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.
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More From: BACH: Journal of the Riemenschneider Bach Institute
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