Wolfgang Amedeus Mozart & Bach
Discussions - Part 2

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Bach-Mozart Connection: Essays, Conferences

William L. Hoffman wrote (January 21, 2020):
(Discussion Leader's note: This year's Bach Cantata Website 19th anniversary continues the Fifth Cycle of Bach Discussions on the Bach Cantata Mailing List [BML] with various topical and repertory subjects).

Two major subjects of Bach studies involving historical musicology and contextual interests focus on the Bach-Mozart connection and on Bach biography. On the crest of such scholarly pursuits, the Bach-Mozart connection has been a more recent pursuit on the rise again while Bach biography dating to his death in 1750 with his obituary remains of essential interest in the field as a new century and decade produced several musical-personal syntheses that take new perspectives. Greatly influencing Bach biography is the growing study of musical reception history, beyond Mozart, beginning in the half century after Bach's death in 1750, allied with the field of historical musicology (see http://www.bach-cantatas.com/Books/B0219.htm: "Compositional Choices: Reception History). Central to Bach biography are the so-called "Bach Revivals" of the 19th and 20th centuries, the latter often in association with the Early Music Revival (https://en.wikipedia.org/wiki/Early_music_revival).

The first subject, the Bach-Mozart connection, is in the public eye again as the American Bach Society co-hosts with the Mozart Society of America the meeting, “Bach and Mozart: Connections, Patterns, Pathways,” at Stanford University, February 13–16. The agenda explores "the many fruitful connections between generations of composers in the Bach and Mozart families, the patterns of influence and inspiration that emerged from their works and their artistic milieus, and the pathways opened by their music and musical cultures" (https://www.americanbachsociety.org/meetings/stanford2020_cfp.html).

The relationship between Bach and Mozart is now considered to be the epitome of the High Baroque and Classical era studies involving the two (http://www.sfchoral.org/site/bach-and-mozart-the-epitomes-of-their-eras/). It was only recently that scholars began to explore in depth this relationship and to find various connections between Bach, his sons Emanuel and Christian with Mozart in various scholarly essays. The most recent study is Robert L. Marshall's Bach and Mozart: Essays on the Enigma of Genius (https://boydellandbrewer.com/bach-and-mozart-hb.html). The first flowering was the scholarly essay collection, Bach Perspectives 3: Creative Responses to Bach, from Mozart to Hindemith, Michael Marissen, ed. (University of Nebraska Press, 1998), devoted the first three chapters to the two composers (https://www.americanbachsociety.org/perspectives.html). Another collection is the 2008 Christoph Wolff Festschrift, The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance (https://searchworks.stanford.edu/view/7614758). In addition, the Bach Network has nine entries in article published since 2006 related to Bach and Mozart, https://bachnetwork.org/understanding-bach/: Search: Bach and Mozart. An on-line posting discusses four Mozart works that show a significant Bach influence on Mozart in the 1780s (K. 384, 405, 546 and 555; https://thelistenersclub.com/2017/11/10/mozarts-journey-in-the-footsteps-of-bach/).

One of the first systematic studies, Ludwig Finscher's "Bach's Posthumous Role in Music History," is part of "the first volume of essays devoted exclusively to Bach reception" in Matthew Dirst's review of Bach Perspectives 3, which the book's Preface editor, Michael Marissen, describes as "a broad, succinct survey of the terrain" (Ibid.: 7). Finscher, retired German musicologist (b.1930, https://www.balzan.org/en/prizewinners/ludwig-finscher) is best known as the editor-in-chief of Die Musik in Geschichte und Gegenwart (https://en.wikipedia.org/wiki/Die_Musik_in_Geschichte_und_Gegenwart), German music encyclopedia equivalent of The New Grove Dictionary of Music and Musicians (https://en.wikipedia.org/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians). Finscher has published at least 63 articles, recording liner notes, and book reviews (http://swb.bsz-bw.de/DB=2.355/SET=1/TTL=61/NXT?FRST=1&ADI_LND=&NOABS=Y). Finscher chronicles the early history of Bach reception in the Classical period when Bach was placed on a pedestal with the shaping of German national ideology, followed by the Romantic era's adulation and the significance of the Well-Tempered Clavier (https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier). Other topics include the Bach-Mozart connection through Vienna in the early 1780s with Baron Gottfried van Sweiten (https://en.wikipedia.org/wiki/Gottfried_van_Swieten), as well as Mozart's different means of synthesis in each work" he composed, influenced by Bach, citing K. 387, 424, 464, 574, and 620. "It is a token, among many, of Mozart's singularity that no subsequent composer found so many ways of infusing an already fully developed personal style with elements of Bachian counterpoint," says Finscher (Ibid.: 12). Bach's influence on Beethoven, Mendelssohn, and Schumann was important, as well as Max Reger and Feruccio Busoni, in addition to the plethora of 20th century Bach arrangements by Schoenberg, Stokowski and others and the proliferation of the B-A-C-H theme (see https://www.bach-cantatas.com/NVD/Organ-Revival-20.htm). Thus, "there is no composer other than Bach who has had such an influence on his colleagues, in so many different ways, and over such a long stretch," says Finscher (Ibid.: 21). "There is no composer who has written music history so long after his death. It is time to begin to reconstruct this history." Of course, there are some New Musicologists who would disagree with Finscher, arguing that Bach's has had little influence on contemporary music and that his German Classical legacy was detrimental to the development of 20th century music beyond imitation and arrangement.

A different prospective on early Bach reception is Thomas Christensen's "Bach Among the Theorists" (Bach Perspectives 3, Ibid: 23).¹ German-trained music theorist at the University of Chicago, Christensen begins his essay suggesting that while Bach students cited him as significant in their development of theoretical and pedagogical works (this "bevy of loquacious musical pedants"), Bach actually had little interest is music theory, leaving no treatises or mathematical studies. Christensen says that Bach's "'theory' was entirely applied and dispensed with contemporary strategies" (Ibid.: 25). The first observation seems faint praise as Bach did not venture into the weeds or thickets of theoretical exegesis as did few of his noted contemporaries such as Rameau or Johann Mattheson, perhaps because he lacked the literary training. The second finding, based on the thworks of little-known theorists after Bach, begs the question since Bach in his last two decades composed primarily works in either the progressive style galant or the contrasting style antico, both in more recent studied by Marcus Rathey and Daniel Melamed in the former, and Christoph Wolff in the latter.² Christensen emphasizes that Bach's music was drawn into "rarified ontological questions about music and its speculative grounding," as well as P("p)ressing concerns about changing musical styles. "Bach's compositional art could be seen as harmonic achievement" while "what fugal pedagogy there was consisted of revisions within the paradigm of Fuxian strict counterpoint," he finds (Ibid.: 31). On a more positive note, Christensen concludes with a suggestion that "all theorists who cite his music in their arguments," "can find justification somewhere." The title of his essay, "Bach Among the Theorists," is a reference to theologian Jarolsav Pelikan's Bach Among the Theologians (Philadelphia: Fortress, 1986). Here Christensen finds "that no fixed answer was possible, which Bach seemed to offer evidence suggestive to all sides," ranging from Enlightenment to Reformation to Pietist perspectives. "His music constitutes a spectrum, really a whole musical ocean, to paraphrase Beethoven — that is large enough to accommodate all the harmonic theories, theological catechisms, and numerology encodings his listeners in it over the ages. It is also large enough to accommodate our concerns today, our own peculiar postmodern urges to project upon it differing hermeneutic readings, political allegories, and social or gender hierarchies. This is perhaps Bach's most tenacious theoretical legacy, and one that promises not to exhaust itself any time soon," Christensen concludes.

Robert L. Marshall's essay, "Bach and Mozart's Artistic Maturity," first appeared in Bach Perspectives 3 as the third chapter (Ibid.: 47) and now in his new Bach and Mozart: Essays on the Enigma of Genius as Chapter 14 (University of Rochester Press, 2019: 212ff), with virtually no changes. Marshall "argues that Mozart's deep involvement with Bach's music probably stems from a much earlier period than the usually cited interaction of the 1780s in Vienna and Leipzig," says Michael Marissen in the Preface (Ibid.: vii). "This exposure and confrontation . . . with the music of Bach profoundly influenced, indeed virtually transformed Mozart's style and even reshaped his fundamental understanding of the nature and potential of music," says Marshall (Ibid.: 212). The result was a major aesthetic and stylistic breakthrough — one that effected a synthesis of the 'learned' and the 'galant,' of Bachian counterpoint and complexity and rococo 'naturalness and immediacy.' The result was nothing less than the creation of the Viennese Classical Style."

The strong connection between Bach and Mozart initially was sounded by various writers in the early years of the 19th century following Johann Nicholas Forkel's exemplary Bach biography, as Marshall point out. Today, others Marshall cites are Finscher (Ibid.) and Charles Rosen in The Classical Style: Haydn, Mozart, Beethoven (New York: W. W. Norton, 1972: 20n1). "Mozart's knowledge of Bach music most likely antedated the Van Swieten sessions [1782+] by well over a decade," says Marshall (Ibid: 215). In the early 1750s, Leopold Mozart knew at least one member of the important Berlin Bach circle, which stimulated Van Swieten — the theorist Friedrich Wilhelm Marpurg. Perhaps much earlier Leopold in his youth knew Bach's music through Philipp David Kräuter in Augsburg, another Bach pupil. Leopold later knew Bach leading advocate, Lorenz Christoph Mizler, who in 1747 admitted Bach to his learned musicians Society. Leopold probably introduced his young son, Wolfgang, to Bach and it is documented that his son encountered Johann Christian Bach, Sebastian's youngest son (b.1735), in London on tour in 1764-65, although the much younger Bach had no interest in his father's music by this time. A Mozart piece, the almost-finished "Fugue in G Minor for Clavier," K. 401/375e (https://www.youtube.com/watch?v=3sNE374O7ws), Marshall describes as an "atypical piece," "a contrapuntal tour de force of the first order." Another triangular connection involves Padre Giovanni Battista Martini, an admirer of Sebastian and teacher of Christian in the early 1760s, who received a visit from the Mozarts on tour in Bologna in 1770, Marshall points out (Ibid.: 217). During the 1770s Austrian composers became infatuated with contrapuntal writing. Mozart's 1780s compositions influenced by Bach are also described in Marshall's essay, found in Van Swieten's Bach copy collection in Vienna to include the keyboard Inventions and English and, the Well-Tempered Clavier, the Musical Offering and Art of Fugue, the Clavierübung 3, the Organ Sonatas, BWV 525-30, and the Magnificat, BWV 243. Also cited are Mozart's Serenade in E-Flat for Winds, K. 375, which Marshall cites as a "striking example" of "classical counterpoint" (Ibid.: 68).

Mozart's encounter wth Bach's motet, "Singet dem Herrn ein neues Lied" (Sing unto the Lord a new song, Psalm 149:1), on a visit to Leipzig in 1779, is legend. Mozart heard the Thomas Choir sing the double chorus work and was deeply impressed (https://thelistenersclub.com/2017/11/13/the-bach-motet-that-inspired-mozart/). The impromptu performance may also have included other Bach motets from their repertory which also included motet-style opening choruses from chorale cantatas. "The visit precipitated a second systematic phase of largely derivative stylistic imitation," says Marshall" (Ibid.: 68). Marshall finds influences in fugal passages in Mozart's Requiem and a chorale prelude in The Magic Flute "armed men" Act 2 Finale. Of note is Mozart's Fantasy in F Minor, BWV 608 (https://www.youtube.com/watch?v=PxzSF8pU-Sw), his "boldest effort at an unabashed Bachian style imitation," says Marshall (Ibid.: 74). The ritornello "seems to contain an illusion" to the Prelude in E-Flat from the Clavierübung 3 (https://www.youtube.com/watch?v=04cN0dbP5u4), "which Bach surely got to know from Van Swieten." The Count had been a member of the Bach circle in Berlin from 1770 to 1777 and had access to Bach's works in the Amalien library.

In the 20th century, Bach and Mozart have become the two dominant figures from the 18th century, as found in The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance. The two composers, not as well-known in that century, now seem joined at the musical hip by virtue of their proximity and overall stylistic development as well as their central role in the development of the High Baroque-Early Classical periods known as the formative time of the so-called "Common Practice Period" of tonality (1650-1900, https://en.wikipedia.org/wiki/Common_practice_period). The collection of essays, The Century of Bach and Mozart, was based on the 2005 conference of the same title at Harvard University in 2005, where the participants explored "music in its broader intellectual context; to tie up the two halves of the century [as one historical music period]; and to allow two representative musical names (but of course not excluding others) to play a major role in the discussion," say the collection's editors, Sean Gallagher and Thomas Forrest Kelly.

A study of the two composers graphically demonstrates the similarities and differences involved in the two, as found in Hans-Joachim Schulze's study, "Bach and Mozart: From the Perspectives of Different Documentary Evidence". (Ibid.: 207ff).³ "I cannot help but wonder whether Bach and Mozart would be astonished at the bulk of dates and facts which we have carefully collected over the past several decades," Schulze muses. All tooften, the materials found in research, beyond the established chronology of their compositions, "is increasingly accepted as compensation for the considerable lack of authentic information," he cautions. The letters of Mozart and family are a chronicle of his activities while the dating of Bach's works is almost exclusively determined through scientific manuscript studies of the handwriting, paper, and ink. The Mozart correspondence enables a definitive biography while Bach himself is the source of much of his biography, later recounted in his Obituary and his first biography by Johan Nicholas Forkel. Consequently, the "great mysteries surrounding the composition" of Bach monumental Mass in B-Minor, Schulze observes (Ibid.: 213), "make the compositional circumstances of Mozart's last and unfinished work, the Requiem, and its origin and customer, seem transparent by comparison." While the motive, method and opportunity of the latter is legion, including Peter Shaffer's drama, Amadeus, only the method of the former can be perceived, while various theories are still pursued today (see https://www.researchgate.net/publication/281606333_Exploring_Bach%27s_B-Minor_Mass_ed_by_Yo_Tomita_Robin_A_Leaver_and_Jan_Smaczny). Also lacking information on Bach's major works, says Schulze, is the first version of the St. Matthew Passion.

It is possible through extensive bibliographical sources to suggest a genesis of this work (see "Matthäus-Passion BWV 244 - Early History (A Selective, Annotated Bibliography)," https://www.bach-cantatas.com/Articles/SMP-Biblio-Hoffman.htm.

Meanwhile, Schulze points out (Ibid.: 214), Bach scholars had to overcome the myth "that Bach's music vanished during the second half of the 18th century. In an effort to overturn this belief, the boundaries for inclusion of materials were defined very broadly" while first-hand Mozart materials were readily accessible. Further hampering connections between Bach and Mozart were the lack of 18th century sources to study the two, Schulze point out. A late 18th century examination of Bach and Handel yielded a conflict between the assessment of Charles Burney favoring Handel and the Handel Centennial in London in 1785, while Emanuel Bach favoring his father and denigrated Burney's opinions. Yet, as Schuze points, the Bach Dokumente series of sources has now been expanded, doubling in recent years (https://www.baerenreiter.com/programm/gesamt-und-werkausgaben/bach-johann-sebastian/nba/supplement/) to fill the void.

The concept of biography has grown far beyond essential chronicles. Following the Bach Cantatas Mailing List (BCML) discussions of Bach and Mozart, the discussions will turn to Bach biography and music with an emphasis on new publications being released this year.

FOOTNOTES

¹ Thomas Christensen, https://books.google.com/books?id=BKMx7o0Gty4C&pg=PA23&lpg=PA23&dq=Christensen:++Bach+Among+the+Theorists&source=bl&ots=XVKsvaAhFQ&sig=ACfU3U0SC8xNAzQGq-cze01pHChdpQLnaQ&hl=en&sa=X&ved=2ahUKEwjNk4SaoIznAhXPGs0KHSzWDwcQ6AEwAnoECAkQAQ#v=onepage&q=Christensen%3A%20%20Bach%20Among%20the%20Theorists&f=false).
² See Marcus Rathey, Johann Sebastian Bach's Christmas Oratorio: Music, Theology, Culture (Oxford University Press, 2016); Daniel R. Melamed, Listening to Bach: The Mass in B Minor and the Christmas Oratorio (Oxford University Press, 2018); and Christoph Wolff, "Bach and the tradition of the Palestrina Style,"in Bach: Essays on His Life and Music (Cambridge MA: Harvard University Press, 1991: 84ff).
³ The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance, Christoph Wolff Festschrift, ed. Sean Gallagher and Thomas Forrest Kelly (Cambridge MA; Harvard University Press, 2008).

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To come: Robert L. Marshall's Bach and Mozart: Essays on the Enigma of Genius (https://books.google.com/books/about/Bach_and_Mozart.html?id=8mKtDwAAQBAJ).

Bach-Mozart Essays: Bach Music, Themes

William L. Hoffman wrote (January 24, 2020):
The Bach-Mozart connection receives its most up-to-date and comprehensive examination in the new Robert L. Marshall studied collection, Bach and Mozart: Essays on the Enigma of Genius.¹ The 15 chapters with prologue and epilogue are a drama of perspectives on Bach, Mozart and the two composers. Written almost in the last three decades and updated, they cover a wide area with the first 11 chapters devoted to Bach, covering Bach topics and works and many having references to Mozart. The final four chapters deal with Mozart and the Bach-Mozart connection. Marshall shows how biography and music are inseparable while the "enigma of genius" in the title suggests the challenges and complexities of understanding the two composers and their worlds. As bookends, the Prologue is entitled "The Century of Bach and Mozart as a Music-Historical Epoch: A Different Argument for the Proposition" (1987) and the Epilogue, (ossia Postmortem), "Had Mozart Lived Longer: Some Cautious (and Incautious) Speculations" (1991).

Using a wealth of interpretive techniques and approaches, Marshall seeks in his Preface a "deeper understanding" of the two great composers, as "gifted creators" and "fellow human beings." The chapters are arranged in chronological succession, from Bach's youth in the late 17th century to the first quarter of the 19th century, when both were accepted into the musical pantheon while speculating on what Mozart could have accomplished musically had he lived a full life. Among the initial Bachian topics are the musical implications of his orphanhood in contrast to the integral Mozart family, biographical lessons learned from the family musical notebooks of son Friedemann and second wife Anna Magdalena, his relationship to the seminal figure of Martin Luther and the Reformation, as compared with Mozart's enlightened world, and Bach's attitude towards the Jews in his St. John Passion. Bach musical works and related issues in the next chapters include an extended survey of his pedagogical and learned keyboard music, and the still controversial minimalist and traditional approaches to performing Bach's choral music from one voice per part to several to many. The middle three essay chapters "trace Bach's artistic and development" in the Leipzig vocal music with "Truth and Beauty" in the sacred and profane works, the mid-life Christmas Oratorio and progressive stylistic directions, and "Bach at the Boundaries of Music History: Preliminary Reflections on the B-Minor Mass and the Late-Style Paradigm." The next two chapters by contrast relate to the succeeding, lesser-studied issues of Bach's five composing sons and their diverse relationships to their father as well as Marshall's only original essay, the youngest, Johann Christian, the "London" Bach and his influence on Mozart and the Early Classical milieu. Chapter 12 is a transition from Bach to Mozart with a study of their "Styles of Musical Genius" "rooted in the personal histories and psychological dispositions that drove and shaped" their creativity. Mozart's multi-faceted and enigmatic character is explored through the lens of Peter Shaffer's biographical comedy-drama, Amadeus, Marshall's view of the several stages of Mozart's responses to Bach is assessed, and an examination of the fragments Mozart left leads to Marshall's imaginary epilogue.

Marshall comes with strong credentials for assessing Bach, Mozart and their connections,² having puextensively on these and related subjects. Sachar Professor of Music emeritus at Brandeis University, he is best known for The Compositional Process of J. S. Bach: A Study of the Autograph Scores of the Vocal Works, in two volumes, a unique study 1972. He and his wife, Traute, recently published another unique study, Exploring the World of J. S. Bach: A Traveler's Guide (https://www.bach-cantatas.com/Books/B0217.htm). He also published a previous collection of Bach essays, The Music of Johann Sebastian Bach: The Sources, the Style, the Significance (see below).

Place in History, Bach Biography

The initial essay as prologue, "The Century of Bach and Mozart as a Music-Historical Epoch: A Different Argument for the Proposition," begins with the perspective of the 18th century from social and cultural history, instead of heroic musical biography. Taking an integral view of the 18th century of Bach and Mozart, Marshall notes the importance of national styles at the beginning of the century, the freedom of tonality at the end, with the stylistic shift around mid century, while the simple instrumental style of popular dance throughout the century also dominated the previous century and continues. Bach and Mozart were "the culmination of two separate lines": Bach's Protestant tradition of north and central Germany and Mozart's secular tradition from Italy to Austria, as learned music began returning to its roots in the north, toward the Burgundian lands. The 18th century ended with two landmark works, Haydn's Creation in 1798 and Beethoven's "Eroica Symphony in 1803, "conforming the arrival not only of a new harmonic, tonal, and formal [structural] procedures but of a new musical aesthetic — indeed a new musical ethos — as well," Marshall concludes (Ibid.: 8), one that came directly from the accomplishments of Bach and Mozart and produced the vocal oratorio, culminating in the old and instrumental showpieces launching the new.

The topic of Bach biography in this century has triggered both a retrenchment or return to some of the time-honored but unresolved concerns of past scholarship (Bach motive and opportunity, authenticity, scholarship, and practice), while simultaneously pursuing psycho-social, contextual and receptive interests far beyond the usual boundaries of the historical-biographical-musical perspective. Marshall takes a dualistic directional approach in "the Young Man Bach: Toward a Twenty-First Century Bach Biography." He begins with a historical review of the main currents of Bach studies at mid-20th century with the scholarly New Bach Edition and its rigidly exacting critical commentary, the dating of the vocal works, and the challenge to Bach as the legendary Fifth Evangelist, as well as the Early Music Revival with its emphasis on authenticity and performance practice. Yet, "little serious effort has been made toward a comprehensive reconsideration of the composer's life," he observes in 2000 (Ibid.: 13).

Early Works, Lutheran Tradition

Marshall begins at the beginning of Bach's "notoriously and frustratingly uneventful" life, considering first his mundane environment and early musical works. Lacking parents, his character formation involves a sense of "abandonment and betrayal" with an innate distrust but predisposition to religion and a self-taught musician. The ungrounded and combative youth finds meaning in the Bach Family gatherings that produced the unique, mega-musical-textual Quodlibet (https://www.bach-cantatas.com/Vocal/BWV524-Gen2.htm). One notable compensation is Bach's interest in family genealogy and music which grounds him in the Lutheran tradition, says Marshall (Ibid.: 18). The young adult shapes (finds) his identity with "an assertion of freedom and independence" simultaneous with "submission to strict, rigorous discipline" — "we are simultaneously saints and sinners," says Martin Luther (https://shop.1517.org/blogs/1517-blog/simul-iustus-et-peccator-simultaneously-righteous-and-sinner). Another milestone early work, says Marshall (Ibid.: 20), is the six-part keyboard "Capriccio on the Departure of a Beloved Brother," BWV 992 (https://en.wikipedia.org/wiki/Capriccio_on_the_departure_of_a_beloved_brother, https://www.youtube.com/watch?v=tqdevfkh0vQ). The date and reference are unknown, possible a friend. The

six movements can be considered a musical setting of the stages of loss or grief — denial, anger, bargaining, depression, acceptance — by Elisabeth Kübler-Ross (https://en.wikipedia.org/wiki/Kübler-Ross_model), suggests Marshall. Further, beginning in his early 20s, Bach composed considerable music of mourning and consolation while experiencing the deaths of many of his children, relatives, and friends. While establishing an identity in early adulthood, Bach set his life's agenda or calling and at the same time married a Bach family cousin, c.1708. Finally, Bach's humanity in all its nuances, especially revealed in his great compositional achievements, reinforces his stature, says Marshall (Ibid.: 29).

Central to Bach's calling — a "well-regulated church music to the glory of God" — is his grounding in the music and teachings of Luther, says Marshall in "Bach and Luther" (Chaper 3, 2009), as no other German composer found. Essential is the Lutheran chorale permeating his organ music, both simple settings and monumental settings (http://bach-cantatas.com/NVD/Organ-Music-Intro.htm) as well as his 1724-25 incomplete cycle of chorale cantatas (http://www.bach-cantatas.com/Topics/Cycle-2.htm: "Chorale Cantata Cycle," May 18, 2014). Bach's attraction to Luther's congregational hymns is manifold, says Marshall (Ibid.: 46), in their poetry, music, and theology, created to teach the people, as well as the substance of liturgy (see Robin A. Leaver, Luther's Liturgical Music: Principles and Implications (https://books.google.com/books/about/Luther_s_Liturgical_Music.html?id=p742DgAAQBAJ). The first great composer in modern times, says Marshall (Ibid.: 52), Bach's model was Luther in his theological teachings and sermons, which occupied a great place in his personal library, one that would have been the envy of Lutheran pastors. Finally, Luther as a father figure was central to Bach's personal life, Marshall concludes (Ibid. 54f).

Bach's Music: Selective Scholarship, Understanding

Bach's music still awaits further scholarship and understanding, as suggested in Marshall's essays on selective music, representing his special interest in keyboard works and vocal music. A formative music that also has personal family connections but has been ignored in most Bach scholarship until recently is the first of Marshall's studies, "The Notebooks for Wilhelm Friedemann and Anna Magdalena Bach: Some Biographical Lessons" (Chapter 2, 1990). Initiated in Cöthen in January 1720, the Notebooks Bach created as pedagogy for oldest son Friedemann, followed by the Anna Magdalena Notebooks begining in 1722 soon after his second marriage, they establish "his family as an intimate community of musicians," says Marshall (Ibid: 31). As with William Shakespeare, the first-hand biographical sources of letters and accounts is woefully lacking, and it is only through their works that they can best be known and understood. The family "little keyboard books" initially were first drafts of major keyboard works. Friedemann learned ornamentations and composition in the Inventions and Sinfonias and eleven of the preludes to the first book of the Well-Tempered (http://bach-cantatas.com/NVD/Keyboard-Music-Early.htm). The first notebook of Anna Magdalena, a consummate musician as a professional singer and competent keyboard player, was intended for her pleasure rather than instruction. Two-thirds of the book apparently are lost but appear to be the earliest drafts of the French Suites were their emphasis on dance music. Her second notebook, begun in 1725, was a personal family album of her favorite miniatures, both vocal and instrumental, by members of the immediate family, as well as other composers (https://www.bach-cantatas.com/Vocal/BWV508-523-Gen.htm: "Discussions in the Week of July 4, 2010"). The minuets and polonaises in her anthology reflect the cultural poles of Paris and Dresden while the songs "were included for Anna Magdalena's own pleasure," says Marshall (Ibid.: 33). An important unattributed item was the "Aria" theme from the Goldberg Variations (https://www.youtube.com/watch?v=15ezpwCHtJs), entered in 1725, with the last dated contributions of the two youngest sons, Johann Christoph Friedrich (b.1732) and Johann Christian (b. 1735), about 1745. "The historic value of the notebooks . . . can hardly be exaggerated," says Marshall (Ibid.: 37). They are first drafts of Bach keyboard music (Partitas), a family album that chronicles the sons' earliest musical training, and a "remarkable family 'portrait'," particularly of his second wife (see also https://www.bach-cantatas.com/Books/B0220.htm).

The summary of Bach's keyboard music is Marshall's longest chapter (Chapter 5; 50 pages; 2003) and an extensive discussion which he frames not as the usual chronology by communities where Bach worked but as a "new periodization of Bach's artistic development" (Ibid.: xiv) ranging from the earliest works, many still undated exactly, to the final decade of the Art of Fugue and Musical Offering, showing "the stages in his stylist evolution and his changing compositional concerns." Besides the music, many in collections, Marshall's essay offers a definition of the keyboard repertory, a study of Bach's instruments, and a "Postscript 2019" where in the "ensuing years [since 2003] the literature devoted to Bach's 'clavier' music, already 'oceanic' at the time, has steadily continued to grow," he says (Ibid.: 111). The list includes keyboard repertory studies of David Schulenberg, Paul Badura-Skoda, and Victor Lederer; monographs of the Well-Tempered Clavier (WTC), Goldberg Variations, and Art of Fugue, as well as selective chapters in Christoph Wolff (JSB: The Learned Musician) and Richard D. P. Jones (Creative Development of JSB, 2 volumes). Bach's favorite instruments were the organ and harpsichord, with his being the greatest composers for these instruments. Improvisation "stimulated his imagination," Marshall says (Ibid.: 112), while probing the limits of tonality, tuning, contrapuntal and harmonic limits, players' physical limits, and technological limits of the instruments. He created a synthesis of national and historic traditions, extending "the range and depth of musical expression." His creativity culminates with the Goldberg Variations and the WTC, encyclopedic masterpieces of styles, genres and compositional techniques, with "intensely individual character," says Marshall (Ibid.: 113).

"Redeeming the St. John Passion--and J. S. Bach," was originally titled: "Redeeming the St. John Passion — How Modern Sensitivity Has Clouded Bach's Masterpiece," written and updated in 2012 to expand from Bach's attitude towards the Jews in his first original oratorio Passion (1724) to a study of contemporary responses to great music shaped by varied perspectives of the music AND the composer. Marshall begins with the view that this Passion "is arguably the musical counterpart of The Merchant of Venice," both having superficial, negative caricatures, the former in the Gospel's portrayal of the vehement crowds assailing Jesus and the latter portraying the Shylock title character as "a single, grotesque, fictional individual." The genres of the musical oratorio/passion are poetic commentaries on the singular Johannine discourses on Jesus' Passion and death. Bach's treatment of the gospel text of John's gospel Chapters 18 and 19, as with his settings of the synoptic Matthew and Mark Passions, faithfully renders the textual portrayals of the events and the agency of Jesus. The poetic passages in the choruses and arias are the emotional response of the individual believer while the chorales reflect the collective responses of the Christian community, the Church. The gospel narrative set as recitatives and ariosi and the crowds as choruses are the wide-ranging drama in a distinct contrast to the reflective poetry in the operatic-like libretto, each movement having a distinct affect. As to Bach's personal attitude towards the Jews, Marshall cites various Bach positive marginalia in his personal bible commentary, the "Calov Bible." "The St. John Passion gives voice to some of the loftiest sentiments of the human spirit," he concludes (Ibid.: 64), in "some of the most profound, beautiful and moving music ever conceived by the mind of man. Neither that supreme masterpiece not its incomparable maker needs an apology."

Bach's Christmas Oratorio of 1734-35, long considered a light, insubstantial self-plagiarism of profane music, is receiving critical attention in recent decades as a sacred Yule drama in mixed style that chronicles the initial chapter in the Christological drama. In oratorio historia form, it was "Bach's last major contribution to the repertory of German liturgical music," says Marshall in his 2010 essay, "Bach at Mid-Life: The Christmas Oratorio and the Search for New Paths" (Ibid.: 131), an achievement of a quarter-century experience creating a "regular church music to the glory of God." Bach had shifted from the sacred as Leipzig cantor by 1730 when he "had begun to look in two new directions, both decidedly secular in nature": the music society Collegium musicum for weekly concerts and special events as well as the governing Catholic Court in Dresden for whom he composed a series of drammi per musica for regal visits. Festive congratulatory, extended cantatas (BWV 205-07, 213-215) often lasting 40 minutes or more, with their choruses and arias gave him a wellspring of new music (dance and galant and empfindsam [sensitive] styles) for further parodies (new-text underlay) and sacred oratorios for church-year festivals. In the Christmas Oratorio there are transformed movements such as love songs as well as original passages (https://www.bach-cantatas.com/Vocal/BWV248-Gen8.htm) such as the pastoral Shepherd' sinfonia in 12/8 dance meter (https://www.youtube.com/watch?v=5CCTAypyqBs). The work "marks the high point — although definitely not the end-point — of Bach's flirtation with the progressive style," says Marshall (Ibid.: 139). From 1735 to 1749 are found a variety of works such as the instrumental Prelude to the Clavierübung III and select chorale settings, the three-voice ricercar and trio sonata from the Musical Offering (https://www.youtube.com/watch?v=0vTQ-w0cJKw), and the Goldberg Variations, besides vocal works such as the Ascension Oratorio (https://www.youtube.com/watch?v=mJeqUaqfkYk), a possible lost Pentecost Oratorio, profane Cantata 206 (https://www.youtube.com/watch?v=DGb7gt8bxVI), the intriguing but lost 1738 Abendmusik, "Wilkommen! Ihr herrschenden Götter der Erden (Be welcome, ye sovereign immortals terrestrial!; trans. Z. Philip Ambrose), BWV Anh. I 13=1161, the Peasant Cantata 212 (https://www.youtube.com/watch?v=KGMZaPYm-T4), and finally the B-Minor Mass, completed in 1749. This period was a "second synthesis" embracing the old and new styles and the gathering of his musical legacy.³

Finally — musically — Marshall's "Bach at the Boundaries: Preliminary Reflections on the B-Minor Mass and the Late-Style Paradigm" (Chapter 9, 2016) is his final testament, "a miracle of integration," "the kaleidoscope of styles," and "in exemplary form — just about every style genre, and national tradition of musical tradition found in Mass settings during the composer's lifetime," he says (Ibid.: 150).⁴ Almost all the movements are contrafactions from earlier German cantatas with only the "futuristic thrust of the Credo section as a whole — and of the entire work — ," says Marshall (Ibid.: 152), manifest in the newly composed Confiteor (https://www.youtube.com/watch?v=rwda71H3VE4).

ENDNOTES

¹ Robert L. Marshall, Bach and Mozart: Essays on the Enigma of Genius (Rochester NY: University of Rochester Press, 2019), https://boydellandbrewer.com/catalog/product/view/id/22859/s/bach-and-mozart/: TABLE OF CONTENTS.
² Robert L. Marshall, biography, https://www.brandeis.edu/facultyguide/person.html?emplid=9d6e7a17246d137200237a48208b32ed6082d0d8; bibliography, http://swb.bsz-bw.de/DB=2.355/SET=1/TTL=61/CMD?ACT=SRCHA&IKT=1016&SRT=YOP&TRM=Marshall%2C+Robert+L.&MATCFILTER=N&MATCSET=N&NOABS=Y; Bach essays, https://books.google.com/books/about/The_Music_of_Johann_Sebastian_Bach.html?id=lN0TAQAAIAAJ.
³ See Marshall's "Bach: the Progressive: Observations on His Later Works" (1975), Chapter 2 in The Music of Johann Sebastian Bach: The Sources, the Style, the Significance (New York: Schirmir Books, 1989: 23-58).
⁴ See Bach Cantatas Website, "Mass in B minor BWV 232 General Discussions - Part 19: Discussions in the Week of June 3, 2018 (4th round)," https://www.bach-cantatas.com/Vocal/BWV232-Gen19.htm, and https://en.wikipedia.org/wiki/Mass_in_B_minor.

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To Come: Bach and Mozart essays: "The Minimalist and Traditionalist Approaches to Performing Bach's Choral Music: Some Further Thoughts," "Father and Sons: Confronting a Uniquely Daunting Paternal Legacy," "Johann Christian Bach and Eros," "Bach and Mozart: Styles of Musical Genius," Mozart and Amadeus," "Bach and Mozart's Artistic Maturity," "Mozart's Unfinished: Some Lessons of the Fragments," and Epilogue (ossia Postmortem), "Had Mozart Lived Longer: Some Cautious (and Incautious) Speculations."

Bach, Mozart: Comparison-Contrast Last 7 Essays

William L. Hoffman wrote (February 2, 2020):
The third BCML Discussion on the Bach-Mozart connection concludes Robert L. Marshall's essay collection, Bach and Mozart: Essays on the Enigma of Genius, with seven essays: one Bach essay on the still-smoldering dispute of Bach composing OVPP (one voice per part), "The Minimalist and Traditionalist Approaches to Performing Bach's Choral Music: Some Further Thoughts"; the Bach legacy through his five composing sons, each with a different response, "Father and Sons: Confronting a Uniquely Daunting Paternal Legacy"; the new chapter, "Johann Christian Bach and Eros," the Bachian direct link with Mozart; a chapter on Bach and Mozart ("Bach and Mozart: Styles of Musical Genius"; and three essays related to Mozart, "Mozart and Amadeus," Peter Shaffer's play-movie, and two on Mozart left unfinished, "Mozart's Unfinished: Some Lessons of the Fragments," and Epilogue (ossia Postmortem), "Had Mozart Lived Longer: Some Cautious (and Incautious) Speculations."

Minimal, Traditional Voices per Part

Individual perspective is often the viewpoint in certain discussions of issues related to Bach, most notably the concept initiated by Joshua Rifkin in the early 1980s that Bach composed his vocal music with one voice per part. Perhaps this argument is an adjunct to the fact that Bach composed instrumental music for orchestra with one instrument per part in the concertos presumably conceived in Cöthen for the small court ensemble. Except for the diverse Brandenburg Concertos, the dating and original solo instrument are still in question because the original versions in source-critical manuscript are lost, replaced by later versions composed in Leipzig in the 1730s for the civic Collegium musicum instrumental ensemble. Various reconstructions of the putative original concertos, most often for solo violin or oboe with five-part string accompaniment, have been accepted into the Bach canon as BWV "R" (for Reconstruction, see http://bach-cantatas.com/NVD/Concerto-Gen1.htm). Thus, the arguments are two-fold: the size of the ensemble and the actual dating with this dating possibly determined through the future discovery of ancillary and collateral evidence (for the latter, see Thomas Braatz's "The OVPP (One Vocalist Per Part) Controversy,"

The voices-per-part controversy Marshall frames through the minimalist (OVPP) and traditionalist (multiple voices per part) perspectives. Rifkin's thesis (https://en.wikipedia.org/wiki/One_voice_per_part) generated 54 articles by the end of 1997, observes Marshall (Ibid.: 115). Bach scholars continue to seek supporting evidence and much seems to rely on inductive reasoning to secure the appropriate numbers to justify the position, based upon accepted Bach Documente. "My suspicion is that the size of Bach's ensemble was far less fixed than either camp has been willing to acknowledge but varied substantially according to circumstances," says Marshall (Ibid.: 118). More than 40 musicians performed outdoors Bach's lost Cantata BWV 1156=Anh. 9, 'Entfernet euch, ihr heitern Sterne' [Disperse yourselves, ye stars serenely], 12 May 1727, Bach's first congratulatory cantata for Augustus the Strong, Saxon monarch (Dok 2 219f).¹ On the other hand, 1726 solo sacred cantata 55, "Ich armer Mensch, ich Sündenknecht" (I, wretched man, I, slave of sin; Eng. trans. Francis Browne), for the 22nd Sunday after Trinity, has only single SATB parts for the tenor solo and closing chorale (https://www.bach-digital.de/receive/BachDigitalSource_source_00002373), as Marshall points out (Ibid.: 119).

Bach's Five Sons: Varied Responses

The period after Bach, the half century from 1750 to 1800 is known as the pre-Classical or Empfindsamkeit (sensitivity, https://en.wikipedia.org/wiki/Sensitive_style) time, and several Bach sons flourished with one, Christian, rejecting his father's music but having a profound influence on Mozart. In Marshall's 2017 essay, "Father and Sons: Confronting a Uniquely Daunting Paternal Legacy," Bach's five musical sons — Friedemann, Emanuel, Johann Gottfried Bernhard, Johann Christoph Friedrich, and Johann Christian — coped variously with the patrimony of their father and each had a distinct, different response. "The towering shadow cast by J. S. Bach on the lives, careers, and ambitions of all five of them was undoubtedly overwhelming," says Marshall (Ibid.: 156ff). Here is Marshall's synopsis: Wilhelm Friedemann was the oldest, most talented and favored who did "fail so miserably" with "a manifestly self-destructive behavior" and "was one of the greatest squanderers and losers of his father's musical legacy (https://www.bach-cantatas.com/Lib/Bach-Wilhelm-Friedemann.htm; Emanuel was the most successful and preserved his share of his father's legacy (https://www.bach-cantatas.com/Lib/Bach-Carl-Philipp-Emanuel.htm); Johann Gottfried Bernhard, talented but "a source of endless pain, embarrassment, and heartache to his father" (Marshall Ibid.: 167), died in Jena in 1739 at age 24 (https://en.wikipedia.org/wiki/Johann_Gottfried_Bernhard_Bach); Johann Christoph Friedrich (Bückeburg) Bach, was employed at the Bückeburg court and in 1778 visited his brothers Emanuel in Hamburg and Christian in London and later performed Mozart's The Abduction from the Seraglio at Bückeburg (https://www.bach-cantatas.com/Lib/Bach-Johann-Christoph-Friedrich.htm); and Johann Christian rejected his father's music and pursued new styles while living in Italy and settling in London in 1762 and encountered the boy Mozart there in 1764-5 while pursuing the successful concerts with Carl Friedrich Able (https://www.bach-cantatas.com/Lib/Bach-Johann-Christian.htm).

Christian Bach: Mozart Friend, Mentor

"Johann Christian Bach and Eros," Chapter 11, is Marshall's original contribution to his Bach and Mozart book.² It is a biographical-psychological 11-page study focusing on Christian's early years in Berlin with half-brother Emanuel and in Italy studying with Padre Giovanni Battista Martini (1706-84, https://en.wikipedia.org/wiki/Giovanni_Battista_Martini), organist at Milan Cathedral, and opera composer with settings of Metastasio (https://en.wikipedia.org/wiki/Pietro_Metastasio).³ Marshall summarizes Christian in London with material on the Bach-Able concerts, Christian's wife Cecilia Grassi and their relationship, and Christian's sexual activity — the answer to which "we shall never know," concludes Marshall (Ibid.: 185).

Bach, Mozart: Styles of Musical Genius

The connection of Bach and Mozart is found in Marshall essay, "Bach and Mozart: Styles of Musical Genius," 1991, Chapter 12. The study shows that "Mozart instinctively understood a great deal about the creative impulse informing the music of Bach." The artistic missions of each were very different. Bach was a teacher and Mozart had little interest in pedagogy although he had private pupils and he himself studied Bach's Well-Tempered Clavier at the behest of Baron van Sweiten. Mozart thought that music was made to please and create effect. Bach saw his music as "revelation" while teaching his neighbor and praising God; Mozart's art as self-expression was to please and impress the listener, says Marshall (Ibid.: 189). "What in a word were the deeper forces driving the creativity of Bach and Mozart," he asks. Mozart was a celebrated child prodigy as a performer and composer, with "extraordinary musical talent, a natural gift perhaps unmatched in history, and second, the extraordinarily powerful presence of his father," Leopold, says Marshall (Ibid.: 191). Today, Mozart has been diagnosed with "mild 'manic-depressive' of 'cyclothymic' and as "as a role-player throughout his life — a perpetual actor"; this "may also explain in part why he was a great dramatist," says Marshall (Ibid.: 192). This ability served Mozart the musician as "the ultimate eclectic," "at home, like no other musician in history, with literally every genre and style of his tine," says Marshall (Ibid.: 193). In contrast, Bach, about whose private life little is known, was an orphan before age 10 and showed "an attitude of 'basic distrust' toward a treacherous world, predisposing his to religion" and an introvert and whose "family, it seems, was an extension of his profession, his 'calling'," says Marshall (Ibid.: 194). Bach had a scientific, synthesizing impulse in music, an "encyclopedic" sense of "the most diverse forms and styles of the era" with the unifying principle of the fugue. Beyond aesthetic beauty was the manifestation of truth, particularly in the church cantatas as musical sermons. The "fatherless father" with 20 children also was "the father of dozens of students and disciples," he says (Ibid: 195). "What we witness in the case of both Bach and Mozart is the auspicious intersection of personality and history as well as truth and beauty."

Mozart Movie Amadeus

Turning to Mozart, the composer's personality and relationship to his world is the subject of Marshall's commentary on Peter Schafer's comedy-drama, Amadeus, in his 1997 essay, "Film as Musicology: Amadeus," retitled simply "Mozart and Amadeus," Chapter 13 (pp. 173-179). A fan of Schaffer's 1979 play and 1984 movie, Marshall explores both the creative license of plays based on history and the controversial reception of this movie. "Apart from all questions of aesthetic taste or historical truth," he says (Ibid.: 201), the movie is a fable seen through the eyes of Salieri with a negative view of Mozart's character, despite a certain element of Romantic victimization, while equating the man with his wonderful music. Historically, "there is no unambiguous evidence, however, that Salieri actively plotted against Mozart" while his friends and relatives nurtured the suspicion. The Amadeus sensation that Mozart was an "infantile, foul-mouthed vulgarian" is explored in Marshall's essay. He shows that wife Costanza and members of Mozart's family engaged in such conversation as found in letters and that the couple "shared uninhibited sensuality" (Ibid.: 209). He suggests that Mozart's relation to experience was as a "sensual individual" through the senses, rather than Bach's contemplation, and "was remarkably observant" with "his ability to empathize" "the key to his greatness as an opera composer." The "film stimulated widespread and intense general interest in two Mozart phenomenon: the man and his music," Marshall concludes (Ibid.; 211) and lead to "Mozart mania" and at least "to constitute only another chapter in the ongoing effort to account for one of the most formidable creators in human history — "another layer in the secular mythology.

Unfinished Mozart: Speculation

The film focused on Mozart's final years and his unfinished Requiem. The related final two chapters in Marshall's Bach and Mozart: Essays on the Enigma of Genius address "Mozart's Unfinished: Some Lessons of the Fragments," and "Epilogue (ossia Postmortem), "Had Mozart Lived Longer: Some Cautious (and Incautious) Speculations." Mozart had a history of leaving works unfinished and this is the subject of Chapter 15 (pp. 238-51), most notably his Singspiel, Zaide (https://www.youtube.com/watch?v=HZkl-07vhbo), forerunner of The Abduction From the Seraglio, the Concerto for Violin and Piano, (https://en.wikipedia.org/wiki/Concerto_for_Violin,_Piano,_and_Orchestra_(Mozart), and the "Great" Mass in C Minor (https://www.youtube.com/watch?v=nvvk7ZG1IZw). "Mozart, unlike Haydn, did not construct formal models or compositional plans," Marshall concludes. His composing seems rather to have been a very fluent thing, indeed a 'stream' of consciousness, or as his widow said, as if he were writing a letter. In his closing Epilogue essay (pp. 252-59), Marshall casts a wide net of speculation, on the basis of Mozart's prolific composing on various favored, later genres, finding various "surprises and ironies." On the basis of documentary evidence, Marshall shows that Mozart wished to go to London in 1792 (as Haydn did in 1791), to present at least one series of symphonies for impresario Johann Peter Salomon. Also planned were more Singspiels in the coming seasons. In London in future years Mozart could have composed operas as well as oratorios ithe manner of Handel. Had he lived further, Mozart may have composed more church music and chamber music while traveling throughout Europe, says Marshall (Ibid.: 257f).

ENDNOTES

¹ Bach Cantata BWV 1156=Anh. 9, https://www.bach-digital.de/servlets/solr/select?q=%2BobjectType%3A%22work%22+%2Bcategory%3A%22BachDigital_class_00000006%5C%3A0001%22+%2Bcategory%3A%22BachDigital_class_00000005%5C%3A0001.03%22+%2Bmusicrepo_work01%3A%22BWV+1156%22&fl=id%2CreturnId%2CobjectType&sort=musicrepo_worksort01+asc&version=4.5&mask=search_form_work.xed&start=0&fl=id&rows=1&XSL.Style=browse&origrows=25, https://en.wikipedia.org/wiki/Entfernet_euch,_ihr_heitern_Sterne,_BWV_Anh._9), https://www.bach-cantatas.com/BWVAnh9-D.htm.
² Besides Marshall's study of Johann Christian, there are two recent musical biographies by David Schulenberg of the oldest two Bach sons who were educated at the University of Leipzig, The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010; review, https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1254&context=ppr), and The Music of Carl Philipp Emanuel (University of Rochester Press, 2014; https://faculty.wagner.edu/david-schulenberg/the-music-of-carl-philipp-emanuel-bach/). There also is Schulenberg's two-volume Music of the Baroque, 3rd ed., with Anthology (New York: Oxford University Press, 2008; https://global.oup.com/ushe/product/music-of-the-baroque-9780199942015?cc=us&lang=en&).
³ Two biographies of Johann Christian are Heinz Gärtner's John Christian Bach: Mozart's Friend and Mentor, Eng. trans. Reinhard G. Pauley (Portland OR: Amadeus Press, 1994), and Charles Sanford Terry's Johann Christian Bach, 2nd ed., ed. H. C. Robbins Landon (London: Oxford University Press, 1967).

William L. Hoffman wrote (February 4, 2020):
Bach, Mozart: Comparison-Contrast, Correction

Thus, the arguments are two-fold: the size of the ensemble and the actual dating with this dating possibly determined through the future discovery of ancillary and collateral evidence (for the latter, see Thomas Braatz's "The OVPP (One Vocalist Per Part) Controversy," http://www.bach-cantatas.com/Articles/OVPPControversy.pdf: "Conclusion."

Continue on Part 3

Wolfgang Amadeus Mozart: Short Biography | Arrangements/Transcriptions: Works | Recordings
Discussions: W.A. Mozart & Bach: Part 1 | Part 2 | Part 3