Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Homet, Louis

(b Paris, 1691; d 1777). French church musician and composer. He was admitted to the maîtrise of the Ste Chapelle on 8 April 1699, studying with Nicolas Bernier, and remaining there until 1709. He is listed among the musicians of Chartres Cathedral in 1710. By 1711 he was maître de musique at St Jacques-de-la-Boucherie, Paris, and won the competition for the same post at Evreux Cathedral in September 1711. In 1714 he was tonsured, although he did not attain full priesthood until 1733. He was maître de musique at the cathedral of Sainte-Croix, Orléans, by 1724, when he applied unsuccessfully for the same post at Chartres. A notice referring to a Te Deum by him sung at Orléans in 1729 calls him maître de musique to King Stanislas of Poland, then in exile at Lunéville. Homet obtained the post he had sought at Chartres on 26 June 1731, and also became a canon of St Piat. He stayed only three years, however, working as maître de musique at Notre Dame in Paris from 17 March 1734 until his resignation in April 1748.

Homet was admired by his colleagues, particularly at Chartres, where he is said to have revitalized the music by using traditional pieces and improving them harmonically. In 1733 he asked for a salary increase in the light of ‘the esteem which the company has for his talent for the instruction of children’. He appears to have published only one sacred work, his four-part Prose des morts, which has been extensively sung since its appearance in 1722. He also wrote motets and at least one four-voice mass (In anniversariis preserved in the Fétis collection, B-Br) which survive in manuscript and of which performances were occasionally mentioned in the Mercure de France. The only two extant motets are those composed for the Evreux competition (F-Pn): Postquam magnificus for three voices (dated 14 August 1711) and Exurge Deus for five voices and continuo.

Homet should not be confused with François Nicolas Homet, a relation who was a choirboy at Notre Dame in 1752, and later maître de musique at Noyons Cathedral.




F.L. Chartier: L'ancien chapitre de Notre-Dame de Paris et sa maîtrise (Paris, 1897/R)

J.A. Clerval: L'ancienne maîtrise de Notre-Dame de Chartres (Chartres, 1898/R)

J.-F. Détrée: ‘Louis Homet, maître de musique de la cathédrale d'Evreux au début du XVIIIe siècle’, Bulletin du Centre Normand d'Histoire Musicale, iv (1977), 19–24

Y. de Brossard: La collection Sébastien de Brossard, 1655–1730 (Paris, 1994)



(from Lat. homeliarium, homeliarius, homelium, homiliarium).

A liturgical book of the Western Church containing in the order of the liturgical year excerpts from the writings of ecclesiastical authors explicating the Gospels. The homilies were read during the third nocturn of the night Office (Matins). See Liturgy and liturgical books, §II, 3(iii).

Homilius, Gottfried August

(b Rosenthal, Saxony, 2 Feb 1714; d Dresden, 2 June 1785). German composer, organist and Kantor.

1. Life.

2. Works.





Homilius, Gottfried August

1. Life.

The son of a Lutheran pastor, he spent his childhood from 1714 in Porschendorf (Pirna district). After his father’s death in 1722 he attended the Annenschule in Dresden, where in 1734 he composed his earliest extant work, the cantata Gott der Herr ist Sonn und Schild. He sometimes stood in for the organist at the Annenkirche, J.G. Stübner, who was probably his organ teacher. On 14 May 1735 he matriculated at Leipzig University in law; a class report from the professor A. Kästner (16 September 1741) reads: ‘For three years the candidatus juris has availed himself of my praelectionum iudicarum and striven to master the fundamenta iuris. He has, however, always allowed music to be his main task’. At this time he also took lessons from Bach in composition and keyboard playing, as mentioned by J.A. Hiller (Lebensbeschreibungen, 1784) and confirmed by Forkel (Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke, 1802); he was probably also a pupil of, and assistant to, the organist at the Nikolaikirche, Johann Schneider.

In 1741 Homilius applied unsuccessfully for the organist’s post of St Petri in Bautzen, submitting five chorale settings for organ of which two had obbligato parts for horn. His first post as organist was granted him in May 1742 by Dresden’s Frauenkirche, which possessed a new Silbermann organ. An application on 5 November 1753 for the post of organist at the Johanniskirche, Zittau, failed. On 10 May 1755, however, he was appointed Kantor at the Kreuzkirche in Dresden and teacher (Collega V) of the Kreuzschule (‘as he is skilled in Greek and all else, but is pre-eminent in music’), and at the same time music director of Dresden’s three principal churches – the Kreuzkirche, Frauenkirche and Sophienkirche; a month later the appointment was ratified by the Dresden town council.

After the Kreuzkirche was destroyed in 1760 (during the Seven Years War), Homilius directed his activity mainly to the Frauenkirche. Tirelessly active until an advanced age, he composed a full yearly cycle of cantatas in the last years of his life, and in 1784 dedicated 12 Magnificat settings and a Latin motet (destroyed in World War II) to the Dresden council. He suffered a stroke in December of that year, and in the following March was retired.

Homilius, Gottfried August

2. Works.

Homilius was an important figure in late 18th-century German music, and together with J.F. Doles, Kantor of the Leipzig Thomaskirche, the most important Protestant church composer of his day. His comprehensive oeuvre comprises lieder, chamber works (probably composed for the collegium musicum of the ‘Kruzianer’), and pieces in almost every genre of church music: organ works, about 60 motets, more than 200 sacred cantatas, Magnificat settings, Passion music and oratorios. The vocal works in particular are ‘among the most significant that the second half of the 18th century has to offer’ (Spitta); they were mostly written for the use of the Kreuzkirche choir, and were widely distributed in manuscript and print during his lifetime. He gave new life to the church cantata after J.S. Bach. His four- to eight-part motets are specially valuable, and are distinguished by a clear declamatory style, profundity of thought and wealth of melody. His oratorios and Passion music are worthy additions to these genres, despite their bombastic and, to present taste, insipid texts.

In his vocal works Homilius followed the example of C.H. Graun in emphasizing melody, naturalness and folklike simplicity. The works are rooted in the era of Bach and Handel, but at the same time increasingly show pre-Classical traits as Homilius’s style matured. Along with Doles, Homilius is the main representative in church music of the transitional empfindsamer Stil, in which heterogeneous elements are fused into an artistic whole. His aesthetic principles correspond to the demands for ‘edification’ and ‘noble simplicity’ then prevalent. Counterpoint gradually lost its dominant role; motif, theme and formal design were increasingly orientated towards the symmetry and clear articulation found in the German lied. Aria themes are often made up of two half-periods; homophony and singable melody predominate even in choruses. Pleasantness, clarity and charm are among the characteristics of his style that point towards the future. As opposed to the antiquated ‘stile d’une teneur’, Homilius presented emotions in varied array; he frequently used rhetorical and symbolic devices and gave full reign to imitation of nature (above all in his accompanied recitative). Dynamic contrasts, simple harmony, and declamation that brings out the meaning of words and their underlying context, all are essential elements of his style. He occasionally developed motifs and themes by repetition (sometimes varied) and extension in the manner of Classical composers. He provided his works with a folklike singing quality, sensitive expression and high technical polish that drew the respect and acclaim of his contemporaries and placed him among the foremost practitioners of Protestant church music in late 18th-century Germany. Gerber was led to conclude in 1790 that ‘without question he was our greatest church composer’.

Homilius also contributed significantly to the literature for the organ. Hiller, Gerber, Reichardt and Türk all considered him to be among the century’s best performers on the instrument, and singled out his virtuosity and his ability to improvise ‘in Graun’s manner’ for special praise. Most of his organ pieces probably originated during his term as organist, and taking the chorale settings of Pachelbel and Bach as their model they combine strong ties with tradition and the taste of the Empfindsamkeit. The chorale-preludes present either single lines of the chorale or the entire melody as cantus firmus, and use contrapuntal techniques to reproduce the underlying mood of the text. Those chorale settings without cantus firmus are treated polyphonically as canons, fugues or organ trios. Homilius was frequently called upon to test organs, and himself outlined the specifications of the Kreuzkirche’s new organ in 1784.

Homilius had an outstanding reputation as a teacher and Kantor. He brought the Kreuzkirche’s choir (then about 100 members) to a previously unattained perfection. Apart from his many duties to the choir he was obliged to give 24 hours of school instruction weekly in Latin, Greek and music. His abilities as a teacher are underscored by the later success of many of his pupils, including Hiller, Türk, Reichardt, J.G. Naumann and C.G. Tag, and are also reflected in his manuscript thoroughbass method and an unrealized plan for a four-part hymnbook for Saxony.

In the 19th and 20th centuries opinion of Homilius as a composer has been divided; Steglich especially (1915) arrived at a largely negative judgment, while Held, Fricke, Engländer, Feder and John, after new research and more thorough analysis, adjudged his work more positively. Several of his works have remained permanently in the choral repertory of the Kreuzkirche and other song schools, a continuing indication of his historical stature.

Homilius, Gottfried August


only those extant; catalogue with sources and editions in John (1980)

passion music

MSS mainly in D-Bsb, SWl

Der Messias, by 1776, lib (Schwerin, 1780)

Ein Lämmlein geht (Buschmann), solo vv, chorus, orch (Leipzig, 1775), partly arr. as Ach Herr, unsre Missetaten

Jesus, der gute Hirte

Komm, Seele, Jesu Leiden

Siehe, das ist Gottes Lamm, 7 movts arr. from Ein Lämmlein geht

So gehst du nun (St Mark Passion), by 1768, ? identical with cant. of same title

Wir gingen alle in die Irre (Nun, ihr, meiner Augen Lider), by 1766


MSS mainly in D-AG, Bsb, Dl, F, GOa, SWl

Ach, dass doch, by 1784; Ach, ich bin, by 1777; Alle, die, by 1783; Alles Fleisch ist Heu, by 1776; Alles Fleisch wird; Alle Züchtigung; Allmächtiger Schöpfer; Also hat Gott; Anbetung sey dir Gott gebracht (Fühl alle Dankbarkeit für ihn; Diess ist der Tag. den Gott gemacht); Auf, auf; Aufs Dankfest; Aufs Friedensfest; Aus tiefer Not; Betrübter Lauf, by 1783; Bleib bei uns; Christus hat; Danket dem Herrn; Das frohe Chor, by 1774; Das Licht, by 1783; Der Engel; Der Gerechte; Der Gottlosen Opfer, by 1784; Der Herr der Ewigkeit, by 1783; Der Herr ist Gott; Der Herr ist mächtig; Der Herr ist mein Hirte, by 1783; Der Herr verstösset nicht ewiglich; Der Herr zeucht, by 1775

Der Himmel ist, by 1775; Der Höllen; Der Staub, by 1775; Der Tod ist verschlungen; Der Tod seiner Heiligen; Dich Gott, 13 July 1784; Dich Sieger, by 1784; Die den Jehova (Lobet den Herrn); Die Himmel, by 1784; Die Hirten; Die Hölle flieht; Die mit Tränen säen; Die Nacht; Die richtig, by 1774; Diess ist der Tag, den Gott gemacht (Fühl alle Dankbarkeit für ihn; Anbetung sey dir Gott gebracht); Die Werke kommen; Die Zeit; Dir dank ich; Du Gott; Du Herr von meinen Tagen; Du rufst, o Gott, by 1775; Du siehst, by 1774; Du sollst, by 1775; Ein heiliger Schauer; Ein hoher Tag kömmt; Ein Mensch ist; Erbarmer; Ergreifet die Psalter, ed. D. Schoener: Musica sacra (Leipzig, 1991); Erhöhet den Herrn, by 1774; Erhöhet die Tore; Erhöht und rühmet, 16 June 1777; Erklinget ihr Harfen

2 Er übet Gewalt, 1 by 1776; Erwachet ihr Christen, by 1783; Erzürne dich nicht, by 1784; Es ist umsonst, by 1784; Freuet euch; Frohlocke mein Psalter; Frohlocket dem Höchsten; Frohlocket ihr Völker, frag.; Frohlocket und preiset (Easter orat), 4vv, orch, ed. R. Fricke: Meisterwerke alter Kirchenmusik aus Sachsen und Thüringen, 1st ser., xi (Hameln, 1932); Frohlocke Zion; Fühl alle Dankbarkeit für ihn (Diess ist der Tag, den Gott gemacht; Anbetung sey dir Gott gebracht); Fürchtet den Herrn, by 1784; Fürchtet Gott; Ganz gelassen, by 1783; Ganz unbeweglich ruft; Gebet jedermann; Gedenke meiner; Gelobet seist du; Getrost, getrost, frag.; Gib mir, by 1775; Gott der Herr, 1734, ed. D. Schoener: Musica sacra (Leipzig, 1991)

Gottes Kinder; Gott fähret auf, by 1761; Gott ist’s, der das Vermögen, frag.; Gott ist’s, in dessen; Gott, mein Retter; Gross ist bei dir; Gut ist dem Herrn; Hab ich, by 1775; Halt ein (Also hat Gott); Heilig ist, by 1761, ed. in R. Fricke: Meisterwerke alter Kirchenmusik aus Sachsen und Thüringen, 1st ser., xiii (Hameln, 1932); Heilig sind Herr; Heller als; Herr Gott, Zebaoth, by 1781; Herr, lehre doch mich, by 1775; Herr, lehre uns tun, frag.; Herr, sieh nicht, by 1775; Herr, so du willt; Höchster, deine Macht; Ich beschwöre; Ich bitte; Ich heule, Herr, by 1775; Ich will meinen Geist

Ihr esset; Ihr Himmel jauchzt; Ihr sollt; Ihr stillen, by 1784; Ihr Völker; Ihr waret; Ihr Wurm; In deinem Schmuck [also arr. as motet]; In der Zeit; In vielen, by 1784; Ist Christus; Ist Gott für mich, by 1775; Jammer, o Jammer; Ja, Vater; Kehre wieder, by 1784; Kommet, frohe Völker, by 1783; Kommt herzu; Kommt, lasset, by 1779, ed. R. Fricke: Meisterwerke alter Kirchenmusik aus Sachsen und Thüringen, 1st ser., vii (Hameln, 1931); Lasset euch niemand, by 1784; Legt eure Harfen hin, by 1784; Licht der Heiden; Lobe den Herrn, meine Seele; Lobe den Herrn, meine Seele, und was, by 1775

Lobet den Herrn (Die den Jehova), by 1770; Lobet den Namen; Lobsinget; Mache dich auf; Meine Seele erhebt, by 1775; Mein Herz hält, by 1784; Merk auf; Mit Sorgen, ed. R. Fricke: Meisterwerke alter Kirchenmusik aus Sachsen und Thüringen, 1st ser., viii (Hameln, 1932); Musste nicht Christus; Nach Dir, by 1775; Noch sollen; Nun ist er da (Der Herr ist Gott); Nun ist er da, und Jesus’ Wort, by 1775; Nun kommt, by 1775; O Gott, du frommer Gott, by 1775; O heiliger Tempel, by 1783; O Herr; O Jammer; O wie gerührt, by 1783; Preise, Jerusalem; Richtet nicht, by 1784

Richtet recht, by 1775; Saget der Tochter, by 1783; Schmecket und sehet; Schwing dich auf, by 1783; Schwülstige Toren; Sei getreu, by 1774; Sei hochgelobt, Allgütiger; Sei hochgelobt, barmherzger Gott, by 1761; Sei willkommen; Selig ist; Selig seid ihr, by 1784; Sichre Welt; Siehe, das ist, by 1775; Siehe, der Herr; Siehe, es kömmt, by 1783; Sie sind zerbrochen, by 1783; Singet dem Herrn; Singet fröhlich Gotte; Sing, Volk; So blühet (Wie öfters hat); So du mit deinem Munde; So du willt; So gehst du nun, by 1784 [? identical with St Mark Passion]; So spricht

So wahr, by 1784; Steig, Allgewaltiger; Suchet das Gute, by 1775; Umsonst zwingst du; Und hätt ich; Unsere Seele, 1764; Unsere Trübsal, by 1784; Unser Wandel; Uns ist ein Kind, by 1784, ed. N. Klose (Embühren, c1994); Uns schützet; Vergebliche Rechnung, by 1783; Verwegne Spötter, by 1784; Verwundrung; Von der brüderlichen Liebe, S, A, T, chorus, orch, MS lost, ed. R. Fricke: Meisterwerke alter Kirchenmusik aus Sachsen und Thüringen, 1st ser., x (Hameln, 1932); Vor dir; Warum toben, by 1784; Was betrübst du dich, by 1775

Was suchet ihr, by 1775; Weihnachtsmusik (Die Nacht ist vergangen); Welt, bessre dich; Wem soll ich; Wenn der Geist; Wenn ein tugendsam Weib, by 1770; Wer den Bruder; Wer ist wie der Herr; Wer kann wohl; Wer preist, by 1775; Wer sind wir, by 1784; Wie ist mir, by 1775; Wie lange; Wie mühsam; Wie murren; Wie öfters fehlest du; Wie öfters hat (So blühet noch); Wie teuer ist, by 1784; Wir haben nicht; Wir Menschen sind, by 1775; Wohl dem, der nicht wandelt; Wohl dem, des Hülfe; Wünschet Jerusalem Glück, by 1778; Zeige mir Herr


MSS mainly in B-Bc, D-Bsb

Alles, was ihr bittet, by 1770; Alles, was ihr tut; Auf, jauchzet, music lost; Brich dem Hungrigen, 6 Aug 1765; Christus hat, 29 Aug 1762; Christus kömmt, 12 Dec 1762; Da es; Dennoch bleibe; Deo dicamus, MS lost, ed. in Kantate-Chorblatt, xi (Dresden, 1965), other edns; Der Herr ist mein Hirte, by 1770, ed. J.A. Hiller: Vierstimmige Motetten, v (Leipzig, 1784), other edns; Der Herr ist nahe allen, ed. in Die heilige Cäcilie, ii/20 (Berlin, 1918); Der Herr wird euch versöhnen, by 1766; Der Herr wird mich erlösen, 13 Nov 1760; Die Elenden, by 1770; Die mit Tränen; Die richtig

Domine, 6vv, 1780, ed. O. Richter (Leipzig, 1926); Eins bitt ich, 7 Jan 1756; Fürchtet euch nicht, by 1766; Gedenke meiner; Gott ist getreu, 19 Nov 1760; Gott, man lobt dich; Gott, wir warten; Habe deine Lust; Herr, lehre mich tun; Herr, lehre uns bedenken; Herr, wenn Trübsal, 16 Oct 1760, ed. S. Bauer (Neuhausen-Stuttgart, c1983); Hilf, Herr, by 1766, ed. J.A. Hiller: Vierstimmige Motetten, i (Leipzig, 1776), other edns; (Israel) Hoffe auf den Herrn, chorus, 3 male/female vv, MS lost, ed. in Singet dem Herrn!, cxcviii, suppl. (Elberfeld, n.d.), other arrs., edns; Hote de ēlthen; Ich freue mich, by 1766, ed. R. Kubik (Neuhausen-Stuttgart, 1988; Stuttgart, 1992); Ich habe dich; Ich will den Herrn, 25 July 1765, ed. C. Albrecht (Neuhausen-Stuttgart, 1984; Stuttgart, 1992)

Ihr sollt, 13 Aug 1766; Im Abgrund; In deinem Schmuck, arr. from cantata, rev. C.P.E. Bach; Invoca me, by 1766; Jauchzet dem Herrn, alle Welt, ed. K. Hofmann (Neuhausen-Stuttgart, 1985; Stuttgart, 1992); Kommt herzu; Kommt her, chorus, ed. B. Hammerschmidt: Klassische Kirchenmusik, xxiv (Hameln, n.d.); Kommt, lasst, ed. R. Palme: 88 Motetten und geistliche Gesänge (Leipzig, n.d.); Lasset euch begnügen, 21 Jan 1766; Lasset uns, chorus, ed. A. Bünte: Kirchliche Gesänge, v (Hannover, n.d.); Lobet den Herrn, 18 Aug 1765, ed. N. Klose (Embühren, c1994); Machet die Tore weit, 19 Nov 1755, ed. in Die heilige Cäcilie, ii (Berlin, 1818); Ob jemand sündiget; Panta kalōs pepoiēke, by 1766; Sehet, welch, 12 Aug 1766, ed. in Die heilige Cäcilie, ii (Berlin, 1818), other arrs., edns

Seid fröhlich, by 1770; Selig sind, by 1766, ed. H. Max (Neuhausen-Stuttgart, 1984); Siehe, das ist, by 1766, ed. J.A. Hiller: Vierstimmige Motetten, iv (Leipzig, 1780), other arrs., edns; Siehe, des Herrn, 11 Aug 1765, ed. J.A. Hiller: Vierstimmige Motetten, iii (Leipzig, 1779), other arrs., edns; Sieh, o Mensch, by 1779, ed. J.A. Hiller: Vierstimmige Motetten, iii (Leipzig, 1779), others arrs., edns; So gehst du, 29 Nov 1762, ed. in Cw, lxxxix (1963), other arrs., edns; So seid, 26 Nov 1755; Turbabor; Unsere Sünden; Unser Leben; Unser Vater, by 1766, ed. in Cw, lxxxix (1963), other arrs., edns; Was hast du, 18 July 1765; Wer sich, 12 Aug 1760; Wir fallen, Jesu; Wir gingen alle; Wir liegen, 9 Aug 1760, ed. D. Zeh (Stuttgart, c1993); Wir wissen; Wo ist ein solcher Gott, by 1770; Wünschet Jerusalem Glück, 20 Aug 1766

other vocal

Orats: Die Freude der Hirten über die Geburt Jesu (Gott, dich rühmen unsre Lieder) (Buschmann), solo vv, chorus, orch (Frankfurt an der Oder, 1777/R), other edns; Frohlocket und preiset [see cants.]; chorales and choruses from Passion orat, D-Bsb

Mag settings: C, 1783; C, 4vv; A, 8vv; D, 4vv, str qt; 1, 4vv; 1, 8vv: all Bsb; B, 4vv, Dl; 1, 4vv, B-Bc; ed. N. Klose (Embühren, c1994)

Duets: Wir weinen dir und deiner, D-AG; Lass uns deine Stimme hören, S and A chorus, org, MS lost, ed. R. Fricke (Hameln, 1935)

Songs: 6 Arien (Ger.), pf acc. (Dresden, 1786); 7, in Gesänge für Maurer, pf acc. (Dresden, 1782); 4 ed. J.M. Böheim: Auswahl von Maurer Gesängen (Berlin, 1798–9); others, pubd in collections


Conc.: 1 for hpd, 2 vn, va, by 1761, D-Bsb

Org: 38 chorale preludes, D-Bsb*, Dl, B-Bc, ed. C. Albrecht (Leipzig, 1988); 2 chorale arrs. with hn obbl, by 1741, BAUk; Christ lag, chorale arr., D-Bsb; [accs. to] 197 vierstimmige Choralgesänge, LEm; [accs. to] Vierstimmige Choräle (Wo Gott der Herr), Bsb, LEb

Homilius, Gottfried August


General-Bass von Homilius (MS, D-Bsb Mus.Ms.theor. 410)

Ode, dem gesegneten Gedächtniss des weiland … Herrn Johann Joachim Gottlob Am-Ende (‘Herr, nun lässest du’) (Friedrichstadt, 1777)

Homilius, Gottfried August


ADB (P. Spitta)


MGG1 (G. Feder)


Epieikophilus [J.F. Agricola]: article in Wöchentliche Nachrichten und Anmerkungen die Musik betreffend, ed. J.A. Hiller, ii (Leipzig, 1768/R), 261–8

J.F. Reichardt: Briefe eines aufmerksamen Reisenden die Musik betreffend, ii (Frankfurt and Breslau, 1776/R), 109ff

K. Held: ‘Das Kreuzkantorat zu Dresden’, VMw, x (1894/R), 330–54

R. Vollhardt: Geschichte der Cantoren und Organisten von den Städten im Königreich Sachsen (Berlin, 1899, rev. 2/1978 by E. Stimmel)

R. Steglich: ‘Karl Philipp Emanuel Bach und der Dresdner Kreuzkantor Gottfried August Homilius im Musikleben ihrer Zeit’, BJb 1915, 39–145

W. Lott: ‘Zur Geschichte der Passionskomposition von 1650–1800’, AMw, iii (1921/R), 285–320

H. Biehle: Musikgeschichte von Bautzen bis zum Anfang des 19. Jahrhunderts (Leipzig, 1924)

H. Miesner: Philipp Emanuel Bach in Hamburg (Heide, 1929/R), 77

K.G. Fellerer: Beiträge zur Choralbegleitung und Choralverarbeitung in der Orgelmusik des ausgehenden 18. und beginnenden 19. Jahrhunderts (Strasbourg, 1932, 2/1980)

R. Fricke: ‘Gottfried August Homilius’, Zeitschrift für Kirchenmusiker, xvii (1935), 51–2

R. Sietz: ‘Die Orgelkompositionen des Schülerkreises um Johann Sebastian Bach’, BJb 1935, 33–96, esp. 38, 72

G. Frotscher: Geschichte des Orgelspiels und der Orgelkomposition, ii (Berlin, 1935–6/R, mus. suppl. 1966), 1067ff

H. Löffler: ‘Die Schüler Johann Sebastian Bachs’, BJb 1953, 5–28, esp. 21

R. Engländer: Die Dresdner Instrumentalmusik in der Zeit der Wiener Klassik (Uppsala, 1956), 132–3

G. Feder: ‘Verfall und Restauration’, in F. Blume: Geschichte der evangelischen Kirchenmusik (Kassel, 2/1965), 215–69; Eng. trans., enlarged, as Protestant Church Music: a History (London, 1974), 317–404

R.E. Snyder: The Choral Music of Gottfried August Homilius (1714–1785), with a Performance Edition of Six Representative Church Cantatas (diss., U. of Iowa, 1970)

H. John: Der Dresdner Kreuzkantor und Bach-Schüler Gottfried August Homilius: ein Beitrag zur Musikgeschichte Dresdens im 18. Jahrhundert (Tutzing, 1980) [incl. catalogue of works and sources, bibliography]

K.-J. Sachs: ‘Gottfried August Homilius’, Kulturelles Erbe: Lebensbilder aus sechs Jahrhunderten, ii (1985), 42–6

U. Matyl: ‘Reale Gegenwart: Bemerkungen zu Choralvorspielen von Gottfried August Homilius’, Die Frauenkirche im Musikleben der Stadt Dresden: Dresden, 1994, 11–17

C. Mühne: ‘Anmerkungen zu einer in der Frauenkirche uraufgeführten Pfingstkantate von Gottfried August Homilius’, Die Frauenkirche im Musikleben der Stadt Dresden: Dresden 1994, 18–20

U. Matyl: Die Choralbearbeitungen der Schüler Johann Sebastian Bachs (Kassel, 1996), 197–280
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