35. Johann Friedrich Reichardt, reviewing the publication of Bach’s Heilig (Hamburg, 1779)—in Musikalisches Kunstmagazin, I (Berlin, 1782), 84–85—seizes the occasion to proselytize for an “ächten edlen Kirchenmusik.” The Heilig—and here Reichardt is careful to exclude the introductory Ariette—is exemplary of those qualities that would later inform a theory of a Romantic church music in the writings, preeminently, of E. T. A. Hoffmann. For something on Reichardt’s influence on Hoffmann in this matter, see my “In Search of Palestrina: Beethoven in the Archives,” in Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period, ed. Sieghard Brandenburg (London and New York: Oxford University Press, 1997), 283–300.