Bachofen, Johan Caspar. (1695 - 1755)
Musicalisches Halleluja, oder schöne und geistreiche Gesänge, Mit neuen und anmuthigen Melodeyen begleitet, und zur Aufmunterung zum Lob Gottes...Neunte und privilegierte Auflage.
Zurich: Burglischer Druckeren. 1776.
Thick octavo. Full 18th century dark brown calf. [viii], 880, [viii] pp. With a fine frontispiece engraving depicting a winged female figure playing the keyboard with three seated cherubs playing a viol, violin and recorder seated around her. Binding worn, front board and endpage starting to separate but still relatively solid, brass remnants on board edges, apparently lacking original clasps, early ownernship markings ("Joh. Jakob Widler...Wiedikon / 1781") and remnants of wax seals to inner boards and endpages. Overall a fine copy of this important work by the Swiss composer and music pedagogue.
His "significance in the history of Swiss music lies primarily in the exceptional popularity of some of his works. His music was criticized, even by his contemporaries, for deficiencies of construction, harmonic language and melodic development; but his most important collection of sacred songs, Musicalisches Hallelujah, appeared in no less than 11 editions between 1727 and 1803, and became one of the favourite songbooks for popular music-making in the home... As the preface... makes clear, Bachofen's works were specifically intended for domestic use. He broke away from the tradition of four-part writing (in the manner of Goudimel's psalms), and most of his settings are in three voices. The continuo part, presumably to be played on the home organ, also constitutes the vocal bass, and there are two soprano parts which frequently cross. Solo songs with organ are inserted to fill gaps on the printed pages resulting from publication in separate parts, with each three-part song beginning a new page." (Grove Online)