[145] P. vii, 58. B.-G. xxv.
[146] Forkel.
[147] At the commencement of his compositions he wrote the initials J.J. (Jesu Juva) or S.D.G. (Soli Deo Gloria).
[148] Ueber J.S. Bach's Leben, Kunst und Kunstwerke. Leipzig, 1802.
[149] Dieupart, born in France during the last third of the seventeenth century, was a remarkable violinist and clavecinist. He went to England early in the eighteenth century, and, associated with Clayton, introduced Italian opera at Drury Lane. After disasters similar to those which later befell Händel, he renounced the theatre and busied himself no longer with instrumental music. He died in 1740.
Of his compositions are extant: Six suites for the clavecin, divided into Overtures, Allemandes, Courantes, Sarabandes, Gavottes, Minuets, Rondos, and Gigues, composed and arranged for concert performance by a Violin and a Flute, with a Bass Viol and an Archilute. (See Grove's "Dictionary of Music and Musicians.") The prelude of Bach's first English Suite was inspired by a passage in the A major suite of Dieupart.
[150] Der Vollkommene Kapellmeister, Hamburg, 1739, §69, p. 467.
[151] Mattheson says, à propos of this stop: "The French have given to the Nachsatz (thus named on account of its high pitch, in contrast to the Untersatz of thirty-two feet) of the Netherlanders, the designation Nasard or Nasarde, 'a vulgar expression, of which use is made in comedy or burlesque,' says Boyer's dictionary."
[152] This register, composed of two ranks of pipes of tin or of composition, is a compound stop. The longer pipe gives the fifth of the octave, the shorter the third of the fifteenth; there is thus the interval of a major sixth between the two ranks.
[153] In Das neu eröffnete Orchester (1717). Mattheson was born in Hamburg in 1681; aside from his critical works on music he was an organist of ability; he knew Buxtehude, becoming acquainted with him in 1703. He even expected to succeed him, but renounced his aspirations in this direction upon learning that in accepting the position of the father he would be obliged to marry the daughter, Anna Margaretha, born in 1669, and therefore much too old for him; this was one of the conditions of the place, which also deterred Händel from presenting himself as a candidate.