are no sources which would confirm their contacts in that time, there is documentary evidence of their relations in later years, after C. P. E. Bach's moving to Hamburg. Two Bach's letters to Kuhnau from Hamburg to Berlin, dated 31 August and 23 November of 1784, are known. In the first of them Carl Philipp Emanuel thanked Kuhnau for his sending of the score of “Das Weltgericht” and approved of his mastership in composing of the Oratorio:

Liebwehrtester Freund, Sie haben mir mit Ihrer Partitur ein sehr angenehmes Geschenke gemacht. Ich danke Ihnen dafur aufs verbindlichste und versichere Sie von meiner wahren Hochachtung und Freundschaft. Sie haben Sich in Ihrem Stucke als ein fleissiger Setzer gezeiget u., was das Vornehmste ist, Sie haben an der Klinge gefochten. Dieses thun heute zu Tage leider wenige. Document No. 483 [16, vol. 2, 1036].

Most cherished friend, You have made me a very agreeable present with your score. I am most obliged to you for it and assure you of my true respect and friendship. In your piece you have shown yourself to be a diligent composer and, what is most important, you have fought to the hilt. Unfortunately, few people do this today. The translation is cited on [3, 213].

As is clear from the following text of the letter, C. P. E. Bach especially approved of Kuhnau's mastership in his usage of strict counterpoint. The expression “<...> you have fought to the hilt. Unfortunately, few people do this today” relates exactly to this aspect. Moreover, in the same letter, having indicated that Kuhnau's strict counterpointal technique was sufficient, Carl Philipp Emanuel advised him to be “less artistic” and to give “more sugar” in the works that were to be printed, and therefore were for everyone (“Bey Sachen, die zum Druck, also fur Jedermann, bestimmt sind, seyn Sie weniger kunstlich und geben mehr Zucker” [16, vol. 2, 1036; 3, 213]).

In the second letter “Heilig” was mentioned, and Carl Philipp Emanuel answered Kuhnau's question about the rules of voice-leading in case of the fifths and the ninth:

Liebwehrtester Freund, Da Ihre 5ten (Quinten) nicht unmittelbar auf einander folgen, u. die Note, welche sie deckt, NB keine durchgehende oder geschwinde Note ist <...>, so kann sie niemand verwerfen. In meinem Heilig hat dieser Fall das Tempo-Adagio voraus. <...> Recht ist Ihre Vertheidigung der None gegen Hrn. Faschen (ich kann nicht glauben, dass dieser brave Mann an diesem, in starken u. gearbeiteten Werken sehr sehr oft vorkommenden u. zwar nicht aus Wollust, sondern aus Noth vorkommenden Sitz der None sich stossen sollte). Meine Vertheidigung stehet in meinem 2ten Versuch, im Capitel von der None. Document No. 488 [16, vol. 2, 1048]. The original of this letter is kept at the Bach-Archive in Leipzig.

Most cherished friend, Since your 5ths do not follow one another directly and the note which covers them is NB not a passing or fast note <...>, then no one can reject them. In my Heilig, this case has the advantage of the tempo Adagio. <...> Your defence of the ninth against Herr Fasch is correct (I cannot believe that this honest man should take exception to this position of the ninth that occurs very very often in strict and contrapuntal works and indeed occurs not out of fancy, but out of necessity). My defence is found in the 2nd part of my Versuch, Surely C. P. E. Bach meant his famous treatise “Versuch uber die wahre Art das Clavier zu spielen <...>” [1; 2]. In its second part published in Berlin in 1762 chapter 17 was devoted to a ninth cord [2, 156-161]. Apparently in his letter to J. C. Kuhnau Carl Philipp Emanuel referred to this chapter and recommendations presented in it. in the chapter on the ninth. The translation is cited on [3, 217].

It has to be underlined, that this correspondence took place shortly before the performance of the Pasticcio in the Berlin Dreyfaltigkeitskirche in 1785. Taking into account the collegial and friendly character of relations of the two composers, it is reasonable to suggest, that the compilation of C. P. E. Bach's works with the movements from Kuhnau's compositions was made with an agreement of Carl Philipp Emanuel. Supposedly “ Heilig” by C. P. E. Bach was so well-known in Berlin by that moment, that any special mentioning of this authorship was unnecessary. Thus, on the title page of the discovered original text only the name of the person who conducted that performance in the Dreyfaltigkeitskirche in Berlin was indicated (“aufgefuhrt von Johann Christoph Kuhnau,” see above). It can be noticed that performance practice of “Heilig” as parts of different Pasticcios was already begun by C. P. E. Bach himself. Let us remember that he performed the double-choir “Heilig” not only as the part of his own compositions, but also as the movement of Pasticcios based on cantatas by his father (BWV 19) and his half-brother Johann Christoph Friedrich Bach (BR-JCFB F 4, see [6, AZ]).

The handwriting of the Berlin cantor, besides the Tenor part in the Pasticcio of the 1790s, is found in some other manuscript copies of C. P. E. Bach's works prepared in the 1770s and 1790s years: in 23 parts of the Passion Cantata “Du Gottlicher”

BR-CPEB Ds 2 (D-B: Mus. ms. Bach St 192) [5, 53], as well as in the Tenor part of the movement 13 of the same cantata (D-B: Mus. ms. Bach St 367) [ibid., 84], and in a copy of a piece from “Neue Melodien zu einigen Liedern des neuen Hamburgischen Gesangbuchs” of 1787 BR-CPEB H 59/10 (B-Bc: 27346/1) [ibid., 1044]. B-Bc: Bruxelles, Conservatoire royal de Bruxelles, Bibliotheque. Kuhnau is rightfully regarded as the “Kollekteur und Pranumerant von Werken Bachs” [16, 1031]. In the document concerning sending of the “Morgengesang am Schopfungsfeste” by C. P. E. Bach on the text by Friedrich Gottlieb Klopstock BR-CPEB G 1; H 779; Wq 239, written by Anna Carolina Philippina Bach, there is a notice related to sending seven copies of this edition to Kuhnau -- “Berlin. | An H. Musik Director Kuhnau.” Document No. 479 [16, 1030]. “H. Musik Director Kuhnau” surely means J. C. Kuhnau. In a number of the original editions of C. P. E. Bach's works among their subscribers there is his name as “Kantor Kuhno.” See, for example, Bach C. P. E. Heilig,, mit zwey Choren und einer Ariette zur Einleitung, 1779.

The fundamental theoretical background which was invigorated by studying under J. P. Kirnberger and relations to C. P. E. Bach, as well as references to samples of musical art by such authors as J. S. Bach and J. P. Kirnberger in the preface to “Vierstimmige alte und neue Choralgesange” [8, ZV--V], and the technique of his own compositions give evidence of Kuhnau as a master devoted to the old German school of counterpointal writing. For the period of the 1780s it was a rare case, so it is no coincidence that C. P. E. Bach mentioned this feature of his style as infrequent for that time and even advised him to be less strict in his compositional technique (see above). Kuhnau's devotion mainly to church music to which he remained loyal till the end of his life completes his creative image.

Thus, the discovery of the libretto in St. Petersburg has revealed a previously unknown fact of the performance of the Pasticcio based on the works by C. P. E. Bach and J. C. Kuhnau in Berlin in 1785 and confirmed once more the role of the latter in the reception and distribution of works by “Hamburg Bach” during his life-time. In spite of an inevitably different level of various parts of the compilation of 1785, the Pasticcio can be reconstructed because all its movements survive and can be performed in the modern concert hall as a historical monument. It would be well- timed, since the interest of the researchers and performers in pasticcios of the 18th century is growing up at the moment. It is enough to refer to the recent and fundamental book devoted to various forms of musical Pas- ticcios of the 18^th century [11].

Probably, the future research of the activity of Johann Christoph Kuhnau will shed new light on his creative contacts with C. P. E. Bach and reveal new materials for the history of interpretation of Bach's works at the end of the 18th century. But even from what is known to date, the importance of the Berlin cantor's activity in the process of introducing to the audience the vocal works by the second son of J.S. Bach, though in a form of different compilations, is seen clearly enough, and new facts are added to our knowledge of the performance history of his works in the last decades of the Age of Enlightenment.

References

1. Bach, Carl Philipp Emanuel. 1753. Versuch uber die wahre Art das Clavier zu spielen mit Exempeln und achtzehn Probe-Stucken in sechs Sonaten <...>. Berlin: Verlegung des Auctoris.

2. Bach, Carl Philipp Emanuel. 1762. Versuch uber die wahre Art das Clavier zu spielen Zweyter Theil, in welchem die Lehre von dem Accompagnement und der freyen Fantasie abgehandelt wird. Berlin: Verlegung des Auctoris.

3. Clark, Stephen L., trans. and ed. 1997. The Letters of C. P. E. Bach. Oxford: Clarendon Press.

4. Corneilson, Paul. 2006. “Zur Entstehungs- und Auffuhrungsgeschichte von Carl Philipp Emanuel Bachs `Heilig'.” Bach-Jahrbuch 92: 273-89. https://doi.org/10.13141/ bjb.v20061804.

5. Enblin, Wolfram, Uwe Wolf, and Christine Blanken, eds. 2014. Carl Philipp Emanuel Bach. Thematisch-systematisches Verzeichnis der musikalischen Werke, part 2: Vokalwerke (BR-CPEB). Bach-Repertorium: Werkverzeichnisse zur Musikerfamilie Bach, vol. III/2. Stuttgart: Carus.

6. Harasim, Clemens. 2016. “Introduction.” In Carl Philipp Emanuel Bach. Complete Works, series V/6.1, XI-XXIII. Los Altos, California: Packard Humanities Institute.

7. Helm, Eugene. 1989. Thematic Catalogue of the Works of Carl Philipp Emanuel Bach. New Haven and London: Yale University Press.

8. Kuhnau, Johann Christoph. 1786. “Vorrede.” In Vierstimmige alte und neue Choral- gesange, <...> von Johann Christoph Kuhnau, part 1, I-X. Berlin: Im Verlag des Autors.

9. Leisinger, Ulrich. 2003. “Kuhnau, Johann Christoph.” In Die Musik in Geschichte und Gegenwart, 2nd edition, Personenteil 10, 823-24. Kassel: Barenreiter.

10. Muratalieva, Sufiya G. 2017. “Vokal'no-instrumental'noe tvorchestvo K. F. E. Bakha [Vocal-Instrumental Work by C. P. E. Bach].” In Karl Filipp Emanuel Bakh (17141788): K 300-letiyu so dnya rozhdeniya [Carl Philipp Emanuel Bach (1714-1788): To the 300th Anniversary of His Birthday], collected papers, edited and compiled by Sufiya G. Muratalieva, 156-92. Moscow: Moscow Conservatory Publishing. (In Russian).

11. Over, Berthold, and Gesa zur Nieden, eds. 2021. Operatic Pasticcios in the 18th Century Europe: Contexts, Materials and Aesthetics. Mainz Historical Cultural Sciences, vol. 45. Bielefeld: Transcript. https://doi.org/10.14361/9783839448854.

12. Shabalina, Tatiana. 2015. “J. S. Bakh i Rossiyskaya natsional'naya biblioteka v Sankt- Peterburge: Nedavnie otkrytiya [J. S. Bach and the National Library of Russia in St. Petersburg: Recent Discoveries].” Muzykal'naya akademiya [Music Academy], no. 1, 117-28. (In Russian).

13. Shabalina, Tatiana. 2018. “J. A. Zaluski (1702-1774) i nemetskie muzykal'nye is- tochniki v Sankt-Peterburge: K istorii pol'sko-russkogo kul'turnogo dostoyaniya [J. A. Zaluski (1702-1774) and German Musical Sources in St. Petersburg: To the History of the Polish-Russian Cultural Heritage].” In Russko-pol'skie muzykal'nye svyazi [Russian-Polish Musical Connections], miscellany of articles on the materials of the International research conference, edited and compiled by Natalia A. Braginskaya, and Natalia I. Degtyareva, 19-50. St. Petersburg: St. Petersburg State Conservatory; Skifiya-print. (In Russian).

14. Schabalina, Tatjana. 2021. “Texte zurMusic” in Sankt Petersburg: Gedruckte deutsche Quellen zu Werken von Komponisten des 17. und 18. Jahrhunderts, in 2 vols. Forum Mitteldeutsche Barockmusik 12. Beeskow: Ortus Musikverlag.

15. Slonimsky, Nicolas, Laura Kuhn, and Dennis McIntire. 2001. “Kuhnau, Johann Christoph.” In Baker's Biographical Dictionary of Musicians. Centennial Edition, vol. 3, 1982. New York: Schirmer Books.

16. Suchalla, Ernst, ed. 1994. Carl Philipp Emanuel Bach. Briefe und Dokumente. Kri- tische Gesamtausgabe, in 2 vols. Gottingen: Vandenhoeck & Ruprecht.

17. Wiermann, Barbara, ed. 2000. Carl Philipp Emanuel Bach: Dokumente zu Leben und Wirken aus der zeitgenossischen hamburgischen Presse (1767-1790). Leipziger Beitrage zur Bach-Forschung 4. Hildesheim: Olms.

18. Wotquenne, Alfred. 1905. Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach. Leipzig: Breitkopf & Hartel.

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