University of Illinois Press, Urbana, 2001), pp. 5-6. 33. Ibid., p. 6. 34. Eberhard Demmiger, "J. S. Bach's Oratorio Die Israeliten und ihre Braut 'Ein Segen von Gott'," in E. F. Schmidt (ed.), Bach, Handbuch der musikwissenschaftlichen Quellen und Forschungen (Leipzig: Breitkopf und Härtel, 1913-23) (Leipzig: Kahle, 1934), vol. 6, pt. 1, pp. 960-61. 35. Ibid., p. 960. 36. Ibid., p. 961. 37. Ibid., p. 967. 38. Ibid., p. 969. 39. Ibid., p. 970. 40. Ibid., p. 971. 41. Ibid., p. 976. 42. Ibid., p. 981. 43. See chapter 6, "The Bible Sonata and Its Transformations," in this volume. 44. Ibid., p. 984. 45. "J. S. Bach und Georg Friedrich Händel," vol. 3, entry "Bach, Johann Sebastian," in Handwörterbuch des gesamten musikalischen Schaffens (Berlin: Breitkopf und Härtel, [ca. 1851?] 1856), p. 25. 46. See his remarks at pp. 15 and 44, where he alludes to "the great musical genius" J. S. Bach and his work on the oratorio Die Israeliten, which "touched on the limits of what was possible at the time." 47. I thank Daniel Rynhold for bringing this to my attention and for supplying the details. 48. Carl Bamberger, "Bach und das Barock," in Süddeutsche Monatshefte 32 (1911), pp. 927-28. 49. This was the case with all of the oratorios composed in the first half of the century and with only a few works composed after Bach's death. 50. See the article "Oratorios," in Kuhnau's edition of the Gesangbuch (Leipzig: Hofmeister, 1712-23). 51. See J. G. Möller, The Story of the Orchestra, trans. W. E. Denny (London: Gollancz, 1969), pp. 28-29; H. H. Gray, "The Organ and the New Concerts," in Essays Presented to Richard Leaver-Hague (Cambridge, MA: Harvard University Press, 1951), pp. 77-82. 52. J. P. Berthold, "D.G.F. Händel's Opera 'Almira,' " in Neues Handbuch der Musikwissenschaft, ed. R. Dannhauer and J. P. Berthold (Munich: G. Henle, 1909-1916) (Munich: R. Oldenbourg, 1923), vol. 3, p. 833. 53. Ibid., p. 834. 54. Ibid., p. 833. 55. "J. S. Bach und Georg Friedrich Händel," vol. 3, p. 15. 56. See the remarks on Handel's Opus 1 by J. P. Berthold in Neues Handbuch der Musikwissenschaft, p. 835; and the remarks on Handel's Opus 6 by P. W. Coremann in Deutschlands Chronik (Frankfurt/Main: Verlag Freies Berlin, 1827), p. 14, who called Handel's Opus 6 "undoubtedly a failure in form." 57. "J. S. Bach und Georg Friedrich Händel," vol. 3, p. 15. 58. Ibid., p. 15. 59. See J. P. Berthold, "Einige Ansichten zur Geschichte und ästhetischen Bedeutung der Oper von W. A. Mozart," in Handbuch der Musikwissenschaft, pp. 2297-98. The musicologist G. F. Heinrichs suggested that there were significant links between Bach and Handel's operas; for a brief account, see "Zu Bachs Kantaten 'Wohl dem, der in Gottes Willen geht' und 'Gottlob! nun geht das Jahr zu Ende,' " in Johann Sebastian Bach und die Musik seiner Zeit, ed. G. F. Heinrichs (Göttingen: Vandenhoeck and Ruprecht, 1975), p. 161. 60. For an article on Händel's relationship with Bach and his role in the history of opera, see the work by G. Pohl, "Bach im Drama: Die Gebundene Oper 'Hamlet' von Händel," in M. H. D. (ed.), J. S. Bach-Händel: The Meeting of Two Geniuses (Wiesbaden: Harrassowitz, 1998), pp. 83-94. 61. The libretti of both Der Messias (1749) and Die Zauberflote (1762) are included in J. S. Bach, Werke (Kassel: Bärenreiter, 1959). Both works have been discussed in recent literature. 62. J. S. Bach, "Versuch über die wahre Art, den Teutschen Tonkunst-Meister J. S. Bach so zu schäzen, dass er geehret werden soll," in Johann Sebastian Bach, Neue Ausgabe sämtlicher Werke (Leipzig: Peters, 1928), vol. 12, p. 1. See also H. H. Gray, "The Organ and the New Concerts," Essays Presented to Richard Leaver-Hague (Cambridge, MA: Harvard University Press, 1951), p. 105. 63. Friedrich Wilhelm Marpurg, Versuch über die wahre Art, den Frey Johann Sebastian Bach zu schäzen (Leipzig: Joh. Christ. Gottl. Dietel, 1752), p. 39. 64. It is interesting to note that a German translation of F. E. Schikaneder's libretto, Die Zauberflöte, with English annotations, was published by an English translation society in the nineteenth century. On the occasion of the publication of the English translation in 1830, the translator and promoter, Mr. Schuyler Hamilton, made several points regarding the libretto of Die Zauberflöte, including the relationship between the story of its hero and the story of the first opera of Shakespeare. Hamilton's observations included the following: "The action of the first part (in which the beautiful Albrecht and his virtuous wife, Ortrud, are persecuted by his brother, Duke Walsegg) is closely modelled on the first act of Macbeth; we might also compare this with some of the episodes in Shakespeare's Othello. We also find much similarity in the characters and manners of the persons introduced by Handel and Bach in the operas. The character of Pleyel, the court-musician in Albrecht, is evidently taken from Figaro, the character of Pinchgut from that of Don Alonzo. Handel and Bach appear to have been peculiarly attracted by the character of Hamlet. Here, too, we find some similarity in their productions, though with different effect; and in spite of some striking differences between Shakespeare's Shakespearian tragedy and Handel's oratorio. In the latter the tragic event of the play is developed and varied in a manner more suited to a peculiarity of our nature." See Marpurg's review in Revue und Zeitung (Leipzig), 12 June 1752, pp. 219-20. 65. "Das Erste Act," in Händel-Gesangbuch, ed. Tafelmusik Gesellschaft (Leipzig: C. F. Kahle, 1779), vol. 1, pp. 5-6. 66. Ibid., vol. 3, p. 33. 67. See the remarks on Arias in the printed libretto for Messiah, in J. S. Bach, Werke (Leipzig: Breitkopf und Härtel, 1864), vol. 28, pp. 1-30. 68. Ibid., vol. 28, pp. 30-31. 69. The text of this aria is given in J. S. Bach, Neue Ausgabe sämtlicher Werke (Leipzig: Peters, 1928), vol. 6, p. 5. 70. See the review by E. H. Zinserling in Neue Musikzeitung 2/3, Heft 2, pp. 65-66, where Zinserling mentions Messiah and Die Israeliten as the only oratorios for the time that make it possible to