J. S. Bach’s Chorale-Based Pedagogy: Origins and Continuity

Abstract:Recently discovered chorale books from J. S. Bach’s circle of pupils have prompted a re-evaluation of long-held assumptions regarding the function of the chorale in Bach’s pedagogy. These sources, together with documents from Bach’s pupils and grand-pupils, show that the keyboard chorale, not the vocal chorale, played the central role. This keyboard chorale tradition, which often included multiple basslines for each chorale melody, is witnessed by Bach’s pupils, Marpurg, Kirnberger, and Kittel, and was carried into the nineteenth century by Kittel’s students Häßler, Umbreit, and Rinck.Potentially the earliest known source with multiple-bass chorales is Hamburg 2366, but its provenance is uncertain. Analysis of the basses in this source reveals similarities with Georg Bronner’s Musicalische-Choral-Buch (Hamburg, 1715). This suggests Siegert Rampe was correct in tracing Hamburg 2366 to Vincent Lübeck and the Nikolaikirche in Hamburg c.1700, because Lübeck became organist there in 1702, replacing Bronner. Thus, Bach may have been introduced to multiple-bass keyboard chorale pedagogy on visits to Hamburg between 1700 and 1705. The earliest firmly datable source with multiple basses is Johann Philipp Treiber’s Der accurate Organist (Arnstadt, 1704). Bach became organist at Arnstadt in 1704, meaning Treiber is another possible origin for Bach’s introduction to keyboard chorale pedagogy.New evidence implies that C. P. E. Bach continued this teaching tradition. His publisher, Johann Heinrich Herold, appended C. P. E. Bach’s Neue Melodien (Hamburg, 1787) to David Kellner’s Treulicher Unterricht around 1789. Herold’s preface says that “experts” (likely C. P. E. Bach) hold chorales to be the best practice pieces for beginners of thoroughbass. Kellner’s enormously popular figured bass treatise, originally published in Hamburg in 1732, is shown to have multiple connections with both J. S. and C. P. E. Bach, and may well have influenced Herold’s decision to link the treatise with C. P. E. Bach’s Neue Melodien.The longevity of this century-long keyboard chorale tradition indicates its effectiveness and suggests that historically informed teaching today should align itself more closely with Bach’s actual pedagogy.