1Harry Haskel~ The Early Music Revial. Dover Publications, 1996.13.
2Howard E. Smither. A History of the Oratorio .'1he Oratorio in the Nineteenth and Twentieth. The Universityof North Carolina Press, 2000. 10.
3Don O. . Franklin. Bach Studied. Cambridge University Pressm, 2008.
4Cecilia Hopkins Porter. 'The Neo Public and the Reorde- ring of the Musical Establishment. The Lower Rhine Music Festivals, 1818--67~, 19CM, vol. 3no. 3, (Mar. , 1980), pp. 211-224.
5Quoted in Scott D. Denham, Irene Cacanes, Jonathan Petropoulos ed. A Use ~ s Guide to German Cultural Studies, University o{ Michigan Press. 156.
6Michael Marissen ecl. Bach Perspectives, Volume 3. Creative Responses to Bach from Mozart to Hindemith. U- niversity of Illinois Press. 17.
7Russell Stinson. The Reception of Bach's Organ Works from Mendelssohn to Brahms, Osford University Press, 2006. 55.
8ohann Nikolaus Forkel. Johann Sebastian Bach. His life ,Art, and Work. Notes and appendices by Charles San- ford Terry, Da Capo Press, 1970.11.
9Quoted in oward E. Smither. A History of the Oratorio . The Oratorio in the Nineteenth and Twentieth, p. 10. Orig- inal in Berliner Conversations- Blatt fi~r Poesie, Literatur und Kritik, 1829, pp. 205ff.
10Celia Applegate.- Bach in Berlin.Nation and Culture in Mendelsohn ~ s Revival of St Matthezo Passion. Cornell Uni- versity Press, 2005.30.
