150 Journal of the American Musicological Society

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1 Reviews 149 Handel s Operas, is a critically important book, bursting with information that, as with Dean s earlier books, will likely remain important and relevant after many years. Yet it is not merely a reference work: no one reading it could doubt Dean s hand in the musical perceptions, laced with acerbic comments and a sometimes stubborn adherence to earlier points of view and organizational structures. Although this book, like its predecessor, is sometimes tendentious, Dean has again made an important contribution to Handel studies, one that will continue to stimulate work on Handel s operas for some time to come. DAVID ROSS HURLEY Bach, Carl Philipp Emanuel. The Complete Works. The Packard Humanities Insti tute in cooperation with the Bach-Archiv, Leipzig, the Sächische Aka - demie der Wissenschaften zu Leipzig, and Harvard University. Los Altos, CA: The Packard Humanities Institute, 25. Volumes reviewed: Series 1: Vol. 3. Probestücke, Leichte and Damen Sonatas. Edited by David Schulenberg, 25. Vol Miscellaneous Sonatas from Prints I. Edited by Darrell M. Berg, 27. Vol Miscellaneous Sonatas from Prints II. Edited by Darrell M. Berg, 27. Vols. 8.1 and 8.2. Miscellaneous Keyboard Works I and II. Edited by Peter Wollny, 26. Vol. 9. Organ Works. Edited by Annette Richards and David Yearsley, 28. Vol Arrangements of Orchestral Works I. Edited by Douglas A. Lee, 27. Vol Arrangements of Orchestral Works II. Edited by Jonathan Kregor, 28. Series 2: Vol. 1. Solo Sonatas. Edited by Mary Oleskiewicz, 28. Series 3: Vol. 1. Berlin Symphonies. Edited by Ekkehard Krüger and Tobias Schwinger, 28. Vol. 2. Six Symphonies for Baron van Swieten. Edited by Sarah Adams, 26. Vol. 3. Orchester-Sinfonien mit zwölf obligaten Stimmen. Edited by David Kidger, 25. Vol. 5. Oboe Concertos. Edited by Janet K. Page, 26. Vol. 6. Violoncello Concertos. Edited by Robert Nosow, 27.

2 15 Journal of the American Musicological Society Vol. 7. Keyboard Concertos from Prints. Edited by Elias N. Kulukundis, 27. Vol. 8. Sei concerti per il cembalo concertato. Edited by Douglas A. Lee, 25. Vol Keyboard Concertos from Manuscript Sources XIII. Edited by Arnfried Edler, 27. Vol Keyboard Concertos from Manuscript Sources XIV. Edited by Arnfried Edler, 27. Series 4: Vol. 1. Die Israeliten in der Wüste: Oratorio. Edited by Reginald L. Sanders, 28. Vol Passion According to St. Matthew (1769): Incorporating Music by Johann Sebastian Bach. Edited by Ulrich Leisinger, 27. Vol Passion According to St. Mark (177): An Adaptation of the St. Mark Passion by Gottfried August Homilius. Edited by Uwe Wolf, 26. Vol Passion According to St. John (1772): Based on a Setting by Georg Philipp Telemann; Incorporating Music by Gottfried Heinrich Stölzel, Gottfried August Homilius, and Johann Sebastian Bach. Edited by Paul Corneilson, 27. Series 5: Vol Works for Special Occasions I. Edited by Ulrich Leisinger, 26. C. P. E. Bach had powerful patrons, both secular and sacred, both public and private, during his long and productive career. He was attached to the Berlin court of Frederick II in Berlin from the very early 174s, where he also worked with Friedrich Wilhelm Marpurg; and from 1768 he was director of church music in Hamburg, where he also associated with Gotthold Ephraim Lessing, Christoph Daniel Ebeling, and Friedrich Gottlieb Klopstock. Now, more than two centuries later, he has a new patron, the Packard Humanities Institute, which since its founding in 1987 has generously funded scholarship in several disciplines, including Greek papyri and inscriptions, Persian literature in translation, and founding fathers of American democracy, Benjamin Franklin in particular. More recently it has supported emergency archaeological rescue work at Zeugma on the Euphrates River in eastern Turkey, and in Greece and Albania; film preservation at the Library of Congress and the UCLA Film Archive; the restoration of historic theaters such as the San Jose Fox and the Stanford Theater; and human rights in emerging democracies. Its musicological projects include the Digital Mozart Edition, the publication of facsimiles of the autographs of Mozart s operas, and, finally, an edition of C. P. E. Bach s complete works See The C. P. E. Bach website is discussed below.

3 Reviews 151 There is little question concerning the quality of Bach s works or his historical stature. And little question that a complete edition would fill a significant gap in late eighteenth-century studies. Indeed, a C. P. E. Bach edition, based at the University of Maryland, was planned in the 198s and 199s, but only four volumes appeared, published by Oxford University Press. 2 The present edition is independent of that aborted venture and represents a new start, with different editorial leadership, different source and editorial principles, and a different organization of the works into discrete, broadly conceived series: keyboard music, chamber music (in the modern sense, one-to-a-part, as opposed to the broader eighteenth-century understanding, including virtually all instrumental music), orchestral music (including concertos, more usually given their own series in, for example, the complete works of Haydn and Mozart), oratorios and passions, choral music (such as the Magnificat, installation cantatas, and miscellaneous sacred works), songs and vocal chamber music, theoretical works (the Versuch über die wahre Art das Clavier zu spielen), and a supplementary series that will include, among other things, arrangements, librettos, Bach s portrait collection, historical catalogues and concordances, a catalogue of sources and scribes, and various indices. Each volume includes a general preface to the edition as a whole, a preface to the specific genre represented in a series or volume, an introduction that gives background information on the works themselves (including inclusion or exclusion, history, sources, and performance practice), facsimiles and illustrations, texts (for vocal works), the editions, a detailed critical report (with extensive descriptions of the sources and their evaluation as well as accounts of variant readings and editorial changes), and, if appropriate, an appendix with additional material. By and large, critical editions face two sorts of problems: those common to all similar ventures among them the nature of a work and its relationship to the surviving sources, as well as what editorial conventions to adopt and those unique to the works of any single composer. In the case of C. P. E. Bach, one particular problem, given the scope of the venture, the complexity of the source material, and the history of C. P. E. Bach scholarship, is the still incomplete accounting of the sources. Wotquenne s early catalogue did not list all of the composer s works (to say nothing of their sources), while Eugene Helm s more recent Thematic Catalogue of the Works of Carl Philipp Emanuel Bach turns out in retrospect to have been inadvertently premature, given the recovery of the Berlin Sing-Akademie collection, housed in Kiev following World War II and now on deposit at the Staatsbibliothek zu Berlin. 3 More generally, 2. See 3. Alfred Wotquenne, Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach (Leipzig: Breitkopf & Härtel, 195); E. Eugene Helm, Thematic Catalogue of the Works of Carl Philipp Emanuel Bach (New Haven, CT: Yale University Press, 1989). Unquestionably the most important Bach find of recent times, the Sing-Akademie collection includes a substantial number of unique sources from Bach s estate; see Christoph Wolff, Recovered in Kiev: Bach, et al.; A Preliminary Report on the Music Collection of the Berlin Sing-Akademie, Notes: Quarterly

4 152 Journal of the American Musicological Society some now-common approaches to source evaluation are not really applicable to manuscripts of his works. Watermarks, for example, are less useful for C. P. E. Bach studies than they are for Mozart: the majority of the sources are on a relatively small number of paper types, including some very common ones with few distinguishing differences and that were in use for nearly forty years. The chronological problems are mostly made good by the fact that C. P. E. dated all his instrumental works quite precisely, an uncommon and lucky turn of events, different from the earlier works of Mozart and Haydn. 4 But the fact that he did, and what may have led him to produce such accurate records, blurs the line between those problems common to critical editions and those unique to Bach. Toward the end of his life, Bach actively collected and revised his works, oversaw the systematic copying of definitive versions, and prepared a nearly complete catalogue of his compositions which is to say that Bach, in a way, produced his own critical edition. Quite reasonably, then, the main texts of the C. P. E. Bach edition represent the final surviving coherent version of a work. As a result, the edition is not locked into presenting a work, unlike some other critical editions, but, rather, a clearly defined stage in the evolution of a text, whether that evolution derives from a succession of performances, and any changes that may have resulted from this; from second thoughts independent of actual, immediate performance (but surely with implications for future performance); or any other reason that the continuing evaluation and reevaluation of the sources might suggest. Because the critical reports are so thorough, and the description of the sources and their relationships so exhaustive, the user can, if he or she is willing to put in the effort, reconstruct successive stages in a work s history and choose to perform (or analyze or critically read) any one of its authoritative texts. In those cases where earlier versions warrant it, the edition reproduces alternate texts. In Journal of the Music Library Association 58 (21): One implication of this discovery, which includes more than five hundred C. P. E. Bach sources, among them almost twenty new installation cantatas and about a dozen more large-scale vocal works, is that the edition is now projected to be about 11 volumes and will run slightly beyond the year originally targeted for completion (214, C. P. E. Bach s three hundredth birthday). 4. The dates derive from an early manuscript list of Bach s instrumental music, generally referred to as CV 1772, and the printed catalogue of his estate, NV 179. See Autographischer Catalogus von den Claviersonaten des C. Ph. E. Bach bis zum Jahre 1772 komponirt (manuscript in D-B, shelfmark SA 4261); facsimile in Christoph Wolff, Carl Philipp Emanuel Bachs Verzeichnis seiner Clavierwerke von 1733 bis 1772 in Über Leben, Kunst und Kunstwerke: Aspekte musikalischer Biographie; Johann Sebastian Bach in Zentrum, ed. Wolff, (Leipzig: Evangelische Verlagsanstalt, 1999); and Verzeichniß des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach (Hamburg: Schniebes, 179); facsim. in Carl Philipp Emanuel Bach: Autobiography; Verzeichniß des musikalischen Nachlasses, ed. William S. Newman (Buren, Netherlands: Frits Knuf, 1991); and in The Catalog of Carl Philipp Emanuel Bach s Estate: A Facsimile of the Edition by Schniebes, Hamburg, 179, ed. Rachel W. Wade (New York: Garland, 1981).

5 Reviews 153 short, the edition takes as its point of departure a detailed consideration of the sources, their history, and their relationships, a practical and commonsensical ground-up approach that differs from editions that impose on both sources and our potential understandings of them (and these can be many) a topdown philosophy of the work or even, at its broadest, a biography. Inevitably, this philosophy has implications both for source evaluation and for actual editorial principles, since it serves to mitigate the kind of broad editorial gerrymandering of the surviving manuscripts, prints, and texts let s call them constituents! to achieve predetermined results. So on the whole, the edition s guidelines (accessible at are entirely reasonable. In evaluating sources, editors are warned to be aware, for instance, that sets of parts originally belonging to different performances may now appear to be coherent wholes, or that identifying a copyist who worked for Bach does not itself prove that a source is either authorized or of high quality; some copyists worked not only for the composer but for commercial music dealers as well. As for the musical texts, editors are encouraged to think critically about different slurrings or articulations between different instruments and not necessarily to standardize them (at the same time, differences should not be overrated). Slurs are not automatically added to connect appoggiaturas to main notes, and strokes are used to indicate articulation since Bach seems to have used both dots and strokes with no intended difference; rather than confuse the issue unnecessarily, by positing arbitrary differences that almost certainly cannot be justified by either the orthography or the musical context, this reasonable solution also serves to preserve the integrity of those instances where dots, as opposed to strokes, are unequivocally meaningful, as in the case of portato. One questionable principle concerns these same editorial dots and strokes, which are not typographically distinguished in the musical text although they are supposed to be mentioned in the critical report. A case in point is measures 5 7 of the first movement of the Keyboard Concerto, Wq 41 (see Ex. 1). Here the viola has a distinct pattern of repeated eighths, with pitches 1 and 2 identical, pitch 3 different, pitches 4 and 5 identical (but not the same as notes 1 and 2), and pitch 6 the same as note 3; this is the pattern in three successive measures. The primary source for the edition, a score copy by an anonymous copyist with autograph entries by C. P. E. Bach, slurs all six notes and consistently has dots for notes 1 and 2 and 4 and 5 but not notes 3 and 6. A secondary source, a set of parts by Johann Heinrich Michel, copied in Hamburg during the early 179s, has the same reading. Yet the edition chooses to add dots on notes 3 and 6, which seems to me contrary to the instruction not automatically to standardize. (Although that instruction is given in connection with slurs, it ought to apply to other articulations as well, which may similarly be significant in their differences.) Arguably, the different articulations in measures 5 7 are significant. Certainly, on musical grounds, they not only make sense but also promote a subtler expressivity, a hallmark of Bach s

6 154 Journal of the American Musicological Society C. P. E. Bach, Keyboard Concerto, Wq 41, 1st mvt., mm. 5 7, from The Complete Works, Series 3, vol. 9.14, p. 1 Violino I Violino II Viola I, II Basso! 5 $ Š Š Ý % / / š / / ý ý l l l l l l l l l l l l l l l l l l l l l l l l ý ý l l l l l l l l l l l l and other great, late eighteenth-century composers style and the most common prescription of the time for effective performance. It might have been better, then, not to editorialize dots. In fairness, the readings are described in the critical report, including even a reason why dots may not be there in the sources, but no justification is given for editorializing them. Nevertheless, whatever an editor s decision, and whatever its justification, it would generally be helpful if there were a typographical distinction between source and editorial readings; looking at the score alone, a reader has no inkling that some of the articulation in this passage is mere suggestion. If I quibble about this relatively minor detail and give only one example it is only because there is so little to complain about in the edition as a whole. The musical texts seem to be largely error-free, the introductory texts are mostly excellent, and the critical reports are thorough and permit users to understand the nature of the sources and their relationship to the edition while at the same time inviting performers and scholars to draw, or at least consider, different conclusions. Occasionally an important detail or performance practice issue is not adequately explained. The general preface to the concerto volumes, for instance, mentions that the soloist continues to function as continuo player in the tuttis, as the figures in the original scores and parts testify (Series 3, vol. 9.14, p. ix). It gives no suggestions, however, as to what the right hand plays in the tuttis (the parts typically have rests), even though this has been a continued matter of debate in scholarship and performance. We are pretty much left in the dark, too, in the volumes devoted to orchestral music, as to the different sizes and makeups of Bach s orchestras. Similarly, the introductions to the keyboard music, while mentioning Bach s ornaments and references to them in the composer s Versuch über die wahre Art das Clavier zu spielen, does not actually reproduce them for the benefit of players; for this a user has either to consult the Versuch itself or visit the edition

7 Reviews 155 website, where an electronic file of their realizations can be downloaded. It is a short list and surely it would have been possible a good idea even to reproduce it in all the appropriate volumes. Many of the introductions, however are outstanding, among them David Schulen berg s to the Probestücke, Leichte and Damen sonatas (Series 1, vol. 3); Darrell M. Berg s to Miscellaneous Sonatas from Prints I II (Series 1, vols ); Ulrich Leisinger s to the 1769 St. Matthew Passion (Series 4, vol. 4.1); and Ekkehard Krüger s and Tobias Schwinger s to Berlin Sym phonies (Series 3, vol. 1), to mention only a few. The edition website ( is a repository of useful information. In addition to describing the edition and its organization, and giving an account of both published and forthcoming volumes, it also includes links to several digital facsimiles of important sources, among them the Haffner print of the Württemburg sonatas, Wq 49; the Winter editions of the Sonaten mit veränderten Reprisen, Wq 5 52, and the Clavierstücke verschiedener Art, Wq 112; the Lotter print of the Kurze und Leichte Clavierstücke, Wq 113; C. P. E. Bach s own editions of the double-chorus Heilig, Wq 217, and the Sechs Clavier-Sonaten für Kenner und Liebhaber, Wq 55; the Hartknoch print of the Damen sonatas, Wq 53; and the composer s Versuch über die wahre Art das Clavier zu spielen in both its earlier and later editions. The edition bills itself as a living edition, and justifiably so: the website reports new information and other relevant material, including corrigenda to both texts and music; it reproduces the editorial guidelines; and it offers downloads of performing parts for the chamber, orchestral, and choral music. What is most striking, perhaps, is that it invites readers to contact the editorial team. This is no idle nod in the direction of user-friendliness: the editors of the C. P. E. Bach edition are both accessible and prepared to answer questions. In my experience this is virtually unheard of. But it is the way things ought to be done. CLIFF EISEN The Invention of Folk Music and Art Music : Emerging Categories from Ossian to Wagner, by Matthew Gelbart. New Perspectives in Music History and Criticism Series. Cambridge and New York: Cambridge University Press, 27. xii, 287 pp. Scholarly monographs typically problematize issues that otherwise seem straightforward. Matthew Gelbart s The Invention of Folk Music and Art Music : Emerging Categories from Ossian to Wagner is no exception. The book based on his dissertation and meticulously researched in European and U.S. libraries uses aesthetic treatises, histories, reviews, song collections, letters, and other sources to show how common understandings of the terms