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+*** START OF THE PROJECT GUTENBERG EBOOK 59085 ***
+
+
+
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: Obvious printer errors have been corrected
+without note. In the index, a caret character followed by a number
+(e.g., ^2) represents a superscript in the original, which denotes
+a footnote on the cited page. Helmholtz musical pitch notation is
+represented by single quotation marks (e.g., c''), and other musical
+symbols are represented by their names in brackets (e.g., [sharp].]
+
+
+
+
+JOHANN SEBASTIAN BACH
+
+_THE ORGANIST_
+
+_AND HIS WORKS FOR THE ORGAN_
+
+
+  BY
+  A. PIRRO
+
+
+  WITH A PREFACE BY
+  CH.-M. WIDOR
+
+
+  TRANSLATED FROM THE FRENCH BY
+  WALLACE GOODRICH
+
+
+  NEW YORK
+  G. SCHIRMER
+  1902
+
+
+AUTHORIZED TRANSLATION
+
+  COPYRIGHT, 1902, BY
+  G. SCHIRMER
+
+16219
+
+[Illustration]
+
+
+
+
+Table of Contents
+
+
+                                                                  PAGE
+
+  PREFACE                                                            v
+
+  INTRODUCTION                                                     xxi
+
+  THE PRECURSORS OF BACH.--FRESCOBALDI--FROBERGER--PACHELBEL--
+  BUXTEHUDE                                                          1
+
+  THE PRELUDES AND FUGUES OF J.S. BACH.--TOCCATAS--FANTASIES--
+  PASSACAGLIA--SONATAS                                              25
+
+  THE CHORALE.--PRELUDES--TRIOS--FANTASIES--FUGUES                  58
+
+  THE REGISTRATION AND THE ORNAMENTS OF THE ORGAN WORKS OF
+  J.S. BACH                                                         69
+
+  APPENDIX. A SUCCINCT BIOGRAPHY OF J.S. BACH                       93
+
+  THE CATALOGUE OF HIS COMPLETE WORKS                              101
+
+  INDEX OF REFERENCES TO WORKS OF J.S. BACH                        114
+
+
+
+
+Preface
+
+
+"If Beethoven appears to our generation as a Greek statue, Bach, on
+the contrary, impresses us as one of those Sphinxes of Egypt whose
+towering head commands the wide expanse of the desert."
+
+The comparison is imaginative, but seems to me only partially just.
+
+Sphinx in vastness of proportions, I admit; but the image is
+destroyed when character is taken into consideration. Bach is
+indisputably the mightiest of musicians; one is seized with awe in
+perusing the extraordinary catalogue of his works, so seemingly
+impossible are its dimensions; in casually looking over those forty
+and more folio volumes; in pausing for an instant to examine more
+closely any one of the pages, where the smallest detail seems to have
+been long considered and predetermined, while over all soars the
+essential thought, always profound and original. But was there ever a
+thinker less enigmatical?
+
+Surely this majestic figure dominates his surroundings; but that
+frank look, those luminous, kindly eyes, are hardly those of a
+Sphinx. It is rather the heroic statue of Common Sense.
+
+An eminent virtuoso recently declared to me that he should be more or
+less uncomfortable in dining alone with Beethoven; "but with 'Father
+Bach,' how different! With him I see myself perfectly at home, pipe
+in mouth, elbows upon the table; chatting informally about a thousand
+and one interesting things, over a big stein of beer, as in the good
+old days." How true!
+
+Bach was a good citizen, an admirable father, as M. Prudhomme would
+say, a devoted friend; socially affable, and possessed of a rare
+artistic modesty. Were he asked how he had attained such heights, he
+would answer: "I was obliged to work; whoever will strive as I did,
+will succeed as well." He availed himself of every opportunity to
+become familiar with the works of other composers; Händel he esteemed
+highly, Couperin interested him; when accorded three weeks' leave
+that he might hear Buxtehude, Bach so far forgot himself as to allow
+three months to go by while listening, from a secluded corner of the
+church, to the justly celebrated organist of St. Mary's in Lübeck.
+
+Bach was a great and good man; never did a more marvellous mechanism
+perform the functions of a human brain; never has been known a mind
+that was sounder, better balanced, contained in a more robust body;
+never were a musician's nerves better controlled.
+
+It required the atrocious harmonizations of Görner to cause Bach
+one day to turn upon him and hurl his wig at the face of the poor
+accompanist: "_Sie sind ein Schuster_" (You are a bungler)!
+
+These fits of anger were, however, rare, despite the astonishing
+vitality of his constitution; for Bach was naturally patient and
+kind-hearted.
+
+Note him with his pupils; during the first year nothing but
+exercises--trills, scales, passages in thirds and sixths, practice
+in changing fingers--work of every description to insure the
+equability of the hand. He supervised everything, devoting the
+minutest attention to the clearness and precision of the touch. If
+one pupil or the other became discouraged, he good-naturedly wrote
+little pieces containing in a disguised form the difficulties to be
+surmounted.
+
+When Bach became organist of the New Church in Arnstadt--he was very
+young, but eighteen years of age--he had studied the compositions and
+methods of the following celebrated clavecinists of his time:
+
+FROBERGER (1615[?]-1667), a _protégé_ of Emperor Ferdinand
+III., by whom he had been sent, in early life, to study with
+Frescobaldi in Rome.
+
+FISCHER, _Capellmeister_ to the Margrave of Baden.
+
+JOHANNES CASPAR KERL, a rival of Froberger, also under the
+protection of Ferdinand III., and entrusted to the care of Carissimi
+in Rome.
+
+PACHELBEL (1653-1706), formerly assistant organist of St.
+Stephen's in Vienna, then successively organist at Eisenach, Erfurt,
+Stuttgart, and Nuremberg.
+
+BUXTEHUDE (1637-1707), the celebrated organist at Lübeck.
+
+BRUHNS, his pupil.
+
+BÖHM, organist of St. John's Church in Lüneburg.
+
+It was through Froberger and Kerl that Bach became acquainted with
+Frescobaldi's works, and the Italian school; the sonata form was
+revealed to him by the French "suites" played by the orchestra of the
+ducal court at Celle, an organization which greatly interested him;
+but the greatest influence upon his youth was exercised by Buxtehude.
+It was from him that Bach learned in their integrity the old German
+traditions.
+
+When, at Hamburg, the aged Reinken heard Bach improvise for more than
+a half-hour upon the chorale _An Wasserflüssen Babylons_, he cried
+out, embracing him, "I thought that this art were dead; but I see
+that in you it still lives."[1]
+
+[Footnote 1: "_Ich dachte, diese Kunst wäre ausgestorben; ich sehe
+aber, dass sie in Ihnen noch lebt._"]
+
+These traditions he handed down later to his two oldest sons, Wilhelm
+Friedemann and Carl Philipp Emanuel--two musicians whose merit is
+universally recognized,--and to a whole galaxy of brilliant pupils:
+
+JOHANNES CASPAR VOGLER, a musician whom Mattheson considered
+more able than Bach himself. Vogler was organist at Weimar. Some
+preludes of his are published and written in the form of chorales for
+two manuals and pedal.
+
+HOMILIUS, of Dresden, a composer of church music.
+
+TRANSCHEL, of Dresden, a distinguished clavecinist.
+
+GOLDBERG, of Königsberg, composer of pieces called
+"_Bagatelles pour dames_," which no one could play, such was their
+difficulty. (He frequently found amusement in playing music of every
+variety from the inverted score.)
+
+KREBS, organist at Altenburg; not only a performer of the
+first rank, but a prolific composer. For nine years he enjoyed the
+invaluable supervision of Bach.
+
+ALTNIKOL, organist at Naumburg; Bach's son-in-law.
+
+AGRICOLA, composer to the King of Prussia, known through his
+theoretical works.
+
+MÜTHEL, of Riga.
+
+KIRNBERGER, court musician at Berlin. "He loved his art
+with a fervor at once enthusiastic and sincere," says Forkel. "Not
+only has he informed us in detail as to Bach's methods of teaching
+composition, but the musical world is still his debtor for the first
+logical system of harmony, founded upon the works of his master. The
+first of these sources of information is his book, _Die Kunst des
+reinen Satzes_; the second, _Grundsätze zum Gebrauch der Harmonie_.
+He furthered the interests of musical art by other treatises as well
+as by his compositions. Particularly charming are his works for the
+clavecin. Princess Amelia of Prussia was one of his pupils."
+
+KITTEL, organist at Erfurt. He was the only one of Bach's
+pupils still living at the time Forkel, himself an organist and the
+director of music at the University of Göttingen, wrote his _Ueber
+J.S. Bach's Leben, Kunst und Kunstwerke_ (Leipzig, 1802). [The Life,
+Art, and Works of J.S. Bach.]
+
+Forkel was intimately associated with Wilhelm Friedemann and
+Philipp Emanuel Bach, and with Agricola, Kirnberger, and several
+others of Sebastian Bach's illustrious pupils. He collaborated with
+Schicht, a man of education and a distinguished harmonist, who later
+became Cantor of St. Thomas's Church. With him Forkel undertook
+the publication of works by Bach for organ and for clavecin, an
+enterprise to which frequent allusion is made in his book. Forkel
+had accumulated a fine musical library; with the aid of this and
+of that of the University of Göttingen he was enabled to procure
+a considerable amount of material for his _Geschichte der Musik_
+[History of Music], which was to comprise six volumes; of which,
+however, only the first two appeared.
+
+Forkel reserved for the last volume of this compilation the memoranda
+concerning Bach and his works; but "foreseeing the impossibility of
+completing during his life this veritable encyclopædia of music, he
+appears, at least in his book upon the life and works of Bach, to
+have been desirous of losing no time in rendering to that great man a
+sincere and merited tribute of homage and gratitude...."
+
+Kittel (1732-1802) was Rinck's teacher; the latter relates that his
+master invariably ended his conversations upon Bach with the words
+_Ein sehr frommer Mann_, "a very good man."
+
+Dr. Fétis, of Brussels, while teaching me the principles of
+counterpoint and fugue, often spoke of Rinck, whom he had visited;
+of Kittel, his musical father, and of their great common ancestor,
+Sebastian Bach. Rinck, when asked the cause of his neglect of the
+fugue form, would reply: "Bach is a Colossus, dominating the musical
+world; one can hope to follow him in his domain only at a distance,
+for he has exhausted all resources, and is inimitable in what he has
+done. I have always considered that if one is to succeed in composing
+something worthy of being heard and approved, one's attention must be
+turned in another direction."
+
+Poor Rinck!
+
+       *       *       *       *       *
+
+We are to study in this work only the organist Bach. Since M.
+André Pirro has so conscientiously analyzed the specific work of
+the master, I have to concern myself only with his technique as a
+virtuoso.
+
+Bach played the clavecin in the following manner: "The five fingers
+so curved that their tips fell perpendicularly upon the keys, over
+which they formed a parallel line, ever ready to obey. The finger
+was not raised vertically upon leaving the key, but was drawn back,
+almost gliding toward the palm of the hand; in the passage from one
+key to another this sliding motion seemed to impart to the succeeding
+finger exactly the same degree of pressure, thereby ensuring perfect
+equality; a touch neither 'heavy,' nor yet dry (_sec_)." This we
+learn from Philipp Emanuel.
+
+Bach's hand was comparatively small; the movement of his fingers was
+hardly perceptible, extending only to the first joints. His hand
+preserved its rounded shape even in the most difficult passages,
+Forkel tells us; the fingers were raised very little above the
+keyboard, hardly more than in a trill; as soon as a finger was no
+longer needed, he took pains to replace it in its normal position....
+"The other parts of his body took no part in the performance,
+contrary to the habit of many people whose hands are incapable of
+sufficient agility."
+
+To-day we no longer play the harpsichord; and the pianoforte, which
+has happily replaced it, makes demands never dreamed of in those days.
+
+As to the character of organ touch, no change has taken place in
+two centuries. Possibly at the time of Bach the keys of the pedals
+were slightly different from those of our day; undoubtedly in his
+youth he made much less use of the heel than of the toe, since the
+pedal-keys were extremely short. But he soon recognized the necessity
+of perfecting the bass keyboard of the organ both by extending its
+compass and by lengthening the pedal-keys to their present dimensions.
+
+He played with the body inclined slightly forward, and motionless;
+with an admirable sense of rhythm, with an absolutely perfect
+polyphonic ensemble, with extraordinary clearness, avoiding extremely
+rapid _tempi_; in short, master of himself, and, so to speak, of the
+beat, producing an effect of incomparable grandeur.
+
+His contemporaries speak enthusiastically of his exquisite taste in
+the combination of registers, and of his manner of treating them, at
+once so unexpected and original.
+
+Nothing could escape him which was related to his art, adds Forkel.
+He observed with the most minute attention the acoustic properties
+of the room where he was to play. On his visit to Berlin in 1747, he
+was conducted to the auditorium of the new opera house. He recognized
+at a glance the advantages and defects of this monumental edifice,
+in its relation to music. He was shown the _grand foyer_ adjacent.
+Standing in the mezzanine gallery, he glanced up toward the ceiling
+and remarked immediately, without giving himself the trouble of
+further examination, that in it the architect had constructed "a work
+of great merit," perhaps unawares.
+
+The _foyer_ was in the form of a parallelogram; if a person standing
+in a corner of it, face toward the wall, spoke a few words, another
+person standing in the same position in the corner diagonally
+opposite could distinctly hear them, while the public, scattered here
+and there through the hall, would be unable to catch anything of this
+dialogue.
+
+When distinguished strangers asked to hear Bach at the organ, at
+times other than during services, he usually selected some theme
+and amused himself by treating it in various ways, perhaps playing
+without interruption for over an hour. First he made use of the
+subject for a prelude and fugue, upon the foundation stops of the
+chief manual, thereafter deftly varying his registration through a
+series of episodes in two, three, or four parts. Then came a chorale,
+the melody of which was interrupted here and there by fragments of
+the original subject; and he finally concluded with a fugue for full
+organ,[2] in which "he contented himself with treating the subject
+either alone, or in combination with other themes derived from it."
+
+[Footnote 2: See _organo pleno_, p. 70.]
+
+And if he tried a new organ? He first drew all the registers and
+played upon the principal manual (with all couplers), "in order to
+test the lung-power of the instrument," as he laughingly expressed
+it. Then he proceeded to a detailed inspection of every part of the
+organ. This expert examination once over, he gave free rein to his
+fancy. And now he showed himself truly "the prince of all _virtuosi_
+of the universe, upon the harpsichord and organ," as he was one day
+hailed by his amazed colleague, the organist Sorge, of Lobenstein, in
+an outburst of enthusiasm.
+
+No, the art of organ playing has not changed since Johann Sebastian
+Bach; but, on the other hand, our organs are growing distinctly
+better. Go and listen to those of Saint-Sulpice, of Notre-Dame, in
+Paris; hear the instrument of Saint-Ouen, at Rouen!
+
+In the organs of Bach's time the reeds were scarcely used except in
+the capacity of basses, reinforcing the pedal; or as solo registers,
+for instance, _hautbois_ and _cromornes_; our profusion of sonorous
+clarions, trumpets, and _bombardes_ was totally unknown. _Organo
+pleno_ did not signify a full battery of 4, 8, 16, and 32-foot stops,
+but simply the combination of some _prestants_ and mixtures with a
+diapason or a bourdon.[3] As for a means of varying the intensity of
+the same tone, such a thing was never thought of.
+
+[Footnote 3: The French are accustomed to group registers of
+similar quality, but varying in pitch, under a single name; as
+_bourdons_ (stopped wood pipes), _montres_ (diapasons), _anches_
+(reeds), qualifying them by the pitch; _e.g._, _bourdons_ of 16'
+and 8' would be equivalent to our bourdon and stopped diapason, or
+_gedackt_.--TR.]
+
+As I have said elsewhere, it is hardly farther back than to the end
+of the last century that we trace the invention of the "swell-box,"
+the English contrivance which the aged Händel pronounced admirable,
+and which Abbé Vogler recommended to the German builders some years
+later.
+
+To-day, to non-professionals, our instruments appear to have become
+capable of nearly as much expression as the orchestra.
+
+But this is a serious error. I repeat here: that expression which
+is a characteristic of the modern organ can but be subjective; it
+is born of mechanical means and possesses nothing of spontaneity.
+While the stringed and wind instruments of the orchestra, the
+pianoforte, and the voice, hold sway only by their instantaneity of
+accent, by the unexpectedness of their attack, the organ, limited
+to the confines of its own inherent majesty, speaks with the voice
+of philosophy. Of all instruments, it is the only one which can
+indefinitely prolong the same volume of sound, and thus create the
+religious impression of the infinite.
+
+A serious organist will never avail himself of these means of
+expression, unless _architecturally_; that is to say, by _straight
+lines_ and by _designs_. By _lines_, when he passes slowly from
+_piano_ into _forte_, by a gradient almost imperceptible, and in
+constant progression, without break or jolt. By _designs_, when
+he takes advantage of a second of silence to close the swell-box
+abruptly between a _forte_ and a _piano_.
+
+Seek to reproduce the expressive quality of an E-string, or of the
+human voice, and we shall no longer hear an organ; it will have
+become an accordeon.
+
+The most striking characteristic of the organ is grandeur; that is
+to say, determination and power. Every illogical variation in the
+intensity of the sound, every nuance which, graphically, cannot be
+represented by a right line, is a crime, the offence of artistic
+_lèse-majesté_.
+
+In fact, we should declare to be criminals, and hold up to the
+contempt of the public, those who make an accordeon of the organ;
+those who arpeggiate, who do not play legato, whose rhythm is but
+passable.
+
+With the organ, as in the orchestra, precision must rule; the
+perfect ensemble of feet and hands is absolutely necessary, whether
+in attacking or leaving the keyboard. All notes placed in the same
+perpendicular by the composer must be made to speak and to cease
+speaking at the same time, obedient to the _bâton_ of a single
+conductor. Here and there are still seen unfortunates who suffer
+their feet to trail along the pedals, and who forget them and leave
+them there, although the piece is long since finished. It reminds us
+of the old viola player at the Opéra, who regularly went to sleep
+during the fourth act, to be charitably wakened by his comrades at
+the end of the evening. It was a tradition. But one fine day the
+management changed hands; tradition had to change, too, and it was
+forbidden to waken the sleeper. They were giving "The Prophet."
+Neither the crash of the introduction, the collapse of the Palace
+blown up with dynamite, the din of the orchestra, nor the tumult of
+players and audience leaving the theatre, could cut short his dreams.
+When he finally opened his eyes in the profound darkness, he believed
+himself, like Orpheus, in the infernal regions, and on attempting
+to make his exit pitched head-foremost into the kettledrums, which
+collapsed. The next day his eligibility to retirement was recognized.
+
+I should like to know what an orchestral conductor would say, after
+having given the last stroke of his _bâton_, if his third trombone
+player should permit himself tranquilly to continue to prolong his
+note? From what savage cave can such a barbarous custom have emerged?
+Yet some years ago it was a generally prevailing fashion, a veritable
+epidemic.
+
+Culpable are the organists who do not play the four parts of the
+polyphony with a rigorous _legato_, tenor as well as soprano, the
+alto like the bass. Examine Bach's gigantic series of works; in
+them all you will find but two or three passages, but two or three
+measures exceeding the limitations of the hand. But admire the skill
+of the great man; an instant before, a second after, pauses are
+cleverly inserted; that is, opportunities to withdraw and then again
+to add the 16-foot registers of the pedal, in order that in the
+interim the notes which cannot be played smoothly by the hands may
+be performed by the pedals, coupled to the manuals. Save for these
+two or three exceptions, which themselves are fully justified by the
+progression of the parts, all of Bach's works are admirably written,
+from this point of view as well as from others.
+
+       *       *       *       *       *
+
+Here begins a parenthesis; it concerns the Phrasing.
+
+A pianoforte hammer may strike a string ten times per second, and our
+ear will still easily perceive the ten attacks, the sound immediately
+decreasing in intensity; with the organ, that we may clearly hear the
+repetitions of a note in a quick movement, or even in moderate tempo,
+there must intervene between the repetitions periods of silence equal
+to the duration of the sound; from which we may formulate this law:
+_every repeated note loses one-half of its value_.
+
+Example: [Music]
+
+Execution: [Music]
+
+The periods of silence have a time-value exactly equal to that of the
+sixteenth-notes.
+
+With regard to notes of larger value, in slow movements, it is clear
+that the spirit rather than the letter of our law is to be regarded.
+
+In the following example:
+
+[Music]
+
+it would obviously be absurd to shorten the first dotted note by
+one-half; this rendering seems to me the proper one:
+
+[Music]
+
+taking great pains to allow to rests of equal value uniform duration.
+
+The free staccato is not admissible upon the organ. Here every
+detached note becomes a staccato one, as in the case of instruments
+played with a bow; that is to say, a series of equal tones separated
+from each other by rests of like duration. The staccato is executed
+by holding the fingers as near as possible to the keys, the wrist
+slightly depressed.
+
+Example: [Music]
+
+Execution: [Music]
+
+When one part succeeds another upon the same note, the note is held
+and not repeated.
+
+Example: [Music] Execution: [Music]
+
+A moment ago, in my category of crimes against Art, I included that
+of indifference to rhythm.
+
+What is rhythm?
+
+_The constant manifestation of determination, or will, upon the
+periodical recurrence of the accented beats._ It is only by
+rhythm that one wins attention. Particularly with the organ, all
+accents, all effects are dependent upon it. You may bear upon the
+keyboard with the weight of pounds, with all the strength of your
+shoulders--you will gain nothing by it. But delay by a tenth of a
+second the attack of a chord, or prolong this same chord the very
+least, and judge of the effect produced! Upon a manual not provided
+with a swell-box one may obtain a crescendo without the aid of a
+mechanism of any kind: by the simple augmentation of the duration
+allowed successive chords or detached phrases.
+
+To play upon an organ is to deal with chronometric values.
+
+Woe be unto you if your tempo is not absolutely regular, if your will
+does not manifest itself at every breathing-point of the phrase, at
+every "lift"; if you unconsciously permit yourself to "hurry"!
+
+Would you like a lesson in rhythm? Listen to those immense
+locomotives dragging behind them tons of merchandise; admire the
+formidable piston stroke which marks every recurrence of the accent,
+slowly but relentlessly; well may you believe that you hear the march
+of Fate itself. It causes one to shudder.
+
+To be master of one's self it is necessary to abstain from every
+superfluous movement, from any displacement of the body. A good
+organist sits firmly, well-balanced upon his bench, inclining
+slightly towards the manuals, never permitting his feet to rest upon
+the frame which surrounds the pedals, but letting them glide lightly
+along over the keys; heels and knees riveted, so to speak, together.
+
+Nature has vouchsafed us two guides of the greatest value; with the
+heels pressed one against the other, the maximum separation of the
+other extremities of the feet gives us a _fifth_; with the knees held
+similarly together, the maximum interval obtainable should be an
+_octave_.
+
+Precision and confidence will never be obtained except by adopting
+this method; holding the two limbs as if bound together, the two feet
+unceasingly in contact with each other.
+
+The foot should not attack the pedal vertically, but from well to
+the rear towards the front, as close to the key as possible; gliding
+slightly, or "skating," the toe to within a half-inch of the black
+keys.
+
+Considering the degree of perfection attained in our contemporary
+manufacture, we must be careful not to become dazzled in the midst of
+the wealth of resources thereby offered us, and thus led far astray
+from the right path. Let us not forget that upon the organ, as in the
+orchestra or chorus, all music is based upon the _quartet_. It is
+the true foundation of the language. With the organ, our quartet is
+embodied in the noble and flowing sonority of the 8-foot foundation
+stops. The _basso continuo_ of certain organists, who have fallen
+asleep over their pedals, soon becomes an intolerable nuisance for
+the audience. We should go wild at a performance of a symphony in
+which the double-basses played uninterruptedly from the first note to
+the last. Plain-song itself, thus interpreted, loses its eloquence;
+although the apparent monotony of its design, closely confined within
+the limits of an octave, would, above all, seem to be better adapted
+than any other form of music to a continuous bass.
+
+But not at all! This apparent monotony exists in reality only for
+those who see not with their eyes, neither hear with their ears.
+
+Plain-song is of a complex species; it has two faces, like Janus.[4]
+To be understood, it must be listened to at once from a literary and
+a musical standpoint. It is this synthesis which the "decadent" poets
+or musicians have, in late years, striven to revive.
+
+[Footnote 4: Take the most beautiful type of the Plain-chant, for
+instance: the Te Deum. Simply vocalize it, sing it without words;
+rhythm, beauty, grandeur, all disappear. Translate it, and sing the
+same music with either French or German text, it becomes absurd. If
+the Roman Church had not prescribed Latin as the language of its
+liturgy, we should have no Plain-chant to-day.]
+
+The superb rhythm of the pedal when the organ responds to the
+choir[5] should emphasize the text, sustain it in outbursts of
+exaltation, and not vulgarize it by a continual and unintelligent
+abuse.
+
+[Footnote 5: In the larger churches in Paris (and in that city the
+greatest attention is given to the perpetuation and cultivation of
+Plain-chant) are usually found two organs; the larger one located
+in a gallery, or _tribune_, at the west end of the church; the
+smaller one, with the choir (invariably of men and boys), being
+placed behind the altar, between it and the ambulatory. This
+smaller instrument, often augmented by one or more double-basses,
+serves only to accompany the choir, while the larger organ, called
+the _Grand-orgue_, is treated only as a solo instrument, either
+antiphonally with the choir and small organ, as in the _Kyrie_, or
+in solo selections, often improvisations of great merit, as at the
+Offertory.--TR.]
+
+The organ is a wind instrument; it requires opportunity to take
+breath. Like the literary sentence, the musical phrase has its
+commas, its periods, its paragraphs. As a speaker changes his
+intonation, so must the organ vary its "designs." Is anything more
+exasperating than an improvisation in four parts, wandering now here,
+now there--monotonous in color, devoid of determination, repose,
+contrast, or purpose, having neither beginning, middle, nor end? A
+veritable _macaroni au fromage_!
+
+_Cornets_ and _mixtures_, and the other registers of the organ of
+Bach's time--these furnish the proper tone-material for Plain-song,
+assimilating perfectly with the polyphony of the masters of the
+sixteenth century.
+
+Distributed to a certain extent over all lands, coming originally
+from Athens, Jerusalem, and Rome, Plain-chant is our heritage from
+the Middle Ages, assiduously cultivated within that sunny domain of
+counterpoint, of which Palestrina was the last custodian. As it has
+been bequeathed to us by the old masters, so must we preserve it for
+our descendants. The teachings of the Paris Conservatory during the
+past fifty years will always be perpetuated; the treatment in florid
+counterpoint, be the melody in soprano or bass, or the accompaniment
+in strict counterpoint, note against note, as in the Church.
+
+Some of our contemporary organ builders in France have made a serious
+mistake in regarding as a foregone conclusion the undesirability of
+perpetuating the characteristics of registration of earlier days, and
+in thus considering them hardly worthy of further notice. What a pity!
+
+In July of this year at Notre-Dame, whose superb instrument has just
+been restored by Cavaillé-Coll, we admired the effect produced by
+different specimens of those mutation stops, producing in the Pedal
+a fundamental of 32, upon the _Bombarde_ one of 16, and upon the
+_Grand-Choeur_ one of 8-foot pitch. Indescribable is the effect
+of the Chorales of the great Sebastian Bach, reverberating with
+crystalline sonority under those wonderful arches.
+
+The days of "deluges" upon the organ are over; of thunder and
+tremulants, of choruses of goats called the _vox humana_, and all
+such childish trifles. "At the opening of the organ in X, Mr. Z.
+contributed to the programme a tempest, which he really should have
+prefaced by a few flashes of genius!..."
+
+For the great advancement achieved by French workmanship in our day,
+we are indebted to Cavaillé-Coll and his masterpieces, which lend
+themselves to the perfect expression of any idea, be it of the past
+or of the present.
+
+Since Cavaillé-Coll, the study of Bach has begun. Will you believe
+that sixty years ago one would have searched Paris in vain to find
+two organists who knew the fugue in B minor? I know of none but
+conscientious Boëly, of Saint-Germain-l'Auxerrois; the published
+compositions bear witness to the ideal of those times, an ideal
+without a name.
+
+Finally becoming disgusted with this state of affairs, a few young
+men, more curious than their elders, began to inquire into the
+contents of the dusty volumes of the great Sebastian; they seemed
+to them at first somewhat dry, although interesting, at least in
+point of execution. One might learn something in that direction! And
+soon they were greatly surprised to find their souls touched, while
+working with their fingers. And when, acquiring a taste for further
+search, they went through the volumes of Chorales, and finally
+arrived at the Cantatas...!
+
+I shall never forget the hours devoted by the _Concordia_, whose
+conductor I was, to the study and performance, at the Conservatoire,
+of that splendid series of lyric works, which we crowned with the
+"Passion according to Saint Matthew...."
+
+In justice to our elders it must be said that in Germany as well Bach
+had been long neglected. All honor to Mendelssohn, who conducted this
+prodigious work at the _Singakademie_ in Berlin, March 29, 1829; it
+had been sleeping in the depths of a library for just one hundred
+years, the first performance of the work having been on Good Friday,
+1729, in Leipzig.
+
+In 1840 Mendelssohn gave an organ concert in St. Thomas's Church upon
+the instrument which so long before had been played by the great
+Bach himself; the object of the concert was the augmentation of the
+subscription for a monument to his memory.
+
+The following was the programme:
+
+  Fugue in E flat.
+  Improvisation upon themes from Bach.
+  Prelude and Fugue in A minor.
+  Passacaglia.
+  Pastorale. Toccata.
+  Fantasia upon some of the chorales.
+
+April 4th of the following year, in the same church, Mendelssohn
+conducted the St. Matthew Passion, from the same spot where Bach
+himself had directed it, 112 years before.
+
+Finally, on March 23, 1843, a great symphony concert was given:
+
+  1. Orchestral Suite (overture, arioso, gavotte, trio, bourrée,
+     and gigue).
+  2. Motet for double chorus _a cappella_.
+  3. Concerto for harpsichord (the solo part of which Mendelssohn
+     himself played).
+  4. Aria from the St. Matthew Passion (_Ich will bei meinem Jesu
+     wachen_).
+  5. Fantasia upon a theme by Bach (performed by Mendelssohn).
+  6. Cantata (for the election of the _Stadtrath_ [council] of the
+     city of Leipzig).
+  7. Prelude for violin (played by Ferdinand David).
+  8. Sanctus (from the Mass in B minor).
+
+The subscription had resulted successfully, and the monument had been
+erected.
+
+Following the concert, the draperies were withdrawn which concealed
+the bust of the master of masters.
+
+CH.-M. WIDOR.
+
+
+
+
+Introduction
+
+
+The author of this study does not assume to have discovered Bach, of
+whom the world has already heard; but of such men there is always
+something to be learned; many new facts of interest concerning the
+great Cantor of Leipzig will be brought out by others after us. What
+we here wish to consider is the compositions of Bach for the organ.
+
+If, perhaps, we have confined ourselves to æsthetic considerations of
+a nature which may appear general, we trust that we may be pardoned;
+a perusal of this little book will demonstrate that it is not the
+fault of the man who suddenly surpassed all that had been done before
+him, while at the same time anticipating all that was to be written
+in the future.
+
+Bach was not without predecessors; we may not ascribe to him the
+honor of having invented an alphabet, but it must be recognized that
+he was the author of a grammar. This conclusion is apparent upon a
+study of "Johann Sebastian Bach, the Organist"; it would undoubtedly
+be no less convincing upon the consideration of all his works as a
+whole.
+
+Since we must confine ourselves to observation from a particular
+point of view, we shall indeed be happy if our labor, based entirely
+upon recognized authorities, shall make easier to the student the
+task of playing Bach "in the Bach spirit."
+
+A. PIRRO.
+
+WÜSTWEILER, September 27, 1894.
+
+
+
+
+ERRATA IN MUSICAL EXAMPLES.
+
+
+Page 6, second brace, meas. 2, upper part: First half-note _d''_
+should be _c''_.
+
+Page 8, meas. 3, upper part: Add tie between third and fourth notes
+from end.
+
+Page 16, second brace, meas. 2, upper part: Third 16th-note _a'_
+should be _c''_[sharp].
+
+Page 18, second brace, meas. 1: Add tie between last note (_f_) in
+third part and the following note.
+
+Page 32, Example 2, last meas. _et seq._ should read thus:
+
+[Music]
+
+Page 43, Example 2, meas. 2, upper part: The sixth note (_g'_[sharp])
+should be an _eighth_-note.
+
+Page 44, Example 1, meas. 2, second part: Last note should be
+_g_[natural].
+
+Page 47, Example 1, meas. 2, upper part: First note, _e''_, should be
+_f''_.
+
+Page 47, Example 1, meas. 2: Add tie between last note in third part
+and the following note.
+
+Page 91, Example 2, second part: Third note from end should be
+_f'_[sharp].
+
+
+
+
+Johann Sebastian Bach, The Organist
+
+
+
+
+THE PRECURSORS OF BACH
+
+FRESCOBALDI--FROBERGER--PACHELBEL--BUXTEHUDE
+
+
+Frescobaldi was born at Ferrara in 1583, and the same year at his
+baptism in the Cathedral received the Christian names _Girolamo_ and
+_Alessandro_.
+
+His first teacher was his father, who was organist at one of the
+churches in Ferrara. According to his own testimony he afterward
+studied under the direction of Luzzasco Luzzaschi,[6] to whom Claudio
+Merulo, himself an excellent organist and thus a competent judge,
+accorded the title of the "first organist in Italy"; Vincenzo Galilei
+ranked Luzzaschi among the four greatest musicians of his day. To
+the instruction given by this master, well known for the clear and
+thoughtful conception of his works, were added the counsels of
+Francesco Milleville,[7] likewise an organist at Ferrara. Milleville
+was of French descent, brought up upon the old traditions of the
+Flemish contrapuntists, and the part which he played in the musical
+development of young Girolamo is worthy of emphasis; for this
+interchange or commerce of ideas between the northern countries and
+Italy produced the greatest musicians of the sixteenth century.
+Josquin de Près,[8] born at Cambrai in 1445, and a pupil of Ockeghem,
+completed his education at Rome while he was a member of the papal
+choir. Willaert, born in Flanders, studied in Rome, and in Venice
+became the head of the Flemish school. Finally, Palestrina was a
+pupil of Goudimel, a Frenchman.
+
+[Footnote 6: Born about 1545 at Ferrara, organist and choirmaster in
+his native city. The "_Transilvano_" of Girolamo Diruta contains of
+his composition a Toccata in the fourth mode, and two _Ricercare_;
+one in the first, the other in the second mode.]
+
+[Footnote 7: His father, Alexandre Milleville, was born in Paris
+about 1509, and died September 7, 1589, in Ferrara, where he was
+choirmaster. His most distinguished pupil was Ercole Pasquini, the
+predecessor of Frescobaldi at St. Peter's in Rome.]
+
+[Footnote 8: He died in 1521, in the service of the Emperor of
+Austria. Luther said of him: "This man is truly a master of notes;
+they must subject themselves to his will, while other composers
+are compelled to obey them." And again, "His works express perfect
+contentment, like the song of finches."]
+
+Frescobaldi was not destined to depart from the footsteps of such
+illustrious predecessors; desiring to pursue further the studies for
+which he had acquired a taste from Milleville, he, too, set out for
+Flanders while still young.[9] The exact date of that journey has
+never been determined; it seems probable that it was in the year
+1607. For in that year Cardinal Guido Bentivoglio, archbishop of
+Rhodes and legate of Pope Paul V., was sent to the Netherlands (Guido
+Bentivoglio was born at Ferrara in 1579); and, moreover, on January
+10, 1608, Frescobaldi dedicated to him one of his finest works, a
+collection of five-part madrigals, which was published by Peter
+Phalesius in Antwerp. Again, it would not be strange if Frescobaldi,
+in 1607, had followed to another country a compatriot whom he
+regarded as his protector. According to Fétis (preface to _Trésor
+des Pianistes_, by Farrenc), Frescobaldi occupied from this time the
+position of organist at the Church of St.-Rombaut, in Malines.
+
+[Footnote 9: Peter Phillipps and Peter Cornet were the best-known
+organists in the Netherlands. One may judge of their works by the
+excerpts in G.A. Ritter's _Geschichte des Orgelspiels_ (Leipzig,
+1884), Nos. 28, 30, 31, and 32 (2d part).]
+
+But he did not retain this position long, for in 1608 we find him
+again in Milan. From this time the events of his life are unknown
+until 1614, when upon the death of Ercole Pasquini, organist of St.
+Peter's in Rome, Frescobaldi became his successor. If we may believe
+Abbé Baini, the fame of Frescobaldi was already so widespread that
+upon the day when he assumed his new duties he played to thirty
+thousand people.
+
+Musical criticism at the time, represented by Della Valle and Lelio
+Guidiccioni, records that while his style was less profound, it was
+more elastic and agreeable than that of his predecessors. Such a
+criticism, especially coming from Guidiccioni, who was most exacting
+upon the subject of technique,[10] would indicate that Frescobaldi
+possessed a genuine advantage over his contemporaries. At the present
+day one would say that he played the organ with a pianist's touch;
+if one replace this criticism in its historic frame, one may imagine
+the continuous use of trills, scales, mordents and appoggiaturas: an
+inheritance from the German "colorists." While perhaps a mistaken
+usage, how else could one have made one's self heard throughout the
+immense nave of St. Peter's, upon an organ of fourteen registers,
+with but one manual and an incomplete pedal? Boldness and dash, that
+which we understand by _brio_, had to compensate for paucity of tone.
+
+[Footnote 10: Luzzasco Luzzaschi, whose compositions were for that
+time of great value, was charged by Guidiccioni with inability
+to play trills and to bring out in relief the details of the
+counterpoint, which were blurred under a hard, heavy touch.]
+
+Although he was comparatively sparing of ornaments in his
+compositions, particularly those destined especially for
+religious services, he never departed from a florid style in his
+improvisations, which bristled with feats of skill and agility of
+technique. Abbé Maugars, who knew him at Rome in 1639, still praised
+the ornamentation and the marvellous cleverness of his improvised
+Toccatas.
+
+In 1643 Frescobaldi retired, having already enjoyed leave of absence
+from 1628 to 1633; these years he spent at Florence, in the service
+of Ferdinand II., Grand Duke of Tuscany.
+
+He did not long survive his retirement in 1643, which, however, was
+not absolute, for he took up the position of organist at the little
+Church of St. Lawrence _in montibus_. He died March 2, 1644; and was
+buried in the Church of the Holy Apostles.
+
+Frescobaldi's works--which cover the entire period of his life--are
+very numerous;[11] they were written, as a rule, for organ or
+harpsichord indifferently; one of his compositions, published at
+Rome in 1638, even bears the following title, "_Canzoni a 1, 2,
+3, 4 voci_, written to be sung or to be played by all varieties
+of instruments." In some of his works a certain predetermination
+is nevertheless evident, recognizable either through their
+appropriateness for religious service, or by their obbligato pedal
+part, as in the Toccatas.
+
+[Footnote 11: We will not enumerate here all of Frescobaldi's works;
+we must be content to mention or analyze only those which from the
+point of view of our present study are most significant.]
+
+The collection of _Fiori musicali_[12] belongs to this category,
+for, with the exception of such pieces as the _Bergamasca_ or the
+_Girolameta_, it contains only selections designed for performance
+during church service.
+
+[Footnote 12: The following is the complete title: _Fiori musicali di
+diverse compositione, Toccate, Kyrie, Canzoni, Cappricci, e Ricercare
+in partitura a 4 utili per sonatori. Autore Girolamo Frescobaldi,
+organista di San Pietro di Roma. Opera duodecima. Con Privilegio.
+In Venetia. Apresso Alessandro Vicenti_, 1635. The volume bears
+the arms of Cardinal Ant. Barberino, to whom the work is inscribed
+(the dedication is dated August 20, 1635). The music is written in
+score, on four staves, each part with its proper clef; the rests are
+carefully written out.]
+
+Apart from their intrinsic value, these compositions comprising the
+_Fiori musicali_ bear for us this very potent interest: they are,
+without exception, copied entirely by the hand of Bach;[13] which
+shows the importance he attached to them and the pains he took to
+study them.
+
+[Footnote 13: This precious copy, of 104 pages (like the original),
+is dated 1714, and preserved in the library of the _Kgl. Institut für
+Kirchenmusik_, at Berlin.]
+
+This collection includes three masses: the _Missa della Domenica_,
+_delli_ (sic) _Apostoli_, and _della Madonna_, each one consisting of
+a Toccata for a prelude, of the versets of the Kyrie, and of pieces
+written to correspond to the various portions of the office, suitably
+designated; thus (p. 49), _Recercar cromaticho post il Credo_, or (p.
+77), _Canzon dopo la pistola_ (sic).
+
+The versets of the Kyrie, in the three masses, are for the greater
+part more properly "Ecclesiastical songs without words," as Ambrose
+said, than compositions of a purely instrumental character; in fact,
+they are written strictly within the compass of the voice, and only
+the long duration of single notes (as in the alto on page 7, or in
+the soprano on page 8) precludes the possibility of their being sung.
+
+Curious is the effect of the pedal notes, sustained from the
+beginning to the end of a verse; and we find remarkable examples of a
+polyphonic accompaniment to the text, doubly interesting because of
+the continual reappearance of the theme, either in its integrity or
+slightly modified.
+
+Further, while making use of the accidentals required by the
+modulation of the parts in the counterpoint, and especially in
+cadences, Frescobaldi respects as much as possible the diatonic
+character of the Gregorian scale; he adheres to it with as little
+variation as possible, particularly when he brings it into
+prominence. The mode, the Dorian, remains uppermost in the mind of
+the auditor, and the counterpoint is most often derived from the same
+tone, sometimes in imitation, at others in ingenious inversions of
+the melody which it accompanies. One of the more elaborate of these
+versets, the _Kyrie ultimo_ of the _Missa della domenica_, ends with
+an allegro, a veritable _alla breve_.[14]
+
+[Footnote 14: With Frescobaldi we find no final cadence other than
+a perfect major; at his time the idea of a major or minor tonality
+was still to be conceived, and even for a long time after this
+distinction was finally made the custom prevailed of ending a piece
+written in a minor key by a major chord. Thus, in a collection of 371
+chorales by J.S. Bach, of which 113 are in the minor mode, 108 of the
+latter end with a major chord.]
+
+If in nature these versets partake somewhat of the character of
+compositions for voices, we find in other numbers of the _Fiori
+musicali_ a very close affiliation with vocal music. We refer to
+that grace and flexibility of proportion which prompts us to say of
+this theme, of that counterpoint, "It is musical!" Especially in the
+_canzoni_ do we find these expressive qualities.
+
+It is well known that the instrumental fugue was born of this
+species of composition, which was also called _canzon francese_; the
+responses to a subject, sometimes of popular origin, and most often
+in this rhythm (a traditional one): [Music] became answers, and the
+alternation of double with triple rhythm gave rise to the fugue in
+several movements, such as Buxtehude, in particular, often wrote.
+
+The steps of this transformation may be traced in the _canzoni_ of
+Frescobaldi: the _canzone_ in the fourth mode of the _Fiori musicali_
+(p. 66) is an instance of an altered answer to a subject, and the
+_Canzone IV_ (p. 53) of the second book (Toccatas, _Canzoni_,
+etc.[15]) begins like a veritable fugue:
+
+[Music]
+
+[Footnote 15: _Il secondo libro di Toccate, Canzoni, Versi d'hinni,
+Magnificat, Gagliarde, Correnti e altre Partite d'Intavolatura di
+cembalo e organo di Girolamo Frescobaldi. Con Privilegio. In Roma,
+con licenza de' Superiori. 1627. Da Nicolo Borbone._]
+
+For us the _recercare_ possess an interest of another kind;
+Frescobaldi had introduced an innovation in creating the initial form
+of the fugue, unconsciously guided by the necessity of establishing
+the modern tonality which forced itself upon his senses; particularly
+in the Ricercatas and in certain of the Toccatas he contrives to
+become master of a new resource, which had suggested this tonality to
+him: the chromatic scale.
+
+This enables him to discover new harmonies, although he is sometimes
+led astray, and to modulate with endless freedom. The dissonance is
+no longer a "necessary evil" to him; it is an important factor in
+new effects. With his absolute command of the instrument and his
+marvellous facility of improvisation, this ability to distance his
+contemporaries in a field which up to this time no one had had the
+courage to explore, places the organist of St. Peter's in a position
+closely allied to that occupied by the Cantor of Leipzig; at least
+considering what Frescobaldi was able to accomplish in his time,
+obliged to create a new language for himself, as it were; and he
+sometimes lost his way, in propounding to himself problems which were
+insoluble in the existing stage of musical advancement.
+
+Possibly Frescobaldi realized this impossibility of a personal
+participation in something which he foresaw, as yet only in a
+confused way, but whose advent he regarded as a certainty. For since
+he could neither ordain a "music of the future," to use an expression
+already more or less familiar, nor define its fundamental principles,
+he was often obliged to deny himself any part in even the development
+of his art, confined as he was to the limits of obsolete rules; did
+he also conclude that his too fertile imagination would lead him into
+extravagances, and did he voluntarily restrain this creative faculty,
+confining it to the laborious construction of too subtle enigmas?
+Certain of his compositions suggest such a condition of mind; above
+all, the _Recercar con obligo di cantare la Quinta Parte senza
+toccarla_ (_Fiori musicali_, p. 84).[16]
+
+[Footnote 16: Ricercata, of which the fifth part must be sung,
+without being played.]
+
+At the head of this composition stands the following motive, like a
+motto:
+
+[Music]
+
+upon which, moreover, is based the entire Ricercata.
+
+But this piece is in duple time, and this fifth part is in 3/1, the
+_tempus perfectum_ of mensurable music, indicated by a circle.[17]
+Where could the entrances be effected? This the performer must decide
+for himself, for Frescobaldi never did anything to assist him in
+his decision; "_intenda mi chi può, che m'intend' io_" ("let him
+comprehend me who can, I understand myself"), he tells us. We find
+the same challenge at the beginning of one of his caprices, the tenth
+in the first book[18] (pp. 77-86).
+
+[Footnote 17: The circle, possessing neither beginning nor end,
+conveys the impression of the infinite, of perfection. This
+perfection is attributed to the number _three_; according to Franco
+of Cologne, the chief number, because of the Trinity, "_vera et summa
+perfectio_." (_Musica et cantus mensurabilis_, Chap. IV.)]
+
+[Footnote 18: _Il primo libro di capricci, canzoni francese e
+ricercari fatti sopra diversi soggetti et arie in partitura. Di
+Girolamo Frescobaldi, organista in San Pietro di Roma. Novamente
+ristampati. Con privilegio. In Venezia, appresso Alessandro Vicenti_,
+1642. An earlier edition dates from 1626, and is only the collection
+in a single volume of the works published in 1615 and 1624.]
+
+This same volume contains a Ricercata upon the hexachord (pp. 1-14),
+remarkably developed, and exhibiting a determination suggestive of
+scholastic restraint; and a _recercar_ with four subjects (p. 137).
+
+In the _Canzoni_, grace and interest of movement particularly are
+revealed; in some pieces expressive themes of a chromatic character
+lend a certain sentimental charm, while others, for instance those
+of which mention has already been made, serve chiefly as examples of
+ingenuity and cleverness. But the _Toccatas_ of Frescobaldi combine
+all these characteristics, sometimes contrasted with or dominated
+by, in addition, a stately dignity, an incomparable breadth. And,
+moreover, they were conceived expressly for the organ, in their more
+lofty character, and written upon the staff then in use for that
+instrument.[19] They display all its resources, within a legitimate
+compass, although limited by the ability of the executants and by
+the deficiencies of the Italian organ manufacture of the period;
+the performers being little accustomed to the use of the pedal, and
+the Italian manufacture less advanced than that of the Germans. In
+fact, little could be demanded of the organist beyond long-sustained
+pedal-notes; and never do these works indicate that organs with
+several manuals were at that time constructed in Italy.
+
+[Footnote 19: The following is a facsimile of this tablature, taken
+from the beginning of the sixth Toccata in the second book (pp.
+16-20), _per l'organo sopra i pedali e senza_:
+
+[Music]]
+
+While in the Toccatas[20] the themes are developed noticeably in
+what we may term sections or plans, these are strictly contrasts of
+movement rather than of intensity of sound.
+
+[Footnote 20: According to Michael Praetorius (_Syntagma musicum_,
+1619) the Toccata was a prelude, a trial of the keyboard, as
+it were; a fantasia wholly devoid of form, where the organist
+improvised, alternating long-sustained chords with rapid passages.
+It was something entirely spontaneous in nature, in which every
+imperfection was pardoned, provided the performance was characterized
+by sufficient dash. The Toccatas of Frescobaldi, by virtue of their
+steadiness and of the balance of their parts, rise far above such a
+definition, which is justly applicable to the Toccatas of Claudio
+Merulo and of Gabrielli.]
+
+Frescobaldi placed more confidence in the finger dexterity of his
+pupils than in their facility with the pedals. To the more apt ones
+among them were addressed these words: "_Chi questa Bergamasca
+sonerà, non pocho imparerà_," written at the beginning of his
+variations upon the popular melody of the "Bergamasca";[21] and,
+again, at the end of the ninth Toccata in the second book: "_Non
+senza fatiga si giunge al fine_."
+
+[Footnote 21: This theme was again used by G.B. Fasolo (1645) and Fr.
+A. Scherer. Fasolo's version reminds us of the fugue in _A_ major of
+J.S. Bach; it runs:
+
+[Music]]
+
+As examples of another style must also be mentioned the _Pastorale_,
+or rather the _Capriccio fatto sopra la Pastorale_, the themes of
+which were borrowed later by Händel from the same popular source from
+which Frescobaldi obtained them; this caprice has a pedal part, which
+proves it to have been expressly designed for the organ.[22]
+
+[Footnote 22: The Pastorale belongs to the "_Toccate d'intavolatura
+di Cembalo et organo. Partite di diverse Arie e Correnti, Balletti,
+Ciacone, Passacagli di Girolamo Frescobaldi. Libro Primo. Stampate
+l'anno 1637 per Nicolo Borbone in Roma_." It is a reprint of works
+already published in different volumes.]
+
+The picturesque quality reappears in the imitative trumpet-calls in
+the _Battaglia_, while in the numerous _partite_, or suites upon the
+_Romanesca_, the _Frescobalda_, the _Aria di Monicha_,[23] the _Aria
+di Ruggiero_, _Frà Jacopino_,[24] Frescobaldi acceded to the demands
+of the times for transcriptions and variations upon popular tunes.[25]
+
+[Footnote 23: Compare _Soeur Monique_, by F. Couperin.]
+
+[Footnote 24: _Frère Jacques_, a popular French tune.]
+
+[Footnote 25: This taste was prevalent at the time; Frescobaldi's
+rival, S. Scheidt, organist at Halle, gives us numerous examples of
+it: in the first part of the _Tabulatura nova_ (Hamburg, 1624), two
+Belgian melodies with variations, and the French song, _Es ce Mars_;
+in the second part, the English tune _de Fortuna_. The _Tabulatura
+nova_ has been reprinted (_Denkmäler der Tonkunst_).]
+
+In several cases Frescobaldi gives us hints as to the execution
+of his works: "music in this style is not to be performed with
+invariable strictness of tempo...." he says in the preface to the
+second volume of toccatas, etc.[26] (1637). "It should be played
+slowly at the beginning, and in an arpeggiated manner, the tempo then
+being gradually accelerated. The end of a trill or phrase should be
+marked by the prolongation of the last note, that one phrase may be
+separated from the other. Cadences, even though written in short
+notes, should be retarded more and more toward the end.... If it
+be necessary to play a trill in one hand against a phrase in the
+other, the trill should be performed not note against note with the
+passage in the other hand, but independently; the phrase being played
+with repose and expression. Passages in eighth- or sixteenth-notes
+written for both hands must not be taken at a too rapid tempo; of
+two sixteenth-notes the second should always be slightly dwelt upon.
+In quick passages for two hands, hold back a little upon the next to
+the last beat; then finish brilliantly, displaying the agility of
+the hand. For the Partitas, which are characterized by expressive
+subjects, it will be well to adopt a broad tempo, as well as for the
+Toccatas; such of the latter as are not too exacting in their demands
+upon technique maybe taken faster; here the choice of tempi is left
+to the ready discernment and good taste of the performer...."
+
+[Footnote 26: Previous editions are dated 1614 and 1616. Each of
+these directions, addressed "al lettore," is preceded by its number,
+according to order; there are no less than nine of them.]
+
+We perceive that Frescobaldi demanded the same qualities of
+imagination for the performance of his works that he exercised in
+their composition. They are, in fact, an example of a continual
+_rubato_. In the preface to the first book of caprices he gives us
+similar directions; adding: "movements in 3/1 and 6/2 should be taken
+_adagio_ (he wrote _adasio_); those in 3/2 a little faster, those
+in 3/4 _allegro_." He also charges the performer to conform to the
+style of his works; serious in the Ricercatas, more brilliant in the
+Caprices.
+
+"Frescobaldi marks one of the turning-points in the evolution of
+Music, and is himself the personification of the successful and
+unsuccessful endeavors, of the victories and defeats, of these
+periods of transition. His works, upon which is imprinted the stamp
+of genius, appear as classics in comparison with the inefficient
+products of that reign of Monody.... That with one hand they point
+backward to a great Art-epoch just terminated, while with the other
+they point forward to the hopeful future of a new Musical Art, lends
+to them an individual and wondrous charm."
+
+This judgment of Ambros[27] sums up in a remarkable manner the _rôle_
+which Frescobaldi fills in the history of music. In the history
+of organ music, taken alone, he more than represents a period of
+transition; he stands as a creator, who brought into view, although
+framed in obsolete mannerisms, a whole hereafter; his inability to
+partake of which is the cause of the melancholy regret which he
+often unsuccessfully attempts to cloak under a certain amount of
+affectation.
+
+[Footnote 27: _Geschichte der Musik_, vol. iv, p. 438.]
+
+
+II
+
+Johann Jakob Froberger, the son of a cantor in Halle, was born in
+that city; the exact date of his birth is uncertain, but may perhaps
+be fixed at between 1610 and 1620.[28]
+
+[Footnote 28: The records of the city of Halle, from the year
+1620 on, do not contain the name Froberger. It is thus useless to
+entertain the date 1635, given by some historians.]
+
+A Swedish ambassador, temporarily in Halle, took Froberger with him
+to Vienna, says Walther (_Lexicon_, Leipzig, 1732); he was charmed
+with the fine voice of the youth--who was fifteen years of age--and
+astonished at his rare musical talent. Soon Froberger became a member
+of the imperial choir. In the treasury records of the _Hofburg_ we
+find him designated as organist of the palace from January 1, 1637,
+to September 30 of the same year.[29] After this he left Vienna for
+Rome to study with Frescobaldi. This move had previously been decided
+upon; the records above mentioned contain the following entry upon
+the subject: "J.J. Froberger requests that he be sent to Rome, to
+Frescobaldi, as he was promised. The sum of 200 florins is granted
+him." After four years of study he resumed his service at court,
+April 1, 1641. In 1645 he obtained leave of absence. Where did he
+pass this time? Perhaps he remained in Vienna, where his ability as
+a clavecinist was highly appreciated; at any rate he was there in
+1649. William Swann, _chevalier lettré et grand amateur de musique_,
+wrote from Vienna, September 15, 1649, to Constantin Huygens,[30] a
+councillor to the Prince of Orange, that he was sending him "some
+pieces given me by a Monsieur Froberger, who has great talent for the
+spinet."[31]
+
+[Footnote 29: At first he received twenty-five florins a month. Later
+his salary was raised to sixty florins, in addition to gratuities and
+money for clothing, beginning at twenty florins per year.
+
+Two organists were usually in service.]
+
+[Footnote 30: He was the father of the astronomer, Christian Huygens.
+Himself a composer, he was much interested in music. Curious facts
+concerning musicians of his time will be found in the work of W.
+Jonckenbloet and Land: _Correspondance et oeuvres musicales de
+Constantin Huygens_, Leyden, 1882.]
+
+[Footnote 31: "des pieces que un nommé Mons. Froberger ma donnez, et
+qui est un homme tres rare sur les Espinettes."]
+
+Still further, the manuscript of the second volume of Froberger's
+compositions is dated "Vienna, li 29 Settembre 1649."[32] This book
+he dedicated to Emperor Ferdinand III.,[33] his patron; this act of
+homage perhaps gave him an opportunity to beg for the extension of
+his leave.[34]
+
+[Footnote 32: This manuscript, carefully and finely written and
+embellished with pen-designs, is divided into four volumes,
+splendidly bound; they are preserved in the library of the _Hofburg_
+(the palace of the Emperor of Austria) in Vienna. A large number of
+the pieces are autographs; Froberger distinguishes these by the words
+_Manu propria_.]
+
+[Footnote 33: Ferdinand III. was a musician; still extant are an aria
+of his composition with thirty-six variations, published by Ebner
+(Gerber), and some litanies in Kircher's _Musurgia_.]
+
+[Footnote 34: It is worthy of notice that, save for the few months
+which preceded his journey to Rome, Froberger appears and departs,
+alternately, every four years; with the exception of the leave he
+obtained from 1645 to 1653--undoubtedly one of four years which he
+had renewed in 1649. The fulfilment of the duties of the position
+was assumed by rotation among several organists; like the custom
+established at the court of Louis XIV., where the four titular
+organists succeeded each other every three months, or every
+"quarter."]
+
+Froberger took this occasion to go to Brussels; witness to his
+presence there is borne by the following record, found upon one of
+the Toccatas: "_fatto a Bruxellis, anno 1650_." This toccata is
+included in a manuscript collection preserved in Paris, together
+with other pieces, one of which[35] indicates that he went to Paris
+at about the same period. His stay there brought him into touch
+with Galot and Gautier, whose style of playing the harpsichord he
+acquired, Mattheson tells us. Thus he endowed the German school with
+that profusion of ornaments which characterized the performance of
+these _virtuosi_, renowned for their skill in playing the lute.[36]
+
+[Footnote 35: "_Allemande de M. Froberger, fait à Paris._" It is No.
+12 of the manuscript in the _Bibliothèque Nationale_, Vol. 7, 1862.
+This volume is ornamented with the arms of Bassyn d'Angervilliers
+and of N. Mothefelon. The title upon the binding reads: _Préludes
+de M. Couperin_. Besides these preludes and the Froberger pieces
+are contained works of Frescobaldi, Labarre, and Richard de
+Saint-Jacques.]
+
+[Footnote 36: From this vacation seems also to date a journey to
+Dresden, where he was accorded a magnificent reception by the Elector
+of Saxony, to whom the Emperor had sent him.]
+
+April 1, 1653, Froberger again assumed his duties as organist,
+retaining his position until June 30, 1657. It is said that he was
+obliged to retire, having fallen into disgrace; the death of his
+patron, Ferdinand III., which occurred the same year, may also have
+led him to decide to leave the court, where he no longer enjoyed the
+favor which he had been accustomed to receive from the Emperor.
+
+Several years were devoted to travels; he visited Mayence and
+England, being in the latter country at the time of the marriage of
+Charles II. in 1662.
+
+This journey to England has inspired a certain romance, very free in
+its details. It may be admitted that Froberger was shipwrecked on
+the way; but something which passes the bounds of probability and
+becomes but an absurd fable is the representation that, having been
+relieved of his money by pirates, he was forced to apply for the
+position of organ-blower at Westminster--he, who had been organist
+to the Imperial Court in Vienna! Moreover, Froberger did not fail
+to establish certain relations in England, particularly through the
+intermediation of Chevalier Swann, of whom we have already spoken.
+
+His last years were spent with the Dowager Princess Sibylle de
+Montbéliard,[37] born Duchess of Württemberg. An attack of apoplexy
+ended his life May 7, 1667, at Héricourt; he was buried at Bavilliers
+(Department of Belfort).
+
+[Footnote 37: In two autograph letters, of June 25 and October 23,
+1667, addressed to Christian Huygens, the Princesse de Montbéliard
+gives details of Froberger's death, expressing her grief at the
+decease of the "Chevalier," a true "Patron of noble music." These
+letters, which were discovered in 1874 by Dr. E. Schebeck, have been
+published by him, somewhat revised, and by Jonckenbloet and Land in
+their original form.]
+
+In his compositions Froberger was the lineal descendant of
+Frescobaldi; but his conception of his art was not that of his
+master. Despite his more elaborate style and his more fully developed
+technique, especially in the fugue form, he never attained the
+classic beauty, the impressive repose, which characterized the works
+of the latter. Froberger was essentially a court musician; as such,
+he strove to please. Furthermore, his musical character was wholly
+superficial. What he feared above all things was that his music
+should be tedious, a judgment which has since often been passed upon
+it. Under his touch the rhythm would become more flexible; he would
+delight the listener, holding his attention by cleverly combined
+modulations; but his labors were devoted to the development only of
+forms already established--at least, upon the organ. The literature
+of the harpsichord is naturally more indebted to him, considering
+his temperament. He was one of the first to give to this instrument
+an individual style, by writing the Suites; an inheritance from the
+Partitas of Frescobaldi, it is true, but more closely forerunners of
+the sonata. In general, these suites[38] consist of an _Allemande_,
+a _Courante_, a _Sarabande_, and a _Gigue_, sometimes all upon a
+single theme, and often, as is noteworthy from the standpoint of
+the development of this style of music, connected simply by their
+tonality.
+
+[Footnote 38: These suites are found in the Vienna manuscript and
+in one of the Spitta collection. (See Franz Beier: _Ueber J.J.
+Froberger's Leben und Bedeutung für die Klaviersuite_.)]
+
+From a general point of view, Froberger's importance is due to
+his having brought into South Germany the style of Frescobaldi,
+as well as something of French music. And his works are worthy of
+perpetuation less because of their intrinsic value than for the
+influence they exercised.
+
+This influence did not make itself felt until long after his death.
+Save for a few manuscripts (among them those in Vienna and Paris,
+which were little used, and a few pieces published separately; for
+example, the caprice upon the hexachord[39] brought out in 1650 by
+P. Athanasius Kircher in the _Musurgia universalis_), the "_Diverse
+Ingegniosissime, Rarissime et non may più viste Couriose Partite, di
+Toccate, Canzoni, Ricercate, Alemande, Correnti, Sarabande et Gigue
+di Cembali, Organi et Instromenti_" were not published until 1693, by
+Louis Burgeat, in Frankfort.
+
+[Footnote 39: _Unam exhibemus quam D. Io. Jac. Frobergerus
+organoedus Caesarius celeberrimus olim organoedi Hieron. Frescobaldi
+discipulus supra_ UT RE MI FA SOL LA _exhibuit._ (_Musurgia
+universalis_, Vol. i, p. 466.)]
+
+Of chief interest to us are the Toccatas in this volume, since they
+were written more specifically for the organ. Froberger here recalls
+his master only in certain details; it is more the work of a great
+virtuoso who, when he writes, always keeps in view the display of his
+own facility of execution.
+
+His ingenious chatter, interesting combinations, and novelty of
+rhythm and of cadences,[40] attracted even Bach, Adlung[41] tells
+us: "Bach, of Leipzig, now deceased, always admired the compositions
+of J.J. Froberger, although they are somewhat antiquated."[42]
+
+[Footnote 40: He excelled in movements in triplets.]
+
+[Footnote 41: _Anleitung zur musikalischen Gelahrtheit._]
+
+[Footnote 42: J.S. Bach is already foreshadowed in Froberger's
+compositions. Thus, in this _double_ of an _Allemande_:
+
+[Music]]
+
+
+III
+
+We have remarked that Froberger's importance is derived especially
+from his introduction of the traditions of Frescobaldi, although
+he impressed upon them the stamp of his own individuality and less
+exalted ambitions.
+
+Johann Pachelbel was also destined to absorb some of the reflected
+genius of the great organist, two generations later; but he availed
+himself of it in a wholly individual manner, imbuing it with his own
+keen sense of the religious. Caspar Kerl,[43] who had studied in Rome
+at a time when the influence of Frescobaldi was still potent, gave
+Pachelbel his first insight into the characteristics of the master's
+work.
+
+[Footnote 43: Kerl was sent to Rome by Emperor Ferdinand III. about
+1649; he received some lessons from Carissimi.]
+
+They became acquainted in Vienna; Kerl was organist at St. Stephen's,
+and Pachelbel was sufficiently advanced in his art to warrant
+his engagement as substitute for the former. Excepting his stay
+in Vienna, Pachelbel led a somewhat restless life, although in a
+smaller circle than that traversed by Froberger. Born at Nuremberg
+(September 1, 1653), he learned the elements of composition from
+Prentz, at Regensburg, after which he occupied several positions
+as organist, the succession of which is not accurately known, as
+regards dates; we know, however, that he was at Eisenach from 1675
+to 1678. The other years were divided between Erfurt, Stuttgart, and
+Gotha; finally, upon the death of the organist Wecker, he settled in
+Nuremberg, in 1695. He died there March 3, 1706.
+
+Despite this apparent restlessness, Pachelbel's life was quiet, full
+of that peace of mind which is characteristic of a profoundly pious
+nature.
+
+His works betray the influence of such a sentiment, although he
+did not force upon his compositions that religious tone which a
+more studied method of procedure would have imparted to them. Their
+inherent character is purely emotional. To his chorale-preludes he
+lends a mystical significance, a devotional intimacy which was then
+unparalleled. While following the example of Scheidt in announcing
+or accompanying every melodic phrase by a counterpoint based upon
+a fragment of the phrase itself, he greatly improved the whole by
+making the movement more flowing; again, by a more intelligent choice
+of themes he attained the unity of expression demanded by the true
+sentiment of the chorale. These counterpoints are often symbolic in
+nature, as is so often the case with Bach; and the harmony is most
+expressive of that calm and plenitude which suggests the infinite,
+the essence of all religious music.
+
+Pachelbel rarely varied the melody of the chorale. Heralded by the
+figuration of the accompanying parts, the _cantus_ establishes itself
+over all, intensifying in its progression in even notes (for the most
+part diatonic) the exalted seriousness of the sacred text.
+
+The Chorale is charged with having accustomed the German people,
+for the past three hundred years, to express their sorrows and
+their rejoicings in the same tone;[44] especially is ascribed to it
+that heavy rhythm, which has been likened to a "parade step." But
+precisely from this contrast between a melody which moves, wholly
+impersonally, ever onward upon its dignified course, while the
+sentiments of joy, of sadness are expressed in the embellishing
+counterpoint, is the inherent grandeur of such compositions derived.
+
+[Footnote 44: See Ed. Hanslick: _Aus meinem Leben_. (_Deutsche
+Rundschau_, July, 1894, p. 54.)]
+
+The versets of Frescobaldi alone succeeded in suggesting to Pachelbel
+the idea of this form; up to this time none of the German organists
+had understood how to give such importance to a liturgical melody,
+despite the resources of their instruments with several manuals;
+the chorale-preludes of S. Scheidt (1587-1654) were of an analogous
+character, it is true; but they lacked the serenity of Pachelbel's
+compositions in this form, and most of the other musicians were still
+under the influence of the bad taste of the "colorists," seeking to
+impart to the melody, by means of diminutions and florid ornaments,
+the very expressiveness which they were incapable of taking away from
+it.
+
+The following is an example of the manner in which Pachelbel wrote
+his chorales; it is the beginning of the first verse of "_Vater unser
+im Himmelreich_,"[45] the melody of which was used by Mendelssohn
+as the subject of his sixth organ sonata. Each verse is similarly
+introduced by a few measures in fugued style, the subject of which
+was borrowed from the corresponding portion of the melody.
+
+[Footnote 45: "Our Father, who art in heaven." This chorale was
+one of eight published for Pachelbel by Johann Christoph Weigel at
+Nuremberg about 1693.]
+
+When, in connection with Bach, we speak of Chorales conceived in the
+style of Pachelbel, it is to this type that we refer:
+
+[Music]
+
+For the last verse:
+
+[Music]
+
+Pachelbel preludizes in this manner:
+
+[Music]
+
+In addition to numerous chorales we have quite a number of fugues by
+Pachelbel.
+
+Here is noticeable this great advance step: the majority are _tonal_.
+Their subjects are broader, and of a melodic character which
+distinguishes them from the themes of their contemporaries, which
+were simple phrases, or parts of a progression, with no "respiration."
+
+Thus, while in the sixth Toccata of Muffat,[46] one of the most
+remarkable composers of his time, we find this scanty theme (we have
+chosen it from among the better developed ones of that epoch),
+
+[Music]
+
+we encounter this in Pachelbel:
+
+[Music]
+
+or this:
+
+[Music]
+
+[Footnote 46: Georg Muffat, born about 1635, was a pupil of Lully,
+and studied also in Rome and Vienna. For some time he was organist
+in Strassburg, and about 1667 entered the service of the Bishop of
+Salzburg. About 1687 he became organist and master of the pages at
+the court in Passau. He died there February 23, 1714. He published in
+1690, at Augsburg, the "_Apparatus musico-organisticus_" (re-edited
+by S. de Lange, Leipzig, 1888), which contains twelve Toccatas, one
+in each of the Gregorian modes, and some pieces of lesser importance.
+
+These Toccatas are a development of the older form of the same name,
+where brilliant passages, harmonic progressions, or fugal imitations,
+succeeded each other. From each of these elements Muffat made a
+whole, developed separately; a similar method suggested in certain
+_Canzoni_ of Frescobaldi was extended in some of the _Capricci_ of
+Froberger. Nothing but the too sparing use of the pedal prevents
+these works from being ranked among the most important.]
+
+The developments, too, are more consistently polyphonic in nature;
+they are more extended, by the simple logic of musical speech,
+without having recourse to foreign devices.
+
+In his Toccatas, Pachelbel generally presents to us passages in
+sixths or tenths for the hands, firmly sustained by pedal notes of
+long duration, sometimes with changes of rhythm of extremely happy
+effect. One among others[47] contains a pastoral theme; and this is
+not an isolated example, for Pachelbel seems to have been fond of
+popular melodies. Some of these subjects, with their 12/8 rhythm,
+express the good-nature and simplicity of rustic tunes.
+
+[Footnote 47: J. Commer. _Musica sacra_, vol. i, No. 132.]
+
+The greater part of Pachelbel's compositions may be found in the
+first volume of the _Musica sacra_. Others are published in various
+collections; we would mention in particular a Toccata and a Ciaccona,
+until now never published, which G.A. Ritter presents in his work
+_Zur Geschichte des Orgelspiels_.
+
+Thanks to these publications, we may form an opinion of Pachelbel's
+music, always conservative and markedly religious in character.
+
+Pachelbel had many pupils; so great was his fame that many organists,
+desirous of making a name for themselves, claimed to have been under
+his tutelage; but "every one cannot have been a pupil of Pachelbel,"
+said Mattheson in the course of a celebrated discussion with one of
+them, the organist Buttstedt.[48]
+
+[Footnote 48: Following the publication of the "_neu eröffnetes
+Orchester_" of Mattheson, Buttstedt had written an essay entitled:
+
+       _Ut mi sol
+       re fa la
+     Tota musica_ (Erfurt, 1717),
+
+in which he defended the old solmisation, or system of changes, the
+_si_, a changeable note, being disregarded. Mattheson answered it the
+same year by the "_neu beschütztes Orchester_" (defense of the new
+orchestra), with the epigraph:
+
+       _Ut mi sol
+       re fa la
+     Todte (nicht tota) Musica_,
+
+a bad pun on the words _tota_, the whole, and _todte_, dead.]
+
+This honor (of so much importance to us is this fact) did fall to the
+lot of Christoph Bach, elder brother of Johann Sebastian, and from
+whom the latter received his first lessons.
+
+
+IV
+
+In bringing to a close this study of the precursors of Bach, it
+remains for us to speak of Buxtehude, the master of his choice.
+
+Dietrich Buxtehude was a Dane. He was born in 1637, at Helsingör,
+where his father was organist to the Church of St. Olaf, and also
+was probably his only teacher. At about the age of thirty years the
+younger Buxtehude went to Lübeck, where he succeeded Tunder, organist
+of the _Marienkirche_.[49]
+
+[Footnote 49: He was installed in this position April 11, 1668, and
+upon the third of the following August married Anna Margaretha,
+daughter of his deceased predecessor.]
+
+The organ of St. Mary's was one of the most famous of that time; its
+specification comprised fifty-four stops, divided among three manuals
+and the pedals, and the position was lucrative. And Buxtehude did not
+seek to exchange for another place a post so favorable; he retained
+it until his death, the 9th of May, 1707.
+
+Thanks to the edition of Philipp Spitta,[50] Buxtehude's works have
+been brought within the reach of all; it is thus possible for every
+one to consult them at leisure, and to make one's own technical
+analysis of them. But meanwhile I shall endeavor to establish the
+affiliation between Buxtehude and Bach through a study of certain
+characteristics of their works.
+
+[Footnote 50: _Dietrich Buxtehude's Orgelcompositionen, herausgegeben
+von P. Spitta._ (The first volume contains the preludes, fugues,
+etc.; the second the chorales.) Leipzig, 1876.]
+
+And this we will not attempt to achieve through the medium of a
+general comparison from all points of view, which at best is but
+vague and indefinite. That Bach was richer in inspiration, that his
+work in point of breadth and imagination stands upon a relatively
+higher plane, are facts universally recognized, even though they are
+difficult to define, to prove specifically; we will concern ourselves
+only with the matter of structure. Take, for instance, the second
+chaconne of Buxtehude.
+
+From the very first measures polyphonic interest asserts itself;
+the pedal, although impassive, so to speak, with its half- and
+quarter-notes, progresses in the dignified manner peculiar to the
+chaconne, the upper parts accompanying it in a timid figuration;
+sometimes leading it, sometimes characterized by clever retardations
+in dotted notes, unobtrusive and thoughtful in their imitative
+response, ... and that the theme may be well established in its
+progression and in the general plan, the sixty-four measures, less
+one note, transposed with such charm, are repeated like an echo,
+in the exquisite puerility of a design at once simple and devoid
+of affectation. Later on, toward the end of this little poem, the
+continuity of this angular theme is broken; it appears in fragments
+in the upper parts, affecting cleverness, and always easily
+recognized by an ear ever so little attentive, ... but, before he
+allows himself to indulge in such boldness--for boldness it was at
+that time--Buxtehude exhausts to a certain degree in the other parts
+every resource of movement and of melody; and it is when their voices
+subside to little more than whispers or subdued murmurs that the bass
+makes itself heard, forgetful of the quiet hitherto enjoined upon it,
+and becomes more free and animated, almost to the point of becoming
+divided into sixteenth-notes; striking tones which are repeated, and
+are no longer sustained, as if this sudden power were the product of
+its long restraint or the force of a malicious will....
+
+We can hardly justify ourselves in designating as variations the
+changes undergone by the chaconne after this new exposition of the
+fundamental theme; the tie which binds its different portions is too
+inflexible. Try to take one of them away, attempt an interpolation,
+and you will be unsuccessful. While the various sections are distinct
+from each other, it is like a gradation of colors whose harmony
+arises only from the order of their selection. This series of strokes
+produces something more than the feeling of continuity, it frees
+itself of an intensity of expression which is increased at every
+measure; but the climax is attained with stately chords, in five real
+parts, the bass emphasizing them by a quarter-note upon each beat.[51]
+
+[Footnote 51: It is curious to notice, even in these surroundings,
+an example of what was in the middle ages called the "_proportio
+hemiolia_," the immediate passage from triple to duple time, which we
+find as late as in the works of Bach and Händel. (See _The Messiah_,
+third chorus, thirty-fifth measure.)
+
+In endeavoring to accentuate the rhythm, Buxtehude unconsciously
+breaks it. In reality, the pedal brings an accent upon the third
+beat; and we obtain, by taking as the first beats of measures the
+chords marked with a sign:
+
+[Music]]
+
+The following page contains rapid and brilliant passages of many
+notes, which the pedal, at present omitted, could not follow, until
+finally the pace is slackened, and the movement becomes quiet; a
+plaintive harmonic progression is welcomed as a peaceful, serious
+word, when suddenly the movement is again quickened, even involving
+the pedal, then abandoning it, only to take it up again just before
+the cadence in major, which is now awaited.
+
+By the side of a study of this little lyric, for such the chaconne
+is, together with the Passacaglia, we must point out the exuberant
+imagination displayed in the preludes and fugues. These compositions,
+moreover, partake of a definite design, evolved from the _canzone_
+in so far as that the same subject serves for various developments,
+clothed in different rhythms. Often even the various themes succeed
+each other, leaving to the ensemble only unity of tonality. Thus the
+fugue in E minor has successively three themes:[52]
+
+[Music]
+
+then:
+
+[Music]
+
+and finally
+
+[Music]
+
+[Footnote 52: See Merkel (Johann): "_Betrachtungen über die deutsche
+Tonkunst im 18. Jahrhundert_." _Inaugural-Dissertation zur Erlangung
+der Doktorwürde_ (School of Philosophy of Leipzig University, 1886).]
+
+Each of these fugues is connected with the others by those
+brilliantly florid interludes for which Bach derived a taste, at
+least in his earlier years, from the influence of his studies of
+Buxtehude.
+
+In the chorale, Buxtehude does not interest us in so great a degree
+as does Pachelbel; he is another of the "colorists." Furthermore, he
+was always more worldly than religious, even transforming St. Mary's
+Church into a concert-hall--for sacred concerts, if you will. But
+churches are not temples erected to the Fine Arts; while it may be
+true that the latter approach most closely the divine spirit, yet it
+must be recognized that pantheism, a philosophic teaching, has never
+been followed as a religion.[53]
+
+[Footnote 53: These concerts were inaugurated in 1673; undoubtedly
+for one of these, to which the name _Abendmusik_, evening music, was
+applied, the Chaconnes and the Passacaglia were written.]
+
+
+
+
+THE PRELUDES AND FUGUES OF J.S. BACH
+
+TOCCATAS--FANTASIAS--THE PASSACAGLIA--THE SONATAS
+
+
+The organ compositions of J.S. Bach (especially such of them as are
+free in style, and in which he made no use of the chorale) may be
+classified under three chronological periods, according to their
+structural characteristics.
+
+It is of great interest to note the continued conquests which
+Bach placed to his credit; his first productions saying little
+that had not been said by others, but establishing, as it were,
+the specification of _actual_ resources of which he might avail
+himself. The latest works, on the other hand, complete and final in
+their authority, demonstrate the prodigious career based upon that
+beginning, and thus define the exact measure of all that properly may
+be attributed to the author of _Die Kunst der Fuge_.
+
+It would be puerile to ask one's self if Bach proposed to create,
+or even to reform; these chronological periods, which prescribe
+for us the limits of an historical and æsthetic analysis, are but
+the expression of our own conception. Although in the beginning
+Bach imitated his contemporaries or his precursors, he was unable
+to produce at once positive results in a branch of art in which
+technique alone holds so important a place. Besides, let us
+suppose that he had retained in his own possession these first
+attempts, permitting us to become acquainted only with his greater
+compositions, in which he could appear in his full strength--the
+earlier works being regarded as mere studies or sketches--then
+undoubtedly we should behold a spectacle which would astound the
+historians: the sudden production of such works in a state of
+perfection. Bach did not gratify his _amour propre_ in this manner,
+he never dreamed of doing so; we realize that this little German
+organist, who was content modestly to produce a chorale or a fugue
+each Sunday, simply did the best he knew, always happy and interested
+in his work; and one day we see his genius fully established, as
+the result of all this previous and conscientious labor, together
+with something which he added to it--something of himself. With this
+element, which is characteristic of genius, we wish to become more
+intimately acquainted; but alas! as in every analysis, we cannot
+penetrate its being, and we must be satisfied to regard it from an
+objective point of view.
+
+During the first period Bach assembled his resources; of his
+fellow-countrymen he acquired, from Buxtehude some characteristics
+of movement, his picturesqueness of rhythm, from Pachelbel that
+personal quality which is not unlike what we describe as "German" in
+speaking of certain popular _Lieder_. From the French he borrowed the
+ornaments, more artificial than spontaneous, and that splendor, often
+majestic, which recalls, in this case as well, the "_Grand Roi_";
+from the Italians, gracefulness and perfection of proportions: the
+invaluable inheritance from antiquity, never cut off.
+
+We repeat that these first productions are in nature a sort of
+assembling of resources; it matters little whether they be considered
+as _pasticcii_ or as _centoni_;[54] as little, perhaps, as to know
+that the child Michael Angelo often copied this or that antique
+statue; although with this difference, that the latter may have
+despaired of attaining such heights, while Bach, for aught we know,
+may have considered that what had already been achieved in his art
+was, after all, little more than so many sketches.
+
+[Footnote 54: _Centone_ (_It._): a composition made up of excerpts
+from other works.]
+
+To Buxtehude, Pachelbel, Froberger, F. Couperin, Frescobaldi, and
+still others--why name them all here?--belongs the proud distinction
+of having provided a _medium_ for Bach; and still their importance
+is not lessened by such a fact any more than is Bach's; in any case,
+it is very difficult to judge a man of genius without reference to
+chronological succession. Neither in the domain of art nor of science
+is furnished an example of a man creating a standard, of which his
+original conception has not been aided by one influence or another.
+Did Aristotle invent the syllogism, or did he not merely gather from
+about him some fragments of rudimentary procedure? And is not Bach
+the Aristotle of music, the master of musical reasoning, giving
+speech to his syllogisms in a form beautiful in itself, without
+taking into consideration the thought which it clothes? And is a
+fugue anything but a syllogism? Jenner (and we voluntarily take as
+examples fame become _banale_) did not intuitively discover vaccine.
+By a happy chance he established the fact that certain herds were
+immune from small-pox; accidentally hit on the truth, by following
+his conclusion to its cause. The man of genius is undeniably Pasteur,
+who generalizes a century later, assisted by the addition to the
+literature upon the subject of a mass of treatises, those of Davaine,
+of Villemain.... To cite Jenner in connection with our subject is
+more than amusing; but consider Frescobaldi--is he not the Jenner of
+the Fugue?...
+
+But let us avoid the necessity of classifying great men in the order
+of their merit; it is the evolution of Bach's genius which we wish
+to study. There is in this field an aspect of psychological analysis
+which we trust will prove of interest; but it is by no means our wish
+that any inference shall be drawn from the foregoing which could lead
+to an undervaluation of the originality of Johann Sebastian Bach.
+
+Now as to the first period. Bach studied daily the technical methods
+of Buxtehude, or those of Pachelbel. He availed himself of these
+methods, he copied Pachelbel, he copied Buxtehude; furthermore, he
+imitated their pupils, and even those of lesser ability among them.
+He did not yet generalize. If at this moment he should disappear,
+should cease to write, his work would present no other characteristic
+than the decided manifestation of a temperament remarkably capable of
+assimilation. This interest will become augmented, if we scrutinize
+what comes later; therefore we may legitimately consider as embryonic
+that which, at this epoch, proceeds from his individuality.
+
+The second period is one of formation; Bach begins to generalize.
+One of the compositions of this epoch, taken by itself, will not
+so strongly recall the work of his forerunners. Imitative in nature
+as they are, drawn from such various sources, and so composite,
+containing in one mosaic nuances of such different character, yet the
+whole is moulded by a hand whose touch is already characteristic,
+and over which skill is dominant. What Bach has dissected, he now
+reconstructs after a diathesis of his own. As an artist exhumes
+the fragments of an ancient reredos, primitive in sculpture, his
+personality betrays itself in the new connection which he establishes
+between these relics of a past age, which dictate to him no
+relationship incapable of alteration. And thus with Bach.... Still
+more, as the painter who would wrest from every form of human beauty
+whatever it possesses of the superhuman, seeking absolute beauty as
+his aim in the selection of a type.
+
+Was Apelles able to portray a divine image, working upon human lines?
+His contemporaries claim that he was; and we know nothing about
+it, so subjective is history, reduced to testimonies from various
+sources. We have to go but a step further, and we find in the works
+of Bach, particularly in those of the last period, the evidence that
+from all these sources he evolved at least that which no one else
+could wrest from him, for since his time no one has been able even to
+follow him in his own domain, I will not say to equal him. As with
+the symphonies of Beethoven, he himself closed that particular way,
+and forced his disciples who would be masters in their particular
+realms to develop other lines.
+
+We will proceed by chronological analysis, as far as it is possible
+to fix the succession, to demonstrate to the reader the ground for
+the classification of Bach's works which we are now to study; it
+being fully understood that these limits are in no way absolute,
+serving rather as dividing points in our work.
+
+
+I
+
+While the first period apparently ends during the early years at
+Weimar, about 1712--later we will explain why--it is difficult to
+fix definitely the date of its commencement, which perhaps takes us
+back to the years of study at Lüneburg. To this witness is borne by
+a prelude and fugue in C minor.[55]
+
+[Footnote 55: Peters Edition, edited by Griepenkerl and Roitzsch,
+vol. iv, No. 5.]
+
+The inexperience of the young composer betrays itself in every
+measure; the timidity with which he availed himself of the resources
+of the organ indicates even more the fear of venturing beyond the
+limits of a virtuosity which, while perhaps precocious, was not
+yet master of the instrument. Observe the treatment of the pedal,
+the touchstone of an organist; in the prelude it serves only as a
+foundation for the harmony, often doubling the notes given to the
+left hand. And truly is it not a weak artifice, this recitative
+upon which reliance is placed from the beginning, as if to attract
+notice to a certain technical dexterity which is suddenly forced to
+labor strenuously, as soon as the attention is distracted by the
+entrance of the other parts? And likewise in the fugue; the pedal
+does not take up the theme (truly one of a funeral march, with its
+doleful recurrence of the same figure, now interrupted, now repeated
+in different positions) until after the entire polyphony is at an
+end; it seems to appear only as an indication of the conclusion,
+which is, moreover, retarded by a sort of ill-timed coda. As to the
+workmanship of the fugue, it is far from perfect; the parts are built
+up one upon the other, the subject always being allotted to the
+higher part, thinly accompanied by the others; without being long, it
+is wearisome, and interest is awakened only by the entrance of the
+pedal, when the fugal character is no longer predominant.
+
+The tonality of C minor, expressive of profound sadness, was
+apparently a favorite one with Bach at that time; another fugue in
+the same key[56] appears to be contemporaneous with the foregoing.
+
+[Footnote 56: Peters Edition, vol. iv, No. 9.]
+
+The same general characteristics are noticeable; the pedal is even
+more insignificant; but in the poetical conception of the piece, even
+in its incompleteness, there is a world of meaning.
+
+While leaving to Schubert the "Signification of Tonalities," and
+not without distrusting this hobby--so absurd at times are the
+results of the analysis of every piece of music by reducing it to
+its exterior characteristics--still we cannot deny that to a certain
+extent this fugue is the reflex of everything of indecision in the
+life of Bach up to this time. The rhythm of the theme is established
+only at the end of the third measure, and each of its fragments
+serves to mark the close of a harmonic progression, despite the fact
+that the general tonality does not make itself plainly felt. This
+twofold ambiguity lends to the whole a touch of undefined regret, of
+a desire whose very existence is not suspected. Is this not wholly
+characteristic of the temperament of a youth?
+
+We are reminded of Pachelbel by these two works, in their general
+lines, through this same exaggeration of an innate emotion into a
+condition of melancholy, a tendency peculiar to Bach. In point of
+technique the works sustain this reminiscence: the counterpoint is
+not yet fully developed. Further, compare them (particularly the
+second fugue) with certain of Pachelbel's compositions, especially
+with the fugue in E minor, whose theme we cited in our chapter upon
+this musician.
+
+Other similarities appear in the variations in tempo with which these
+works are brought to a close; these new forms were of the North
+German school, whose illustrious representatives were Reinken and
+Buxtehude.
+
+Bach had obtained of Boehm the key to their style; no composition of
+Pachelbel did he ever imitate with the zeal with which he set out to
+copy the preludes and fugues of Buxtehude; perhaps because he was
+already more like the former in point of natural qualities.
+
+Even before his journey to Lübeck Bach began to write pieces in this
+style of several movements. We will examine a prelude in G major,[57]
+and a fugue in A minor accompanied by a prelude in the same key.[58]
+
+[Footnote 57: P. viii, 11.]
+
+[Footnote 58: P. iii, 9.]
+
+The prelude in G major seems to us to date further back than Bach's
+study of Buxtehude, from the fact of its evident inspiration by a
+prelude of Bruhns, written in the same key.[59]
+
+[Footnote 59: Bruhns was born at Schwabstädt (Schleswig) in 1666,
+and died at Husum in 1697; he was organist there, and had formerly
+occupied for some time a similar position in Copenhagen.]
+
+It is true that Bruhns was one of Buxtehude's best pupils, but he was
+nothing more; it would seem as if Bach, appreciating the value of the
+master, did not gauge with sufficient accuracy the capabilities of
+the pupils.
+
+We find the same spirit, the same cheerfulness as in Bruhns's
+compositions; but the piece is less abrupt, and, by way of contrast,
+is interrupted by moments of sadness. In the expression of joy, was
+it Bach's intention to remind us that happiness is never complete,
+that it is always accompanied by mourning?
+
+These few measures, in a minor and not even the relative tonality,
+in syncopated rhythm, come suddenly upon us in the midst of all this
+joyfulness, like a _memento mori_; and they suffice to alter the
+effect of the second part of this work, to the benefit of a more
+lofty ideal. When the joyous motive reappears, it is no longer with
+the same worldly bearing; restricted to a series of imitations which
+only render it indefinite, moderating the swiftness of movement in
+favor of breadth of tone, it seems rather to be proclaiming a peace
+which will know no end.
+
+This prelude is already of much importance from an artistic
+standpoint; but we cannot say as much of the prelude and fugue in A
+minor which we mentioned at the same time. There is no doubt that
+it also dates back further than the journey in 1705; Bach must have
+sadly misconstrued the true significance of Buxtehude's works to have
+indulged in plagiarism so unskilfully.
+
+He reproduced only the faults of his model; he followed him only
+into the by-ways, augmenting his mistakes by the awkwardness with
+which he set about his task. In fact, the work is little more than an
+_omnium-gatherum_ of ideas picked up at random and strung together
+upon the mere excuse of a tonality. After a short prelude devoid of
+interest, we find the theme of the fugue to be of peculiar dryness,
+supported by equally barren counterpoint. The interlude which follows
+is a succession of incorrect harmonic progressions, peculiarly
+disagreeable in effect;--even as he thought to imitate Buxtehude's
+freedom of movement[60] in the restlessness of the prelude and
+fugue, so Bach hoped to acquire the expressiveness of his harmonic
+progressions, so audacious for their time[61]--and introduces a new
+treatment of the fugue, monotonous, but finally coming to a close in
+a more interesting fashion.
+
+[Footnote 60: It will be interesting to compare this piece with the
+prelude in F sharp minor by Buxtehude, particularly with this excerpt
+from it (ed. Spitta, xii, p. 68):
+
+[Music]]
+
+[Footnote 61: For instance, in the Chaconne (iii, p. 15, from the 8th
+measure), which we have already analyzed:
+
+[Music]]
+
+More happily inspired in his emulations, or better served by his
+talents, we behold Bach in a composition in three movements, little
+known up to this time: a "Fantasie" in G major.[62]
+
+[Footnote 62: P. ix, 6. In this edition, this work bears the title of
+_concerto_, undoubtedly because of its form in several movements; at
+least, it was so designated in Griepenkerl's collection. A manuscript
+which has come down from the organist Westphal, in Hamburg, gives it
+this title: "_Fantasia, clamat in G[natural], di J.S. Bach_."]
+
+The first two movements are still rather weak, perhaps influenced by
+the Italian music heard and played during the few months preceding,
+when Bach was a violinist in the orchestra of Prince Ernest of Weimar.
+
+The third movement is remarkable, at least with regard to its depth
+of thought, and to its adoption of all that was most to be desired
+in Buxtehude's style. The upper parts cross each other upon the
+scale given out by the bass, as in a Chaconne; it is the resistance
+of surging waves to the slow rising of the stream, expressed by the
+implacable repose of the fundamental theme, whose intensity, with its
+own imperturbable repetitions, overcomes all resistance.
+
+In many of Bach's works we encounter these ascending and descending
+scales, but they are of varying significance. We find them again
+in a piece closely allied to the foregoing: a Fantasia,[63] also
+in G major, where the diatonic scale serves as the foundation of
+harmonies, whose interest, cleverly held in check, is augmented by
+the uninterrupted progression of five real parts.
+
+[Footnote 63: P. iv, 11.]
+
+These works are no longer mere plagiarisms; a glimmer of
+individuality discloses itself. For example, let us look at the
+prelude and fugue in E minor.[64] If Buxtehude is here brought in
+mind, it is because of that quality of his which is most neutral, and
+no longer through his peculiar originality, his personal resources;
+in trying to avoid which a mere imitator must always come to grief.
+Many a detail in construction is derived from the Lübeck organist;
+for instance, those detached chords, which so successfully set off
+that plaintive syncopated progression, the sobbing of whose notes is
+thereby rendered always more intense; the last sections repeating the
+first, now broken into two still more earnest entreaties.
+
+[Footnote 64: P. iii, 10. _Bach-Gesellschaft-Ausgabe_ (W. Rust), year
+XV, p. 100.]
+
+And of this fugal theme, beginning in two separate fragments upon
+the dominant, we have seen examples in Buxtehude; but there this
+repetition of the subject expressed in its intensity a joyous
+declaration.[65]
+
+[Footnote 65: For example, this theme:
+
+[Music]]
+
+It is here a tremulous, hesitating interrogation, which seems to
+dread its answer; the prelude is full of lonely sadness, as deep as
+it is despairing; in the fugue it converses in dialogue with itself,
+one might say in accents which proclaim a public misfortune.
+
+But if one may not seek "in a musical work the expression of
+any condition of the soul, or the narration of any story of the
+heart,"[66] one can hardly deny that music expresses "the being, even
+the personal will"[67] of psychological phenomena, at least in the
+sense that the interest of certain works of art, aside from every
+æsthetic consideration, is correlative to the mental condition in
+which one receives them. This may explain the position occupied among
+the works of Bach by this piece, whose many weaknesses are revealed
+to us by a technical analysis.
+
+[Footnote 66: Hanslick: _Vom Musikalisch-Schönen_.]
+
+[Footnote 67: Schopenhauer: _Lichtstrahlen aus seinen Werken_ (J.
+Frauenstädt, Leipzig, 1874, p. 128).]
+
+This intimate nature finds an antithesis in the Toccata and Fugue in
+D minor,[68] which belongs chronologically to the same period; it
+is still Buxtehude, but it is conceived throughout in a picturesque
+style. It lacks only an argument to establish by every right its
+character as "program music." The two rapid and dazzling flashes, a
+peal of thunder, rumbling heavily in the reverberations of a chord
+slowly broken, and above the vibration of the deep pedal, augmented
+in intensity by its duration; wind, then hail;--we are in the midst
+of the classic tempest. Entirely a thing of virtuosity, appreciated
+even by those who take account of nothing in the arts but the
+illusion gained, the Toccata earned brilliant success for Bach upon
+his journey to the smaller German courts, and contributed in large
+measure toward the extension of his fame.
+
+[Footnote 68: P. iv, 4; B.-G. xv.]
+
+This composition belongs to a whole series of virtuosic works, as
+well as the prelude and fugue,[69] in E major in the edition of W.
+Rust (_Bach-Gesellschaft_), and in C in Griepenkerl's (Peters); and,
+above all, the celebrated fugue in D major.[70]
+
+[Footnote 69: P. iii, 7; B.-G. xv, p. 276. This work also bears the
+title of Toccata. It presents the peculiarity of being divided into
+four movements, whence, possibly, this designation, _concertato_,
+which accompanies it in one of the MSS. It is essentially an
+imitation of Buxtehude's compositions in several movements.]
+
+[Footnote 70: P. iv, 3; B.-G. xv, p. 88.]
+
+Despite the advance in technique, this prelude and fugue are still
+in the earlier manner; certain characteristics, such as the division
+into several movements, indicate that the early influences which
+governed Bach are still potent. Nevertheless, there is in the stately
+prelude something of the dignity of the French overture; in the _Alla
+Breve_[71] a recollection of the Italian compositions of the same
+name is natural. Thus later studies betray themselves more in certain
+details than in the work as a whole; the subject of the fugue reveals
+its similarity to Buxtehude in its general style, and in its movement
+(see the theme in F quoted previously).
+
+[Footnote 71: "It is not necessary," says Mattheson, "to indicate
+the degree of rapidity of an _alla breve_; these words suffice to
+animate the most sluggish brain, to make supple the heaviest of
+hands. For example, it is like 'clucking' to a horse."--_Grosse
+Generalbass-Schule_, Hamburg, 1732.]
+
+Another inheritance from Buxtehude is the prelude and fugue in G
+minor;[72] especially the prelude, with its wealth of harmonies
+suddenly broken off, hardly to be employed again; the fugue, with
+the repeated notes in its subject. An advance over all the fugues of
+which we have thus far spoken, this one is notable for its strict
+maintenance of four-part polyphony; the facility and the spirit which
+we observe in the counterpoint, especially at the entrances of the
+subject, and the flexibility of the imitations, indicate the presence
+of a new wealth of resource, and a surety of technique which is
+master of itself.
+
+[Footnote 72: P. iii, 5; B.-G. xv, p. 112.]
+
+We must also include in the product of this period a set of eight
+preludes and fugues,[73] which, although very simple, are already the
+work of a fine hand. They are undoubtedly compositions which Bach
+destined for his pupils.
+
+[Footnote 73: P. viii, 5. These works are part of the collection of
+G. Pölchau, a well-known musician of Hamburg in the last century.]
+
+Bach is now about to cast himself free from the restrictions placed
+about him by the study of his first masters; finally in possession
+of all their resources, he will acquire those of others, enlarging
+his field of vision, already marvelously well-prepared by his earlier
+labors to make room for the results of his search after new conquests.
+
+
+II
+
+During Bach's first years in Weimar a new factor enters into his
+evolution, or rather forces itself upon it, quite without seeking on
+his part; it is simply the result of the experience gained in the
+fulfilment of his new duties.
+
+Ever since this epoch Weimar has been distinguished among the German
+courts by a more refined culture, a taste for art which up to the
+present time has never diminished.
+
+In this instance the impetus did not emanate from the reigning
+prince. Wilhelm Ernst was a man of education, it is true, and in his
+service were good artists; but, absorbed in a solitary life[74] of
+exceeding piety, and occupied with good works, the duke entrusted to
+his nephew, Johann Ernst,[75] the duty of encouraging his musicians.
+Johann Ernst was skilled in music, playing the harpsichord and
+the violin; he had even studied the elements of composition with
+Walther;[76] music was made to cater to his sickly constitution,
+especially the Italian chamber music, for solo instruments and
+orchestra, whose subtle charm was well suited to this invalid; for he
+himself could take part in its performance.
+
+[Footnote 74: Born in 1663, Duke Wilhelm Ernst reigned from 1683.
+Early becoming a widower, and left without children, he adopted
+a somewhat retired mode of life, as we may judge. At the palace,
+"Wilhelmsburg," everyone had to retire at nine o'clock in summer
+and eight in winter. He evinced a marked taste for theological
+studies and discussions; in 1710 he brought together in a synod one
+hundred pastors, and he built or repaired a number of churches and
+seminaries. He was also interested in numismatics. This austerity was
+in some degree tempered by concerts, whose programs were performed
+(J.O. Köhler tells us, _Historische Münzbelustigung_, Nuremberg,
+1730) by sixteen picked musicians, dressed in Hungarian costume
+(Bach _en tzigane_!). Further, the duke built a theatre in 1696; the
+patronage accorded to the troupe of Gabriel Möller, "Hofcomödiant"
+(court comedian), was not of long duration; it had already ceased in
+1709.]
+
+[Footnote 75: Prince Johann Ernst was of a weak constitution; he died
+in 1715, at the age of nineteen years, and the only way he could
+make his insomnia bearable was to keep with him in his room during
+entire nights Walther, his music teacher, who would play for him his
+favorite pieces.]
+
+[Footnote 76: Johann Gottfried Walther was born in 1684, and
+from 1707 held the position of town organist in Weimar. Not only
+was he a good musician, but he was also a theoretician of merit;
+while he learned from his friend Bach the principles of the old
+school of Sweelinck, the traditions of which had descended through
+the teachings of Reinken and Buxtehude (see _J.G. Walther als
+Theoretiker_.--Study by Gehrmann in the _Vierteljahrschrift für
+Musikwissenschaft_, 1891), Bach, on the other hand, was able to
+obtain other advantages from this interchange; Walther was remarkably
+well-schooled in harmony, and from his thorough knowledge, of long
+standing, of Italian chamber music, he undoubtedly was not indirectly
+connected with these new studies of Bach's.]
+
+Bach's temperament, so entirely different, was certain to draw its
+lesson from association with such works; the precise moment has now
+arrived when, by his own determination, he shall profit by it; he
+is master of his own virtuosity; and both his manual dexterity and
+his present position make it possible for him to choose what he
+will retain of the ideas which crowd upon his imagination in such
+profusion. To succeed in such a choice were already to produce a work
+of art; but to bring these ideas into their proper relative order,
+the selection once made, is the achievement of a great artist.
+
+The Italians had for a long time possessed precisely this sense of
+correct succession; this architectural aspect of the art could not
+fail to attract, by its harmony of proportions, those who had always
+displayed so much taste in works of sculpture.
+
+It is particularly to be noted that what the Germans were able
+to acquire from these composers, they derived from the concerted
+music for stringed instruments. In fact, it may be said without
+exaggeration that, while the Germans were well-informed, not only
+upon organ composition, but upon vocal writing as well, still they
+possessed no violinists,[77] in the sense that among them there was
+no one who wrote for that instrument with the clearness or sentiment
+which it demanded. The Italians brought them something more, if
+not something essentially different: the interesting and varied
+movements, the perfect balance between the musical phrases, the
+elaboration and refinement of design for which they always strove;
+for it was with them that monody first dawned, and was afterwards
+developed. It is easy to conceive that with instruments the
+conditions are varied; although that is not saying that a manner of
+writing suited to one instrument may not also be fitted to another;
+in writing for strings the same style recommended itself to the
+Italians as that which had enriched the school of organ composition.
+We refer particularly to the sonatas and concertos.
+
+[Footnote 77: I am not speaking of virtuosos. We know with what
+astonishment Corelli, the great Italian violinist, listened to the
+playing of Nikolaus Strungk of Celle: "I call myself _arcangelo_,"
+said he to the latter, "but you deserve the title of _arcidiavolo_."
+And we must not forget the old musician, J. Franz Biber, who was born
+in 1638 and died at Salzburg in 1698, and who exerted a perceptible
+influence upon the creation of the violin sonata.
+
+But what the Germans sought was not, let me repeat, within the domain
+of that expressive instrument; they could not be content with simple
+melody, they must have complete harmony. And so we learn that Bruhns
+(the remarkable organ-pupil of Buxtehude, and an exceptionally
+talented violinist) would seat himself before the pedal of an organ,
+violin in hand, and would play in four parts--the bass with his feet,
+the other parts upon his violin.]
+
+While the sonata still lacked that unity resulting from the
+development and ingenious combination of two themes of necessary
+co-relationship, which P.E. Bach was to impart to it later, it
+already possessed three well-defined divisions at least, as is
+indicated by the variety of the movements: the first one rapid in
+tempo, assertive; the second slow, full of sentiment; while the third
+finished gaily, often recalling the rhythms of popular dances.
+
+As to the concerto, it was on the whole nothing more than a sonata
+for one, sometimes for more than one solo instrument, accompanied
+by the orchestra, whose interludes produced new effects through the
+contrast between the _soli_ and the _tutti_.
+
+The facilities offered by the organ, with its several keyboards,
+for the delineation of these designs, rendered it particularly
+appropriate that they should be transcribed for that instrument.
+This Bach did. In addition to sixteen transcriptions for the
+harpsichord, he left us arrangements for the organ of three of
+Vivaldi's[78] concertos, and the first movement of a fourth.[79] They
+are arrangements, rather than integral reproductions; and if we take
+a certain interest in this transcription for the organ, by special
+methods, of works not originally intended for that instrument, it is
+an interest like that inspired by a well-made translation.
+
+[Footnote 78: P. viii, 1-4. Vivaldi was born toward the end of the
+seventeenth century; in 1713 he was appointed _maestro di cappella_
+at _l'Ospitale della Pietà_, at Venice; later he was for some time in
+the service of the Landgrave of Hesse-Darmstadt. He died in 1743.]
+
+[Footnote 79: The title of this last transcription gives us a clue to
+its date; it reads as follows: "_Concerto dell'illustrissimo Principe
+Giovanni Ernesto Duca di Sassonia appropriato all'Organo a 2 clav. e
+pedale da Giovanni Sebastiano Bach_." So it must have been written
+before 1715, the date of the Duke's death. Bach was not the only one
+to make these transcriptions; Mattheson tells us (_Das beschützte
+Orchester_): "Compositions of this order (_concerti grossi_,
+_sinfonie in specie_, overtures) may also be played upon a polyphonic
+instrument, for instance upon the organ or harpsichord; a few years
+ago the celebrated S. de Graue, the blind organist of the new Dunes
+Church in Amsterdam, played from memory and with remarkable clearness
+in my presence, upon the excellent organ in his church, the latest
+Italian sonatas and concertos in three and four parts."]
+
+Possibly Bach regarded it in another light; for him it may have been
+a means of penetrating to the core of such compositions, of analyzing
+their inherent qualities.
+
+We now see him quite preoccupied with this three-movement form; take,
+for instance, the Toccata in _C_ major.[80]
+
+[Footnote 80: P. iii, 8. B.-G. xv, p. 253.]
+
+The Prelude itself is subdivided. First we find an introduction,[81]
+free in style; then an Allegro, built, as is very important to
+notice, upon two different and well-defined themes.[82]
+
+[Footnote 81: This work, perhaps, dates from the journey which
+Bach made to Cassel in 1714 to examine a recently restored organ.
+At least the pedal passage in the prelude reminds us of that pedal
+solo executed during this tour before the Hereditary Prince of Hesse
+with such virtuosity that the latter drew from his finger a valuable
+ring and presented it to Bach. "One might have believed," says
+Adlung (_Anleitung an der Musikgelahrtheit_), "that his feet were
+winged, with such agility did they move over the keys which caused
+the powerful basses to resound. If the dexterity of his feet drew
+from the Prince so rich a present, what should he have given him in
+recognition of the genius of his hands?"]
+
+[Footnote 82: It will be interesting to compare one of these themes
+with the following from the counterpoint of a fugue in A major by
+Albinoni:
+
+[Music]
+
+especially if we remember this first transformation which it
+underwent at the hands of Bach in a fugue for harpsichord:
+
+[Music]]
+
+An Adagio follows; a sort of instrumental solo sustained by a
+homophonic accompaniment, examples of which are comparatively rare
+in Bach; and accentuated by a _continuo_, like the _pizzicato_ of
+the orchestra. A short succession of chords _à la_ Buxtehude and
+_quasi-recitativo_[83] separates this Adagio from the fugue; the
+rapid tempo of this latter is still of the earlier period, and
+recalls, in its progressions in thirds, various subjects of Buxtehude.
+
+[Footnote 83: Here are noticeable the pauses Bach contrives to
+introduce for one of the hands, that it might effect the changes in
+registration necessary to play the fugue _coll'organo pleno_.]
+
+Bach was not content with writing in the Italian forms. In the fugue
+in _B_ minor[84] he borrowed themes from the Corelli[85] sonatas, and
+in the one in _C_ minor[86] he levied tribute upon works of Legrenzi;
+upon which one of the latter is not definitely known.
+
+[Footnote 84: P. iv, 8.]
+
+[Footnote 85: Corelli was born in 1653, and died in 1713. The
+theme mentioned is found in Joachim's edition of Corelli's works
+(_Denkmäler der Tonkunst_, vol. iii. Bergedorf, near Hamburg, 1871).
+It is the theme of a fugue, the second part of a "church sonata,"
+opus 3; the fugue is marked _vivace_, and is but thirty-nine measures
+in length.]
+
+[Footnote 86: The manuscript of this fugue, coming down from Andreas
+Bach, bears the following qualification: "_Thema Legrenzianum
+elaboratum cum subjecto pedaliter_."]
+
+In this connection we see what further profit Bach derived from
+his study of Italian chamber music, not only in the _logic_
+of composition in general, but in certain species of writing,
+particularly in that in three parts.
+
+But all this did not satisfy him; he wished to know the organ works
+of Italian composers. We have seen that he copied with his own hand
+the _Fiori musicali_ of Frescobaldi.
+
+This copy is dated 1714; it thus belongs to the Weimar period. The
+_canzona_ in _D_ minor[87] must have been written shortly after the
+completion of this task; at any rate, it is interesting to trace the
+characteristics of this piece to that source.
+
+[Footnote 87: P. iv, 10.]
+
+Notice first of all the theme; it is found in the _Canzon Dopo la
+Pistola_ (sic), on page 77 of the _Fiori musicali_ (edition of 1635),
+where it appears as the answer to the principal subject. Frescobaldi
+presents it in this form:
+
+[Music]
+
+The chromatic countersubject is also found in the _Fiori musicali_,
+in the fifth verse of the _Kyrie delli Apostoli_ (Christe, p. 38).
+
+[Music]
+
+Further, in comparing the sixth measure of this _Christe_ with the
+tenth part of the _Canzona_ of Bach, we see why these two themes,
+although quite in the style of Bach, still are obviously the
+result of his study of Frescobaldi; in fact, this measure contains
+a fragment of the theme just quoted, with the very alteration
+afterwards made by Bach.
+
+In this present case of the employment of a chromatic countersubject
+Bach evidently had Frescobaldi in mind; considering, and rightly,
+the frequent use of motives of this kind to be characteristic of the
+latter. But while Bach believed himself in so far indebted to an
+Italian master, he was in reality only following the traditions of
+Sweelinck,[88] who had already furnished him noteworthy examples of
+this style.
+
+[Footnote 88: Sweelinck, who was born at Deventer about 1560, studied
+with Zarlino at Venice, and upon his return home in 1580 occupied
+(until his death in 1620) the position of organist to the old
+Protestant Church in Amsterdam (see Max Seiffert: _J. Peter Sweelinck
+und seine directen deutschen Schüler_).]
+
+In fact, Frescobaldi acquired these resources during his stay in
+Flanders; perhaps he obtained them from Sweelinck himself, whom he
+undoubtedly knew in Amsterdam. A Fantasie by Sweelinck, edited by R.
+Eitner,[89] is written wholly upon this form of the Ionic tetrachord:
+
+[Music]
+
+[Footnote 89: It is the third number in the volume entitled, _Drei
+Phantasien, drei Toccaten und vier Variationen, nach einem Manuscript
+des grauen Klosters zu Berlin aus der Orgeltabulatur übersetzt und
+herausgegeben von Rob. Eitner_ (Berlin, 1870).]
+
+We may compare the counterpoint which accompanies it with those of
+Frescobaldi and of Bach:
+
+[Music]
+
+These characteristics of treatment found great favor with Flemish
+organists, by whom they were introduced. Peter Philipps, an organist
+of Soignies, makes use of them in a "_Gagliarda_," and in the
+"_Pavana dolorosa_"; composed in prison, according to an addition in
+a strange hand in the manuscript. S. Scheidt, a pupil of Sweelinck,
+avails himself of them in various instances (_Fantaisie super "Io son
+ferito casso_," "_Fuga quadruplici_," etc.).
+
+This mannerism prevailed for some years; we again find it in the
+works of Froberger (_Toccata fatto a Bruxellis Anno 1650_) and in a
+fugue in _E_ flat by Christopher Bach, of which the following is the
+subject:
+
+[Music]
+
+Finally, to illustrate the employment of this sort of theme, we will
+quote the beginning of a "_Point d'orgue sur les Grands Jeux_," by
+Grigny.[90]
+
+[Footnote 90: _Livre d'orgue_ (1701).]
+
+[Music]
+
+In secular music composers exhibited the same fondness for this
+chromatic style of progression, employed to express sorrow or dread
+(it is interesting to note that at every musical epoch this or that
+motive or chord, later certain instruments, express certain definite
+emotions).
+
+Thus, in the following example from G. Andrea Bontempi, taken from
+the opera "_Paride_" produced at Dresden in 1662:
+
+[Music: ERMILLO.
+
+     Già trafitto ha il mesto seno,
+     chi soccorso, o ciel, mi da?]
+
+In the second _Sonate à Programme_ of Kuhnau this phrase must impress
+one with the depth of Saul's melancholy:[91]
+
+[Music]
+
+[Footnote 91: Let it be remembered that Bach, imitating these same
+Sonatas in composing the _Lamento_ of the "Capriccio upon the
+departure of his most beloved brother" (1704), employs this motif
+as a _basso quasi ostinato_, and that in the Easter Cantata written
+in the same year the viola sorrowfully gives expression to the same
+theme.]
+
+Purcell,[92] in the "_Orpheus brittanicus_" (London, 1706) gives us
+still further examples of this character. Among others, "O let me
+weep" (Book I, p. 171),
+
+[Music]
+
+and "Here the Deities approve" (Book I, p. 206):
+
+[Music]
+
+[Footnote 92: His compatriot, John Bull, who died in Antwerp in 1628,
+had already written a series of variations upon this subject. (See "A
+General History of Music," by Charles Burney. London, 1789, p. 115.)]
+
+We repeat, it is undoubtedly in intentional recollection of the
+"_Fiori musicali_" that Bach here makes use of a mannerism which,
+moreover, was so familiar to him; it is through details of this sort
+that one is able to gain the mastery of a style which one desires
+to imitate. As for that, we must not forget that Bach wrote after
+nearly a century had elapsed. If you will, it is like an ancient
+painting copied by a modern master, who, although able to correct
+the perspective, would cause the picture to lose none of its archaic
+charm, while he would impart to it a certain quality of warmth. Thus,
+in the _canzona_, notice that progression of the soprano (beginning
+at the 48th measure) which ascends like the broad sweep of violins,
+then falls gracefully back upon a well-rounded line--a contrast
+expressing great tenderness, compared with the austere rigidity of
+the scholastic rhythm with which the countersubject at the same time
+pursues its heavy course, in an obsolete style of counterpoint.
+
+Here is truly the _cantable_,[93] as Bach called it, never hesitating
+to coin French words; the second part of the _Canzona_ which follows
+this species of march is written in 3/2 time, after the established
+rule; it is more abstract, and not without prolixity.
+
+[Footnote 93: This is the term which Bach employs in the preface to
+his _Inventionen und Sinfonien_ compiled in 1723, that his pupils
+might, through their study, acquire _un jeu cantable_.]
+
+If all the grace, the melodic freedom of the _Canzone_ of Frescobaldi
+are surpassed in this work, an _Alla Breve_[94] in _D_ major reminds
+us more of the studied style, of the continuous movement of the
+_Ricercare_, with some reminiscence of a piece which Pachelbel wrote
+under the same title and in the same key.[95]
+
+[Footnote 94: P. viii, 6.]
+
+[Footnote 95: Commer. _Musica Sacra_ (Vol. I, No. 123, p. 137).]
+
+The _Passacaglia_[96] again exemplifies the discreet cleverness which
+Bach henceforth displays in his imitations; he realizes that he has
+risen above his models, and he now chooses his colors with a critical
+eye. In this instance he takes us back to Buxtehude.
+
+[Footnote 96: P. i, 2. B.-G. xv, p. 289. [M. Pirro writes me: "You
+may state that the theme of the Passacaglia was the composition of
+the French organist André Raison." To which M. Widor adds: "André
+Raison, organist of St.-Étienne du Mont in Paris at the time of
+Louis XIV, left a volume of organ works, now very rare, which I have
+presented to the library of the Conservatoire. Raison's collection
+is interesting, in that it gives indications of the registration of
+his time; the chorale is usually found in the pedal, treated as the
+tenor, the real bass being played by the left hand. The melody of the
+chorale is performed upon a reed stop in the pedal, while upon the
+manuals only mixtures are drawn." Tr.]]
+
+Among the works of the latter are various pieces of this same order,
+Passacaglias or Chaconnes, written over an _ostinato_; which is not
+necessarily confined to the bass in its original form, but which
+modulates here and there into closely related keys, or appears in
+other parts.
+
+The seriousness of the beginning of the Bach _Passacaglia_ cannot
+cause us to forget that calm entrance, in its very reserve so sad, of
+the Passacaglio (_sic_) of Buxtehude (ed. Spitta, No. I, p. 1):
+
+[Music]
+
+or the profound melancholy of the commencement of the _Ciacona_
+(ibid., No. II, p. 6):
+
+[Music]
+
+The majority of the details of the Passacaglia, moreover, establish
+its relationship to the two works which we have just cited.
+
+For example, the broken chords (beginning with the 113th measure),
+which remind us of the following (_Ciacona_, p. 10):
+
+[Music]
+
+Also the rapid progressions accompanied by solid chords (_Ciacona_,
+p. 11):
+
+[Music]
+
+finally the sixteenth-notes in triplets (_Passacaglio_, p. 4).
+
+The idea of joining a fugue to the Passacaglias was also derived from
+Buxtehude, who united a _chaconne_ and a fugue (_ibid._, No. V).
+
+All this is only incidental, it is true; and we recognize Bach in
+the length of the work (293 measures) and especially in the skilful
+counterpoint of the fugue.
+
+From our point of view, the _Passacaglio_ and the _Canzone_ express
+the whole philosophy of this second period. Bach attains, in these
+two works, the highest point which it was then possible for him to
+reach; he comes into his first maturity in treating, it is true,
+established forms, through which he acquires the necessary mastership
+for the exploration of new fields.
+
+From this moment progress is manifest. Take the prelude and fugue in
+_F_ minor;[97] no more superfluous ornaments in the prelude, and,
+what is especially noteworthy, it is founded entirely, not yet upon
+a clearly defined subject, but still upon a figure which affects the
+whole ensemble, imparting to it added coherency.
+
+[Footnote 97: P. ii, 5. B.-G. xv, p. 104.]
+
+Up to this time Bach had not achieved such unity, such directness of
+meaning; and the rapid, stormy passage at the end is more than a mere
+brilliant cadence: it bears the musical distinction of adding to the
+dignity of the peroration by emphasizing the tonality, the threads of
+which are thus united.
+
+In the two preludes in _C_ minor which bear the title of
+_Fantaisies_[98] these characteristics are still more pronounced; it
+is from a veritable subject that they derive the somewhat elegiac
+character common to both, as well as certain details and even the
+general outlines; the one is, nevertheless, somewhat more individual
+because of the use of two themes. Less varied, the character of the
+other is more intimate, although more uniform.
+
+[Footnote 98: P. iii, 6. B.-G. xv, p. 129, and P. iv, 12 (_a 5
+voci_). Accompanying the latter Fantasia is a fugue of which,
+unfortunately, only the first twenty-seven measures are extant.]
+
+To the three fugues which we have mentioned must undoubtedly be
+added two others, from a chronological point of view, belonging to
+preludes of a later date; they are the fugues of the Toccata in _F_
+major,[99] and of a prelude in _C_ minor.[100] There is truly a
+remarkable analogy between these five fugues, both in the character
+of their themes--no longer agitated in movement, but approaching in
+a slight degree the melodious seriousness of the chorale--and in
+their treatment. In each of them the interest increases with the
+development, and the introduction of an accessory subject toward the
+middle portion (afterwards related to the principal theme), either as
+a countersubject or for the purpose of preparing the reëntrance of
+the principal theme, is common to them all.
+
+[Footnote 99: P. iii, 2. B.-G. xv, p. 155.]
+
+[Footnote 100: P. ii, 6. B.-G. xv, p. 218.]
+
+The Toccata[101] in the Dorian mode and the accompanying fugue
+are perhaps contemporary; this imposing composition still partakes
+of that character of studied virtuosity which Bach was destined
+completely to abandon in his later years.
+
+[Footnote 101: P. iii, 3. B.-G. xv, p. 136.
+
+[At the time of Bach it was a frequent usage to omit an accidental
+from the signature; in the above case the omission of the only flat
+undoubtedly suggested the appellation frequently given "_in modo
+dorico_," although otherwise the composition bears hardly a trace of
+the Dorian mode. Tr.]]
+
+
+III
+
+After resigning his post at the palace in Weimar, Bach never again
+occupied an official position as organist. Not that he renounced the
+instrument which he so loved to play, but he was no longer obliged to
+fulfil the requirements of regular service; his earlier compositions
+he could gather together and correct at his ease, and finally bring
+out no new ones that were not thoroughly in accordance with his
+ideals.
+
+The number of these new organ compositions also diminished in an
+extraordinary degree; for from all the thirty-three years embraced in
+this last period, but about twenty works exist for our study.
+
+Although Bach no longer bore the title of organist while at Cöthen,
+it must not be inferred that access to the organs of the town was
+denied him; for instance, to the instrument in the _St. Agnuskirche_,
+the pedal of which was unusually extended in compass. We learn, in
+fact, from a work of C.F. Hartmann's,[102] published at the beginning
+of this century, that the pedal of this organ was two and a half
+octaves in range, extending up to _f'_[sharp][103] inclusive, while
+the organs of that period usually possessed but two octaves in the
+pedal, from _C_ to _c'_, with sometimes _c'_[sharp] and _d'_ in
+addition.
+
+[Footnote 102: _Geschichte der evangelisch-lutherischen St.
+Agnuskirche in Köthen. Herausgegeben von C.F. Hartmann, Köthen,
+in der Commission der Huschen Buchhandlung_ (1802). The organ is
+described on pages 19 and 20.]
+
+[Footnote 103: [The pedal, even of modern organs, extends upwards
+only to _f'_. Since the middle of the last decade, the house of
+Cavaillé-Coll in Paris, has applied to the larger instruments
+constructed by it the compass of _C_ to _g'_. This range was
+recommended by the translator and adopted for an organ now in process
+of construction in Boston; it is also a feature of the large organ
+for Yale University, recently contracted for.]]
+
+This instrument, although of modest dimensions, responded to the
+touch with remarkable precision and promptness. And we have good
+reason for believing that Bach had it in mind when he wrote the
+Toccata in _F_ major;[104] this piece has always been played,
+traditionally, at a very rapid tempo; and one encounters at various
+points high _f's_ and _e's_ in the pedal part. If Bach, who was
+continually seeking new instruments or improvements hitherto ignored,
+had not had at his disposition a _pedalier_ upon which he could play
+this pedal part, he undoubtedly would have so written it as to make
+it generally practicable for performance. It seems evident, on the
+contrary, that he composed this work only in order to take advantage
+of a resource which he had not encountered before; thus the date
+of this Toccata appears to be between the years 1717 and 1723, the
+period of Bach's residence in Cöthen.
+
+[Footnote 104: P. iii, 2. B.-G. xv, p. 155.]
+
+While remarkably brilliant, this work bears the stamp of a certain
+dryness; it is somewhat too much of a "show-piece,"[105] perhaps
+the best one of this type which Bach wrote; quite different, in so
+far, from the fugue in _A_ major joined to the prelude in the same
+key.[106]
+
+[Footnote 105: The beginning, at least; while the conclusion is
+characterized by repetitions, this part of the work is not its least
+imposing portion.]
+
+[Footnote 106: P. ii, 3. B.-G. xv, p. 120.]
+
+This fugue (also from the Cöthen period, as well as the prelude,
+to judge them by the pedal, which extends to _e'_) occupies an
+entirely individual position among the works of Bach--one which is
+shared by no other work. One would say that in writing this fugue he
+had relaxed from the severity which the grandeur of the instrument
+inspired in him, lending to the work the intimate charm of a somewhat
+effeminate grace of movement.
+
+The elusive rhythm of the subject, and even the theme in its entirety
+(though a different way), bear a strange resemblance to this fugue
+subject:
+
+[Music]
+
+given out by the oboe, repeated first by the flute, then by the
+_viola d'amore_, and finally by the _viola da gamba_, above the
+_continuo_ in the cantata "_Tritt auf die Glaubensbahn_."[107]
+
+[Footnote 107: This cantata, written for soloists, was first
+performed December 29, 1715. B.-G. xxx, 2.]
+
+Certain portions of the fugue in _A_ major, further, produce the
+effect of concerted music, conceived for different tone-colors,
+rather than that of a polyphony of like sounds, especially where
+broken chords occur in the counterpoint. At other times, when the
+pedal is silent, a trio-sonata is suggested. This does not surprise
+us; Bach was still preoccupied with the forms of Italian chamber
+music. We have noted the transformation which his preludes underwent
+under this influence, they now being constructed upon distinct
+subjects; and we have seen in the Toccata in _C_ how Bach sought to
+write a work in three movements, each one of a different character
+and tempo, in imitation of the concertos and sonatas. Here and there
+again, as in this instance, we find attempts at three-part writing
+clearly defined;[108] not merely because the pedal remains silent,
+but by reason of a plainly indicated design.
+
+[Footnote 108: For example, in the fugue in _G_ minor (P. iv, 7).]
+
+Bach aligned these endeavors in definite order, classified their
+essentials, and embodied them in the sonatas, or rather trios, for
+two manuals and pedal.[109]
+
+[Footnote 109: P. i, 1. B.-G. xv.]
+
+Play these trios upon the organ, and you will divert them from their
+original destination. Bach composed them for the clavecin with two
+manuals and pedal, between the years 1722 and 1727,[110] for the
+purpose, Forkel tells us, of instructing his eldest son, Wilhelm
+Friedemann, in organ-playing, through their use in home practice.
+
+[Footnote 110: The first part of the sonata in _D_ minor undoubtedly
+dates from the year 1722; the _adagio_ and _vivace_ of the sonata
+in _E_ minor are transcribed from the cantata _Die Himmel erzählen_
+(1723), B.-G. xviii. The last movement of this sonata was originally
+intended to serve as an interlude between the prelude and the fugue
+in _G_ major (P. ii, 2. B.-G. xv, p. 169. The theme of the fugue
+is, in major, that of the first chorus in the cantata _Ich hatte
+viel Bekümmerniss_, performed in 1714), composed, according to the
+water-mark of the autograph, in 1724 or 1725.]
+
+The structure of these sonatas is analogous to that of the six
+violin sonatas of Bach with clavecin accompaniment; they still lack
+the definite form of the modern sonata;[111] they are more, as has
+been said, "lyric pieces."
+
+[Footnote 111: See S. Bagge: _Die geschichtliche Entwickelung der
+Sonate_.]
+
+If Bach wrote these trios to accustom his son to the technical
+difficulties of the organ, perchance considering them only a set
+of studies, and for himself an interesting occupation by which he
+might profit, his motives in writing the Fantasie and Fugue in _G_
+minor[112] were, apparently, very different, and may be definitely
+connected with the journey which he made to Hamburg in 1720. This is
+an hypothesis which is sustained by a whole chain of circumstances.
+
+[Footnote 112: P. ii, 4. B.-G. xv, p. 177.]
+
+First of all, Mattheson, in his treatise upon thorough-bass,[113]
+furnishes the ground for our premise; he cites the following fugue
+subject as having been given to a candidate who was undergoing an
+examination for an organ position:
+
+[Music]
+
+with this countersubject:
+
+[Music]
+
+[Footnote 113: _Grosse General-Bass-Schule, oder Exemplarische
+Organistenprobe_ (Hamburg, 1731), p. 34. "The subject of this fugue
+was produced by a facile pen, and, in 1725, presented to a candidate
+for the position of organist."]
+
+He adds that this theme was well known, and that it had been chosen
+to assist the candidate in his task, since he would already have had
+an opportunity of hearing it treated; he says, further, that its
+origin was not unknown, and that it was well known who had been the
+first to make use of it with success.
+
+Mattheson, who wrote this about 1725, seems to be speaking of
+a theme unusually familiar. Was it not from Bach himself--the
+examination took place at Hamburg--that the candidate, who was from
+that city or a neighboring locality, would probably have heard a
+fugue composed upon this same subject?
+
+Moreover, an examination of the prelude will confirm this opinion.
+Through his study of the works of Buxtehude and of Reinken, the
+venerable organist, Bach had possessed himself of all their secrets.
+The opportunity had come for him to demonstrate to the organists of
+Hamburg how, in imitating them, he could surpass them on their own
+ground.
+
+For the characteristics of the prelude resemble those of the works
+of these men; recitatives, rapid passages which cover the entire
+compass of the manuals; chord progressions with bold, unforeseen
+modulations; subjects treated in imitation. But the recitatives
+are of an expressive, declamatory character which was then unheard
+of; the rapid passages are the forerunners of "those scales, those
+tremendous ascending and descending scales which rise and fall like
+the waves of the sea in a storm,"[114] which Mozart wrote in the
+overture to _Don Giovanni_; the chord progressions, with a daring
+which had never been exceeded, leading to that gigantic passage
+(measures 31 to 40), a veritable orchestral crescendo, where all
+resources of sonority deploy themselves in radiation, taking on new
+force with each strong beat; it serves also as an example of the
+crescendo which may be obtained upon the organ without recourse to
+modern appliances. Finally, the motive treated in imitation (measures
+9 to 13) vouchsafes us a period of repose, corresponding to a point
+of temporary rest in the midst of chaotic agitation; it is the
+calm supplication of prayer which alternates with the power of the
+elements freed from their fetters.
+
+[Footnote 114: Charles Gounod: _Le Don Juan de Mozart_, p. 5.]
+
+The opposition of these varied means of expression imparts to this
+piece a value which the works of Buxtehude, despite their valuable
+qualities, will never possess. I refer to those designs, in the
+absence of which music stifles, giving the impression of a drawing
+without perspective; such qualities are essential, especially in
+music composed for the organ, whose manuals, of different intensity,
+so easily accomplish the display of the various phases, emphasizing
+one subject while leaving another in the background.
+
+Pölchau, in the 18th century, declared that the fugue accompanying
+this prelude was the "best work with pedal ever written by Bach." It
+is rarely allowable to pronounce such absolute judgments, or even to
+subscribe to them; that it is one of the best, however, there can be
+no doubt; still greater through that unity of opposition, through the
+effect of continuity which it produces, like the uninterrupted course
+of a great river, contrasted with the boiling torrent which terrifies
+our imagination.
+
+It now remains for us to speak only of the prelude and fugue in
+_E_ flat major, and of the six preludes and fugues which have been
+surnamed "the great." These latter, which are found together in the
+manuscript, were, perhaps, assembled by Bach for publication; that
+was not, however, accomplished.
+
+Of all the compositions which we have cited thus far, only the
+prelude and fugue in _E_ flat were published during the composer's
+life.
+
+The prelude stands at the head of the third part of the
+_Clavierübung_[115] and the fugue ends that volume. In any case,
+there is no doubt that these two pieces belong together. Griepenkerl,
+who in his edition[116] united them for the first time, declares that
+he did not do so arbitrarily, but that he was justified by Forkel,
+who in turn derived his authority from Bach's sons.
+
+[Footnote 115: _Clavierübung.--Dritter Theil der Clavierübung
+bestehend in verschiedenen Vorspielen über den Catechismus und
+andere Gesänge vor die Orgel: denen Liebhabern und besonders denen
+Kennern von dergleichen Arbeit, zur Gemüths-Ergötzung verfertiget
+von J.S. Bach, königl. Pohlnischen, und Churfürstlich Sächsischen
+Hof-Compositeur, Capellmeister, und Directore Chori Musici in
+Leipzig. In Verlegung des Authoris._]
+
+[Footnote 116: P. iii, 1. B.-G. iii, pp. 173 and 254.]
+
+Moreover, a comparison of these two pieces will show their
+similarity; while the prelude is more grandiose, the character of
+the fugued portions is quite the same in the one as in the other;
+moreover, the polyphony, in each case in five parts, indicates an
+evident unity of composition.[117]
+
+[Footnote 117: It is worthy of note that the fugue, a last
+reminiscence of Buxtehude, is in three movements of different
+rhythms.]
+
+The publication of the _Clavierübung_ may be fixed at about the year
+1739. The prelude and fugue in _E_ minor[118] are probably anterior
+to this work; a minute study of the autographs has given Ph. Spitta
+reason to place the composition between 1727 and 1736.
+
+[Footnote 118: P. ii, 9. B.-G. xv, p. 236.]
+
+In the strict succession broadly established by a prelude developed
+at length (137 measures), follows the fugue, of still greater
+dimensions (231). It is the longest of all the Bach fugues, but,
+despite its proportions, the interest does not flag for a moment.
+Here again Bach constructed his subject upon that same chromatic
+progression to which he already owed so many expressive combinations;
+but the theme soon retires into the background of this fugue; it is
+but the excuse for a counter-theme of singular pathos, which assumes
+the importance of a symphonic subject, freely treated.
+
+We should place by the side of this masterpiece the prelude and
+fugue in _B_ minor.[119] The beauties of this composition are of a
+character quite as lofty, to which no analysis can do justice. It is
+a sort of soul-language, of which Hegel says, in his _Aesthetik_:
+"If we consider all intercourse of the soul with the beautiful as a
+deliverance, as a release from all trouble, it is in music that we
+must seek the completeness of that liberation."
+
+[Footnote 119: P. ii, 10. B.-G. xv, p. 199.]
+
+Undoubtedly it is also "that internal harmony which lifts us for an
+instant out of the infinite depths of longing, which delivers the
+soul from the oppression of the will, which diverts our attention
+from all that is importunate, showing us things divested of all the
+influences of anticipation, of every personal interest, becoming
+objects of disinterested contemplation, and not of covetousness;
+thus this repose, vainly sought along the open paths of desire, but
+which has always eluded us, appears to us, as it were, of its own
+volition, and vouchsafes the realization of peace in plenty. This
+free condition of sadness Epicurus pronounced the chief of all good,
+the happiness of the gods."[120]
+
+[Footnote 120: Schopenhauer. _Lichtstrahlen aus seinen Werken._ J.
+Frauenstädt, Leipzig, 1874.]
+
+To the six greater preludes and fugues also belong the prelude in
+_C_ major[121]--which, reproduced in an altered form by Bach himself
+upon another occasion, recalls in both its forms the beginning of
+the Concerto in _C_ major for two clavecins--and the prelude in _C_
+minor,[122] the fugue of which (as we have already seen) must be
+earlier in date. Otherwise the great fugue in _A_ minor,[123] the
+prelude of which, included with the fugue in this series, is still
+replete with souvenirs of Buxtehude, and would thus revert to the
+Weimar period.
+
+[Footnote 121: P. ii, 1.]
+
+[Footnote 122: P. ii, 6. B.-G. xv, p. 218. Here are noticeable
+reminiscences from the _Recordare_ in the _Dies Irae_ of Legrenzi,
+for eight-part chorus, three _violes_ and organ.]
+
+[Footnote 123: P. ii, 8. B.-G. xv.]
+
+Finally, we would mention the prelude in _C_ major in 9-8 time[124];
+it recalls in its movement a fantasia by Froberger.
+
+[Footnote 124: P. ii, 7. B.-G. xv, p. 228.]
+
+It is curious to observe that the fugue which follows it played a
+part in the inspiration of _Die Meistersinger_, in its analogous
+figures, and in resuming the subject at the close, this time in
+augmentation, like a chorale melody.
+
+Is it not of some interest to see brought together, in a work of
+Bach's, these extremes in music? Froberger, with all his inheritance
+of past centuries; Wagner, proclaiming the dawn of a new art?
+
+
+
+
+THE CHORALE
+
+PRELUDES (_VORSPIELE_)--TRIOS--FANTASIAS--FUGUES
+
+
+We have seen to what an early period of Bach's life his first free
+compositions revert; perhaps of still earlier origin are the works
+which the Chorales inspired in him.
+
+Liturgical in character, and thus all the more closely identified
+with the popular sources from which he sometimes drew his own
+inspirations in order to idealize them mystically in a sort of
+"_procession en Dieu_," the chorale is the soul of Lutheran religious
+music. Far more; this universal prayer, the spiritualized communion
+of the faithful (their sole participation, really, in a dogma freely
+interpreted), passed from the inner temple to the outer court, like
+the reading of Holy Writ; the Bible was the book of the family, the
+volume of chorales its musical breviary.
+
+The very first arrangements of chorales made by Bach convey a little
+of that intimate charm, of that impression of "home" and its domestic
+circle, where in the evening the hymns are sung between the reading
+of two chapters from the Evangelists; it would seem as though the
+young man, an orphan, in imparting to them their expression of quiet
+sympathy, desired that they should take the place of those same
+intimate pleasures which had been denied him.
+
+In fact, the "_Partite_," these two sets of variations upon "_Christ,
+der Du bist der helle Tag_" and "_Gott, Du frommer Gott_,"[125] lend
+themselves but poorly to the somewhat formal solemnity of a public
+service.
+
+[Footnote 125: These variations are contained in the fifth volume of
+the Peters edition (Part ii, 1 and 2).]
+
+The influence of the style of G. Böhm, which betrays itself from
+one end to the other of these compositions, and their resemblance
+to clavecin pieces, would seem to indicate that they belong to the
+Lüneburg period, when Bach had but rarely, at best, an organ at his
+disposal. Here we find heavy, solid chords, undoubtedly intended to
+augment the tone of the weak instrument, as the profuse ornaments
+were to prolong it. They are written without pedal, or, at most, in
+one variation, for the pedal of a clavecin; for the pedal part of
+this last variation of _Christ, der Du bist der helle Tag_ cannot
+be played upon the organ as it is written; the whole design of
+the sixteenth-notes in the left hand would be covered up. On the
+contrary, entrusted to the basses of the clavecin, which do not
+prolong the tone, they merely serve to accentuate the rhythm.
+
+The chorale _Christ lag in Todesbanden_[126] is analogous in
+character, and doubtless belongs to the same period.[127]
+
+[Footnote 126: P. vi, 15.]
+
+[Footnote 127: This also must have been written for the clavecin; the
+right hand passing over the left in order to strike the bass note
+_e_, held meanwhile by the pedal, clearly indicates the intention of
+thereby prolonging the sound.]
+
+Among the chorales of the earlier years should be included a prelude
+in _G_ major upon _Wie schön leuchtet der Morgenstern_.[128] This
+work dates, perhaps, from Arnstadt; three other chorales, published
+by Commer,[129] and similar to those of Christopher Bach, are of
+still earlier origin.
+
+[Footnote 128: Published by Ritter: _Geschichte des Orgelspiels_,
+part ii, p. 181.]
+
+[Footnote 129: _Musica Sacra_, vol. i, p. 5.]
+
+Aside from these chorales, which are separate, and a few others
+equally isolated, of which we shall speak in their proper place,
+the greater part of the Bach chorales have been brought together in
+various collections, although some have been published separately.
+
+
+I
+
+In chronological order, the first of these collections is the
+_Orgelbüchlein_.[130]
+
+[Footnote 130: _Orgelbüchlein Worinne einem anfahenden Organisten
+Anleitung gegeben wird, auff allerhand Arth einen Choral
+durchzuführen, anbey auch sich im Pedal Studio zu habilitiren, indem
+in solchen darinne befindlichen Choralen das Pedal gantz obligat
+tractiret wird. Dem Höchsten Gott allein zu ehren, Dem Nechsten,
+draus sich zu belehren. Autore Joanne Sebast. Bach p.t. Capellae
+Magistro S.P.R. Anhaltini-Cotheniensis._
+
+The chorales of the _Orgelbüchlein_ are published in the fifth
+volume of the Peters, and in the twenty-fifth year of the
+_Bach-Gesellschaft_ edition. W. Rust, in the latter volume, has
+preserved the order adopted by Bach in the succession of these
+chorales, which is according to the church year.]
+
+Because this collection was made at Cöthen, it must not be supposed
+that the chorales which it comprises were composed only during the
+period of Bach's service to Prince Leopold of Anhalt; Bach rather
+made a practical arrangement of them, whereby they might serve as a
+useful work for his pupils.
+
+It comprises forty-five chorales, of which a goodly portion
+undoubtedly belong to the years in Weimar--perhaps to a still earlier
+period.
+
+These chorales are generally written after the models furnished by
+Pachelbel; but where Pachelbel is merely calmly devout, or placidly
+harmonious, Bach, with a more exalted piety and distinctly more
+poetic, lends to them whatever of mystic character he could derive
+from the text of the hymns; in addition, he imbues them with all the
+picturesqueness suggested by the sense of the words.
+
+And what variety in the choice of means to be employed! Sometimes
+there are progressions which fairly chill us, simply the result of
+a note purposely prolonged, or a succession of chords strikingly
+disjointed, which seem to clash with incompatible harmonies, as at
+the close of _Alle Menschen müssen sterben_; or a false relation
+seems fraught with fatality, as well as with complete desolation,
+as in _O Mensch, bewein' dein' Sünde gross_. At other times will be
+found motives whose symbolic character is not the result of chance;
+for example, all the irreparability of the primeval fall of man[131]
+is symbolized by diminished sevenths, pitching obliquely downwards,
+as if in a veritable vertigo; or the gliding of scales in opposite
+directions depicts the balancing of a flying object hovering in
+space--skimming over the earth, and already out of range, while, in
+the repetitions, the flapping of wings emphasizes the rhythm.
+
+[Footnote 131: _Durch Adam's Fall ist ganz verderbt._ Buxtehude
+employed fifths to symbolize this descent.]
+
+Certain rhythms also assist Bach in his task; to express the fulness
+of joy in the chorale _In Dir ist Freude_, Bach constructed his
+prelude upon a _chaconne_ movement, a _carillon_ theme, repeated
+unceasingly by the bass; the sole subject perceptible, of which the
+other parts are but an indistinct reflection; even the melody of
+the chorale is lost sight of in the vibrations of the bass, but,
+nevertheless, it presents itself in the voices, which repeat it
+in fragments, sometimes with elaboration, like the hum of a great
+people celebrating a festival, who emerge in vast throngs from the
+church whence the final reverberations of the organ still voice its
+rhythm,[132] and who betake themselves, thenceforth busy with their
+pleasures, to the sunny square now invaded by the sound of the bells
+ringing their full peals.
+
+[Footnote 132: Organists often played the _sortie_ (postlude)
+in the form of a _chaconne_, with full organ (see Mattheson:
+"_Der vollkommene Capellmeister_," and Becker, "_Rathgeber für
+Organisten_"). The prelude to the chorale "_Heut' triumphiret Gottes
+Sohn_" is conceived in the same manner.]
+
+Certain chorales are expressive enough to pass as paraphrases;
+Bach did not err in judgment, and reserved for them a discreet
+accompaniment, which is sustained very softly, asserting itself only
+to provide for the melody a "breathing space," as it were, after
+which it may reappear with increased breadth.
+
+This is exemplified in _Herzlich thut mich verlangen_, a favorite
+chorale with Bach, with its gloomily suspensive ending, expressive
+of desire or of doubt in its employment of the Phrygian mode, which
+supports the harmonies, delicately ambiguous in the irresolution of a
+petition.
+
+This mystical fervor, intensified by Bach, was foreign to the
+conception of the composer of this melody; Hans Leo Hassler, as he
+wrote it, saw in it nothing of a chorale, still less of a hymn, but
+designed it simply for the words of a five-part madrigal:[133] _Mein
+G'müth ist mir verwirret_, a poem dedicated to a certain "Maria," the
+initial letters of the five verses forming the acrostic of her name.
+
+[Footnote 133: In the collection _Lustgarten neuer teutscher Gesänge,
+Balletti, Galliarden und Intraden mit 4, 5, 6, 7, und 8 Stimmen.
+1601, Nürnberg, bei Kaufmann_.]
+
+Meanwhile, the producers of religious songs soon laid hold of this
+one; to this secular music was adapted, in 1613, the translation
+made by Paul Gerhardt of the _Salve caput cruentatum_,[134] written
+by St. Bernard; it thus became the hymn of Holy Week. During the
+century, certain publishers (Rhamba-Görlitz) still further distorted
+its meaning; it was henceforth heard at funerals, expressing the
+longing to leave the earth, whereas formerly it had served to salute
+the bloodstained face of the Saviour, while, in the by-ways, amorous
+lute-players languished to its tones in "courtly diminutions."
+
+[Footnote 134: _O Haupt voll Blut und Wunden._--_Cf._ chorale in St.
+Matthew Passion.]
+
+But had not Luther said, "Why should the Devil have all the best
+tunes?"
+
+The canon form inspired Bach to compose some curious arrangements of
+chorales. He commanded so many artifices, could devise such ingenious
+counterpoints with which to create interest, to overcome the rigidity
+of scholastic practices, and in addition could clothe the composition
+in so rich an "orchestration," that it becomes a pleasure to play
+something so erudite, so natural does it sound to the ear. This
+double interest offered to the mind and to the ear is exemplified
+in a canon upon _Hilf Gott, dass mir gelinge_, where, interlacing
+itself amid the imitations in the fifth, a sustained movement in
+triplets runs through the entire compass of the keyboard. In _In
+Dulci Jubilo_, similar triplets, liquidly intangible, imperceptibly
+disintegrate the rhythm, soften its somewhat harsh character. This
+chorale recalls Bach's stay in Cöthen by the unusual compass of its
+pedal part, which extends upward to _F_ sharp; so, for the same
+reason, does the chorale _Gottes Sohn ist kommen_, also written in
+canon.
+
+Of the other chorales in the _Orgelbüchlein_, a small number, it is
+true, recall chorales by the organists of the North German school;
+as examples of this style we would cite _Wenn wir in höchsten Nöthen
+sein_ and _Wer nur den lieben Gott lässt walten_, both, in the
+ornamentation of their melodies, characteristic of the Reinkens and
+Buxtehudes.
+
+Finally, we would call attention, in _Ich ruf' zu Dir, Herr Jesu
+Christ_, to a form of writing truly instrumental, at the same time as
+analogous to the style of the _Adagio_ (in _A_ minor) of the Toccata
+in _C_ major, as the repetitions of notes are characteristic of G.
+Böhm.[135]
+
+[Footnote 135: Compare that chorale with this fragment of a chorale
+by Böhm, _Vater unser im Himmelreich_:
+
+[Music]]
+
+
+II
+
+The chorales of the Orgelbüchlein were compiled by Bach for
+purposes of instruction, as we have seen. It is not known
+whether it was his intention to publish them, or the eighteen
+_Choralvorspiele_[136]--sixteen autographs and two copies in
+Altnikol's hand--the MSS. of which are preserved in Berlin. In any
+case, these latter would have been rather for personal use than to
+serve as exercises for his pupils.
+
+[Footnote 136: P. vi, and vii. B.-G. xxv, vol. ii, 3rd part.]
+
+In this collection a form of chorale arrangement is found which we
+did not encounter in the _Orgelbüchlein_, the _trio_.[137] From a
+subject taken from a chorale melody, Bach forms a figure, which
+he develops in three parts in the style of the sonatas for two
+manuals and pedal; fragments of the _cantus firmus_ recur in these
+arabesques, sometimes repeated upon one after another of the manual
+keyboards, as an echo; or perhaps the pedal finally lays hold of
+them, entirely reconstructing the chorale--a stately cadence.
+What Bach calls a "Fantasia"[138] is of analogous character; the
+difference being, that the parts are more numerous, and no longer
+confined to a strictly continuous design.
+
+[Footnote 137: For example, upon the melodies "_Allein Gott in der
+Höh' sei Ehr'_" (several versions), "_Nun komm, der Heiden Heiland_"
+and "_Herr Jesus Christ, dich zu uns wend_."]
+
+[Footnote 138: _Nun komm, der Heiden Heiland._]
+
+A fusion of Pachelbel's style with that of the organists of the
+North, although modified, furnishes a new type: the melody is
+figured, it is true, but very discreetly; and the phrases of which
+it is composed are treated separately, each being preceded by a
+counterpoint derived from itself. The chorale _An Wasserflüssen
+Babylons_[139] (_super flumina Babylonis_), for example, is thus
+written. The _cantus firmus_ is sustained by the tenor, almost
+without elaboration, supported by rich polyphonic imitations of these
+various motives.
+
+[Footnote 139: Various arrangements by Bach of this chorale are in
+existence; we would cite in particular the one which he made with
+double pedal, upon the same harmonic bass as the one already referred
+to. It was probably composed for the journey to Hamburg (in 1720),
+when Bach drew from old Reinken the avowal of an admiration which
+the latter was not wont to lavish, for his improvisations upon this
+theme. Reinken had also composed a prelude upon it. It is interesting
+to compare the profusion of ornaments by which he renders the melody
+almost unrecognizable, with the elegant design in which Bach clothes
+it. Reinken thus distorts the beginning:
+
+[Music]
+
+With a Toccata and another _Choralvorspiel_, this arrangement is all
+that remains to us of Reinken's works.]
+
+In the same style of composition, born of a poetic imagination, is
+the chorale-prelude _Schmücke dich, O liebe Seele_.
+
+"_Schmücke dich, O liebe Seele!_" Adorn thyself, O dear soul; be
+full of virtue, to please God; yet, however pure, may thy virtue
+be natural and effortless! Be full of grace, and may thy virtue be
+a very beautiful thing; doubtless thou hast never sinned, and thus
+there is no question of repentance ... that would evoke some feeling
+of sadness, and no sadness whatsoever can exist here; thou art
+already very noble, and thou must become still more noble; already
+very limpid, thou must become still more limpid; although far from
+the earth, arise now towards the heavens.... Sublime as thou art,
+thou must become divine. Let thy virtue be a very beautiful thing!
+
+"_Schmücke dich, o liebe Seele!_" Adorn thyself, O dear soul! And
+Johann Sebastian treats a single line of the very calm and too
+austere chorale. Its robes of sackcloth being somewhat too severe, he
+bedecks it with simple and suave ornaments, like lilies which would
+live on a plain and naked altar. So might a learned and holy priest
+speak those words which at once charm and sanctify; and his hands do
+not remain crossed upon his breast, but his gesture mounts upwards
+towards God, scarcely saddened by a separation which soon will cease
+... virtue is a joyful thing!
+
+"_Schmücke dich, o liebe Seele!_" Adorn thyself, O dear soul. And
+now, suddenly, upon a distant manual, the calm and less severe
+chorale is heard. Do those voices mount towards God, or do they call
+from heaven? Is it a prayer which rises, or the dew of a grace which
+softly falls like the rain? And the suave ornaments of a simple
+melody thus live like lilies, and breathe no sadness. For virtue
+is beautiful and joyous.... "Schmücke dich, o liebe Seele!" Adorn
+thyself, O dear soul!
+
+       *       *       *       *       *
+
+Bach wrote this chorale on a Sunday, as a pious man conceives in his
+heart a beautiful and childlike prayer, for the heavens are very pure
+on that day, and one's soul is wholly sincere.[140]
+
+[Footnote 140: Schumann said of this prelude, by which he himself was
+influenced in certain compositions (Cologne): "Thou didst play, Felix
+Meritis (Mendelssohn), a prelude upon one of those figured chorales:
+'_Schmücke dich, o liebe Seele_,' was the text; the melody seemed
+interlaced with garlands of gold, and the work breathed forth such
+happiness that you inspired in me this avowal: 'Were life deprived
+of all trust, of all faith, this simple chorale would restore all
+to me.' I fell into a revery; then, almost unconsciously, I found
+myself in the cemetery, and I felt poignant grief at not being able
+to cover with flowers the grave of the great Bach."--Letters, vol.
+i. Mendelssohn had played this chorale at a concert given, in St.
+Thomas' Church, to further the erection of a monument to the memory
+of J.S. Bach.
+
+The melody of this chorale is found in choral-books since 1649.]
+
+At the end of this volume are the variations in canon form upon
+the Christmas hymn _Vom Himmel hoch da komm' ich her_.[141] The
+combinations in which Bach involves this chorale melody, already
+often treated by him, might well dismay a contrapuntist; we wish
+to note here only that original melodic richness, often touching,
+under which is concealed such arduous labor leading to inconceivable
+results. Fatigued in following their intricacy, powerless to unravel
+the inextricable network, the mind clings to these threads, though
+still indefinite--music now superhuman in the swishing of invisible
+wings as they fold, or rustle like silk in their contact;--or
+gliding, rather, without conjuring up any special sound, but leaving
+to the fancy the whole halo of harmonies; or like an echo, as if
+fragments caught here and there repeated the song which spirit-voices
+pray--the white souls of the pure in heart--these voices in peaceful
+chords, strangely sustained, or so gently persistent that the saints
+must hear them, in ecstasies which one feels as in a dream; the song
+which the stars revealed, murmured to the Child, who was lulled by
+the incommensurable rhythm of the universal concert emanating from
+God.[142]
+
+[Footnote 141: Einige kanonische Veränderungen über das
+Weihnachtslied: _Vom Himmel hoch da komm' ich her_.]
+
+[Footnote 142: These variations were published separately. Bach had
+them engraved about 1746 by Balthasar Schmidt in Nuremberg, in order
+to present them as the work for admission which the "Society for
+Musical Sciences" founded by Mizler in 1738 imposed upon each of its
+candidates. Bach was elected in 1747. He must have composed them,
+however, some years previously. The MS. and the engraved edition
+present numerous differences of editing.]
+
+
+III
+
+The Third Part of the _Clavierübung_ contains twenty-one arrangements
+of chorales.[143] The "Hymns of the Catechism" and the Creed furnish
+twelve of them, each melody treated twice, with or without pedal.
+These chorales may be cited as examples of certain well-defined
+types; it is unnecessary to identify each one of them separately,
+rather will we leave to the reader the task of such a classification.
+Some of them, however, are deserving of special mention; the
+_Vater unser im Himmelreich_ (treated in canon), for its extended
+proportions, for the fulness of its harmony; the _Aus tiefer Noth_
+(_de Profundis_) in six parts, with double pedal, noteworthy in that
+it appears to have been written for two pedal-keyboards of different
+intensity, the melody dominating by its power, crying out amidst the
+symbolical chaos of this gigantic polyphony.
+
+[Footnote 143: P. vi, and vii. B.-G. iii.]
+
+We shall not again touch on that faculty which Bach possessed
+of translating into music the words of the chorales, whether in
+their most obscure meaning, or in their most obviously picturesque
+significance. _Ein' feste Burg ist unser Gott_, "A mighty fortress
+is our God," sings Luther, and Bach emphasizes the suggestion of
+impregnability by supporting the melody upon the deepest basses of
+the organ; but this firmness reveals itself only after the repulse of
+an attack, after the warring of the counterpoints below the ramparts.
+
+It is the same procedure as in the Reformation Cantata _Und wenn
+die Welt voll Teufel wär'_, "And were the world of devils full," as
+Luther's song runs; "on a sudden, figures of infernal aspect, issuing
+from unknown depths, rush to the assault upon the noble melody of the
+chorale."[144]
+
+[Footnote 144: Cart. _Un maître deux fois centenaire._]
+
+But such agencies partake rather of an instrumental style,
+interesting in an organ prelude, where they are more in place; in
+the cantata these counterpoints are entrusted to a bass voice; while
+putting the singer out of breath, they impress upon the audience a
+sort of wearisome anxiety; "without doubt," says Hanslick, "Bach
+obeys a fine symbolic instinct in entrusting the calm and steadfast
+melody of the chorale to one voice, while the other, in elaborate
+design, creeps about it; but not everything of symbolic significance
+must, for that reason, be beautiful in itself."
+
+It is known that the last work of Bach was a chorale-prelude upon
+the melody of _Wenn wir in höchsten Nöthen sein_, or _Vor deinen
+Thron trete ich_,[145] which he dictated upon his deathbed to his
+son-in-law, Altnikol. This composition was added to the plates of
+_Die Kunst der Fuge_ (the Art of Fugue), unfortunately lost, which
+Bach had had prepared at the time.
+
+[Footnote 145: P. vii, 58. B.-G. xxv.]
+
+"To replace the unfinished portion of the last fugue, the work has
+for a supplement a four-part chorale, _Wenn wir in höchsten Nöthen
+sein_, which Bach dedicated some days before his death to his
+son-in-law, Altnikol. I will not dwell on the art which he displays
+here, for the profound science of music had been so mastered by the
+author that he could exercise it even in illness; but the expression
+of pious resignation and devotion with which it overflows has touched
+me deeply every time I have played it; and I cannot say which I would
+rather do without, this chorale, or the ending of the fugue."[146]
+
+[Footnote 146: Forkel.]
+
+The text of this chorale was, moreover, singularly appropriate to
+Bach's condition when he composed it, viewed as a lament amid the
+terrors of death, or as a declaration of readiness to appear before
+the throne of that God whose aid he invoked at the head of his
+compositions.[147]
+
+[Footnote 147: At the commencement of his compositions he wrote the
+initials J.J. (_Jesu Juva_) or S.D.G. (_Soli Deo Gloria_).]
+
+This chorale has been called the "Swan-song."
+
+In completing this study we must mention the chorale-accompaniments
+which Bach wrote to sustain the singing of the congregation, which
+are found in a manuscript of Kittel (P. v, Appendix, Nos. 1, 3, 6, 7,
+and last) and in a copy by Forkel (P. vi, 26).
+
+They are quite different from those which he wrote in 1706, upon his
+return from Lübeck, and which so scandalized the parish, confusing
+the congregation by their ornamentation.
+
+
+
+
+REGISTRATION AND ORNAMENTS OF BACH'S ORGAN WORKS
+
+
+It is well known how important is the _rôle_ played in the execution
+of organ music by the registration, and the skilful combination of
+the keyboards.
+
+Bach left but few directions upon this subject; but with their
+aid, and the assistance of other hints derived from tradition or
+found in works of that period, and by placing before the reader the
+specifications of the principal organs which Bach may have had at his
+disposal during his long career, we will try to form an idea of what
+Forkel calls "the exquisite art with which he combined the various
+registers of the organ, and his manner of treating them."[148]
+
+[Footnote 148: _Ueber J.S. Bach's Leben, Kunst und Kunstwerke._
+Leipzig, 1802.]
+
+And our task is now the more delicate, because we cannot draw
+our conclusions from expressions which bore, at Bach's time, a
+significance quite different from that which we ascribe to them
+to-day. Furthermore, we would not lay down any absolute rules in
+the matter, which in truth is, above all, subjective, the artistic
+province of the executant. We shall simply point out what Bach
+indicated in certain definite instances; and, on the other hand, that
+which was customary at his time. In fact, in authoritative works of
+the centuries just past, veritable methods of registration exist; and
+without reverting to the documentary evidence (valuable, though too
+concise), inserted _ad hoc_ by Scheidt at the end of his _Tabulatura
+nova_ (Hamburg, 1624), we often find, at the head of pieces written
+at the end of the seventeenth, or during the eighteenth century,
+indications of the registration to be employed; given by composers
+less discreet than Bach. Among the number are not a few Frenchmen,
+and those men not to be despised; on the contrary, we shall prove
+how Bach frequently borrowed from their highly picturesque art of
+registration. No wonder if he provoked a renewed interest in their
+original "mélanges."
+
+He copied a suite in _A_ major by Nicolas de Grigny, organist at
+Rheims, and a suite in _F_ minor by Dieupart,[149] and added to them
+a table of twenty-nine ornaments, with their interpretation. And he
+was acquainted with the works of Marchand, Nivers, d'Anglebert, and
+particularly of François Couperin. I doubt whether the intrinsic
+value of these compositions, despite their entertaining nature in
+some cases (for instance, Couperin's descriptive pieces), succeeded
+in holding his attention for any length of time; Bach could learn
+nothing from their technique, so often elementary; but he knew how to
+draw profit from their accessory qualities. Certain combinations of
+registers seem to us, in fact, to have been directly inspired by the
+study of their _livres d'orgues_, just as certain ornaments appear to
+have been borrowed from the "_Agrémens_" of their clavecin pieces.
+
+[Footnote 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.]
+
+
+I
+
+We have said that one must not invariably interpret, by their present
+meaning, certain expressions whose significance is no longer the same
+as when Bach wrote.
+
+First of all, the term _Organo pleno_, sometimes the sole indication
+given by Bach for preludes, fugues, or fantasies; one is often
+tempted to interpret it, on modern organs, by calling into
+requisition the uproar of all the registers combined, to whatever
+family they may belong.
+
+Let us see what was understood in Bach's time by _organo pleno_, or
+_volles Werk_. "The _volles Werk_," says Mattheson,[150] "consists of
+principals, Sordunen (the bourdons of to-day), salicionals, octaves,
+quints, mixtures, _Scharffen_ (small-scale mixtures of three ranks),
+of the quintadena, cymbale, nazard,[151] twelfth, sesquialtera,[152]
+and of super-octaves; with the _Posaunen_ in the pedal, but not upon
+the manual; for the _Posaunen_ are reeds, which are not drawn upon
+the manual with full organ, where, on account of the higher pitch,
+they would be too rasping; in the pedal, on the contrary, through the
+sonority of their tones, they produce a majestic effect, especially
+if the mouths of the pipes are covered, as is desirable."
+
+[Footnote 150: _Der Vollkommene Kapellmeister_, Hamburg, 1739, §69,
+p. 467.]
+
+[Footnote 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."]
+
+[Footnote 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.]
+
+In a former work, Mattheson had laid down the following rule for
+omitting the reeds from the _ensemble_ of the registers:[153] "A
+reed-stop may not be drawn with the flutes upon the same keyboard,
+unless it be in the pedal." He makes an exception only in case the
+organ is not sufficiently powerful to keep a choir from wandering
+from the pitch and into chaos, when advantage must be taken of all
+resources.
+
+[Footnote 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.]
+
+The combination indicated above was, moreover, in accordance with
+general usage;[154] it corresponded to what the French called the
+_plein-jeu_. Nivers,[155] for instance, wrote: "The _plein-jeu_ is
+composed of the Prestant, the Bourdon, the Doublette, the Cymbale,
+and the Fourniture; to those may be added the other sixteen- and
+eight-foot stops, if any there be; if there be no Prestant, the Flute
+may be drawn."
+
+[Footnote 154: Certain organists abused this powerful combination;
+Adlung says, "There are many who, in playing the chorale or music in
+general, know only the noise of the _plein-jeu_. One may be content
+to continually wear the same clothes, but an organist who produces
+the same sounds every day will render himself insupportable by his
+monotony. In the chorale, in the last verse, one may play a little
+louder, to remind the minister to prepare for the resumption of his
+duties; especially in towns where it is no longer customary (as is
+still the honored usage in some villages) to rap with a _bâton_ for
+this purpose, as though one by force would arouse him from slumber."
+_Anleitung zur musikalischen Gelahrtheit_, 1758.]
+
+[Footnote 155: _Premier livre d'orgue_, 1665.]
+
+The same combinations are found in Le Bègue, Clairembault, André
+Raison. The last-named presents a curious example of the contrast of
+the _plein-jeu_ to the reeds, in the "Kyrie in the first mode for the
+_plein-jeu_ accompanied on the pedal by a _Trompette en taille_."[156]
+
+[Footnote 156: _Livre d'orgue_, 1688.]
+
+This absence of the reeds from the _volles Werk_, to which other
+writers also bear witness, is, from a practical point of view, worthy
+of perpetuation, especially if we consider the very considerable
+place in certain modern organs occupied by this family, and the
+intensity of _timbre_ due to their harmonic construction.
+
+These registers were not numerous in organs of that time, at least in
+Germany, and, it must be added, badly voiced; they were often nothing
+but antiquated imitations of the thin and shrill _Regal_.
+
+Andreas Werckmeister, known through his works upon the temperament of
+tones as applied to the organ, wrote (_Orgelprobe_, 1681):
+
+                 _Schnarrwerk
+     Ist unterweilen Narrwerk;
+     Ist es aber frisch und guth,
+     So erfrischt es Herz und Muth._[157]
+
+[Footnote 157: "Reed-stops are often Fool-stops; but if they be clear
+and bright, they are refreshing to heart and soul."]
+
+In old-fashioned proverbial guise Werckmeister shows us quite
+well what was expected from this class of stops; slow of speech,
+of a sharp, cutting timbre, they would not have blended with the
+foundation stops combined with the mixtures--an _ensemble_ which
+lends extraordinary harmonic fulness to the polyphony when the
+combinations are judiciously made. The reeds were fitted rather
+to voice a serious and quiet melody, as a solo. Thanks to their
+sometimes strange tones, which seem, as Goethe said, to herald the
+advent of past centuries, echoes of supernatural voices, where the
+human voice, with its individual character, would lose the power of
+expression--the antique chorale-melody is illuminated, detached from
+the accompaniment, and comes as from on high; it is the gold and
+scarlet illumination of the missals, whereon the sacred words are
+brought into relief, themselves devoid of ornament, in their regular
+lines, but interlaced by ingenious arabesques of a softer tone,
+almost effaced by the brightness of the whole.
+
+One direction of Bach's proves that he adopted this usage: in No.
+2 of the _Orgelbüchlein_ (_Gottes Sohn ist kommen_) the chorale is
+played upon the eight-foot trumpet in the pedal; the chorale _In
+Dulci Jubilo_, composed about the same time, undoubtedly demands the
+same registration.
+
+It is well known that these two chorales possess a pedal-part
+extending unusually high (_F_ and _F_ sharp); this was the Cöthen
+pedal. In playing them upon an ordinary instrument, Bach undoubtedly
+played the pedal an octave lower, with a four-foot register. The
+organs of that period usually contained a four-foot reed-stop on
+the pedal, called a Cornet (which must not be confounded with the
+mixture of that name), or a _Chalumeau_ (_Schalmey_), sometimes
+even of two feet. This use of stops of a higher pitch in the pedal
+was an old tradition; Samuel Scheidt availed himself of them in
+playing the chorale, and we find them expressly called for in several
+of six chorales published at Zella by Schübler, with the Bach
+annotations.[158]
+
+[Footnote 158: _Sechs Choräle von verschiedener Art auf einer Orgel
+mit 2 Clavieren und Pedal vorzuspielen, verfertiget von Johann
+Sebastian Bach, königl. Pohln. und Churf. Sächs. Hoff-Compositeur,
+Capellm. und Direct. Chor. Mus. Lips. In Verlegung Joh. Georg
+Schüblers zu Zella am Thüringer Wald._
+
+These chorales are taken from the cantatas composed at Leipzig. They
+are, however, only transcriptions; it is interesting in registrating
+them to know their orchestration. In the chorale _Ach bleib' bei
+uns!_ (B.-G. xxv, P. vi, 2) the melody is sung by the soprano,
+accompanied by a _violoncello piccolo_, the _continuo_ sustaining the
+harmony. In _Meine Seele erhebt den Herrn_ (_Magnificat_, P. vii,
+42), the _continuo_ is played by the pedal, the parts entrusted to
+the left hand corresponding to the duet between tenor and alto, while
+the chorale (_dextra forte_) is executed in the score by the first
+and second oboes and the trumpet.]
+
+Besides the reeds--trumpet, _chalumeau_, clarion, or _vox
+humana_--other combinations were permitted for the execution upon
+one manual of an accompanied solo. Mattheson (_Der vollkommene
+Kapellmeister_) gives us some examples; among others, the _viola da
+gamba_ played alone, the eight-foot principal, and the cornet, the
+Flauto traverso, the eight-foot bourdon, and a two-foot _Waldflöte_.
+
+By their particular qualities, these different combinations of
+registers, now in higher, now in lower relief, were suited to the
+performance even of the chorales. In fact, it may be said that
+without doubt the reeds were reserved, within the limits which
+we have defined, for the joyous chorales of the feast-days; the
+organists were governed by the necessity of adapting their manner
+of playing to the joyful or mournful solemnities of the liturgical
+year. "One plays much stronger at Easter," says Adlung,[159] "than
+for the funeral service; for Good Friday one must, if possible, use
+still more discretion." The employment of softer registers for the
+more serious chorales, and for funeral chants, is also recommended by
+Christoph Raupach, of Stralsund.[160]
+
+[Footnote 159: _Musica mechanica organoedi_ (Langensalza, 1762).]
+
+[Footnote 160: _Der vollkommene Kapellmeister_, part ii, chap. xxv.]
+
+We know how Bach brought out the significance of these chorales,
+interpreted with such supereminence, by the deft combination of the
+parts. The execution of a design did not make him oblivious of the
+interest attached to the coloring. We have already spoken of the
+chorale _In dir ist Freude_; who knows whether Bach did not intend
+still further to accentuate its joyous character by picturesque
+registration? Adlung speaks of the _carillon_ (_Glockenspiel_) as
+being particularly fitted to symbolize gladness; and says that
+use was made of it only at the most joyous festivals. Mark the
+spiritedness of this chorale; and, further, the repetition of the
+_chaconne_ subject presented in the bass, singularly suggestive of
+a chime of bells; and consider the period to which this composition
+belongs, bearing in its form the distinct impress of the organists
+of the North. Without serious error, could we not ascribe it to the
+years 1708 or 1709, the time when Bach, occupied with the restoration
+of the organ in Mühlhausen, wished to add, in the pedal, a _carillon_
+of his own invention? Would not the contrast of those metallic tones
+of four-foot pitch[161] with the deep resonance of the _Untersatz_ of
+thirty-two, which he also demanded, have produced all the harmonic
+overtones of real bells?... But this is only an hypothesis, though a
+plausible one, and one which it would be amusing to justify by trying
+its effect in actual performance.
+
+[Footnote 161: It appears that this _carillon_ was not constructed;
+it is possible, however, that Bach had it in mind when writing the
+chorale. Moreover, it was to be found in other organs.]
+
+Gathered from the indications of J.G. Walther, the registration
+of another chorale appears to bear the marks of more positive
+authenticity. We refer to the Lutheran chorale, _Ein' feste Burg ist
+unser Gott_, mentioned in a previous chapter. Walther thus annotates
+it: "Für 3 clav."; for the left hand he directs "_Fagotto_"; for
+the right, "_Sesquialtera_." First of all must we notice this
+combination of a mutation stop with a reed; it is derived directly
+from the French organists. In Grigny,[162] for instance--we cite
+him especially because of Bach's study of his works--may be found
+in various instances a Bass Trumpet, or _Cromorne en taille_,
+accompanied by the _Tierce_ or Cornet.[163] To a certain extent
+the _Fagotto_ corresponds to the _Cromorne_, whose tone appeared
+somewhat veiled. This register, which Adlung tells us bore various
+names--_Portunen_, _Dulcian_, or _Basson_, among others--was
+sometimes added to the lower half of the great organ only, and was
+"of good effect in playing the _basso continuo_." Moreover, it
+was of small scale; even on the pedal it was not a noisy stop. As
+for the _Sesquialtera_, composed of the fifth and the tenth, it
+resembled more or less certain mutation stops of old French organs.
+It is noteworthy that the employment of a reed with a mixture is
+not mentioned by contemporary German writers; on the other hand, it
+would seem from the context[164] that this piece was played at the
+inauguration of the Mühlhausen organ, for whose restoration Bach had
+prepared the plans. He had demanded, among other improvements, that
+a _Tierce_ be added to one of the manuals, in order that, by drawing
+it with a _Quint_, a good _Sesquialtera_ might be produced; this in
+order to carry out all sorts of musical inventions of his own.
+
+[Footnote 162: _Livre d'orgue contenant une messe et quatre hymnes
+pour les principales festes de l'année. Par Nicolas de Grigny,
+organiste de l'église-cathédrale de Reims. À Paris, chez Christophe
+Ballard, seul imprimeur du Roy pour la Musique. Rue Saint-Jean de
+Beauvais, au Mont-Parnasse. 1701. Avec Privilège de Sa Majesté._]
+
+[Footnote 163: [The cornet here referred to is obviously a mixture,
+not the reed of the same name already mentioned.--TR.]]
+
+[Footnote 164: This organ was the only one with three manuals which
+Bach could have had in mind while he was in Weimar with Walther;
+it is natural that in his compositions he should be preoccupied
+with an organ whose restoration he had planned, and undoubtedly
+supervised--Weimar being not far from Mühlhausen--and which in all
+probability he looked forward to inaugurating. This remark, moreover,
+may apply to the composition of the chorale _In dir ist Freude_,
+although here Bach had been disappointed.]
+
+It is interesting to learn the details of this project, which, it is
+true, was not realized in its integrity; and it furnishes us with the
+most curious data upon the subject of Bach's ideas on registration
+and organ-building, and his own tastes.
+
+Here it is in full:
+
+_Disposition_ of the new repairs upon the organ of St. Blasius.
+
+1. Three new bellows, carefully installed, should insure a
+sufficiency of wind to feed the great organ, the choir, and the new
+swell.
+
+2. The pressure should be increased in the four old bellows, to give
+speech to the new Subbass of thirty-two feet, and to the lower pipes
+of the other stops.
+
+3. The old soundboards of all the bass pipes to be renewed, and the
+wind-supply so to be regulated that when playing with only a single
+stop drawn all the remaining registers may be brought on suddenly
+without producing unsteadiness, as has been the case up to the
+present time; this being of the greatest importance.
+
+4. To be added is the Subbass of thirty-two feet, called the
+_Untersatz_, which will be made of wood, to serve as the best
+possible foundation for the weight of the _ensemble_. These pipes
+should have a special soundboard.
+
+5. The _Bombarde_ is to be furnished with new and larger resonators,
+and the mouths of the pipes shaped differently, in order to obtain
+more roundness in the emission of the tone.
+
+6. As to the new features--the _Glockenspiel_ on the pedal, composed
+of twenty-six bells of four-foot pitch, desired by the parishioners,
+who will have them made at their own expense; while the manufacturer
+must see that they are rendered playable.
+
+As to the great organ, the Trumpet, which is to be removed, will be
+replaced by:
+
+7. A _Fagotto_ (Bassoon) of sixteen feet, which will permit of all
+sorts of new combinations, and whose tone is to be very _délicat_ for
+the _musique_.[165]
+
+[Footnote 165: That is, for playing the _basso continuo_ of the
+orchestra.]
+
+In place of the _Gemshorn_ (Chamois horn) which will also be removed:
+
+8. A _Viol da Gamba_ of eight feet, which will blend admirably with
+the four-foot Salicional in the choir.
+
+_Item_, if the Quint of three feet be removed, it may be replaced by
+
+9. A _Nassat_ of three feet.
+
+All the other stops of the great, and all those of the choir organ,
+may be retained, provided they be revoiced.
+
+10. The new swell is to be arranged as follows:
+
+     Three _Principalia en montre_[166] (_im Gesichte_).
+
+  1. Quint of three feet,         }    in good tin of 14 "loth" [_i.e._,
+  2. Octave of two feet,          }      14 parts pure tin to 2 parts
+  3. _Chalumeau_ of eight feet,   }      alloy].
+  4. Mixture of three ranks,      }
+
+     [Footnote 166: [_En montre_ signifies literally "on show";
+     that is, in front. The French designation for a diapason,
+     _Montre_, is derived from the custom of placing the pipes
+     of that register in an exposed position.--TR.]]
+
+     5. A _Tierce_, with which can be formed, by adding certain
+     other stops, a fine _Sesquialtera_.
+
+     6. Fleute douce (_sic_--a soft flute) of four feet; and,
+     finally,
+
+     7. _Stillgedackt_ (a species of Bourdon) of eight feet,
+     which will blend perfectly with the "music."[167] As it
+     will be made of good wood, it will be much more resonant
+     than if of metal.
+
+[Footnote 167: [The filling-out of the figured bass by the organ,
+made necessary in music with orchestra by the paucity of the
+instrumental numbers, was referred to as the "music."--TR.]]
+
+11. Between the swell[168] and the great organ a coupler shall be
+constructed. Finally, the whole instrument shall be revoiced, and the
+tremulant made to vibrate regularly.
+
+[Footnote 168: [The word _swell_ I have used in the foregoing merely
+to designate the third manual; and it by no means implies that the
+pipes belonging to that keyboard were enclosed in a swell-box.
+Although this invention was applied to an English organ for the first
+time in 1712 (St. Magnus Church, London Bridge), its adoption in
+Germany has become general only within comparatively recent years,
+and then only in newly-built instruments.--TR.]]
+
+
+II
+
+The document just cited, which is preserved in the archives of
+Mühlhausen, is full of interest; we will now make a further study of
+two of its sections, which treat of the same subject.
+
+I refer to the combination of organ with orchestra in the performance
+of the cantatas.
+
+First, Bach speaks of the _Fagotto_, whose tone so easily assimilated
+with that of instruments; here he agrees with his contemporaries, who
+recommended the use of a sixteen-foot stop of more definite _timbre_
+than the bourdons, although not stronger,--it was also called
+_Dulcian_,--"_dolce suono_,"--in performing the _basso continuo_.
+The employment of the _Stillgedackt_, the softest stop in the organ,
+interests us in its use as a means of filling out this same figured
+bass. Such a register evidently lacked power, but was sought for
+that quality of indefiniteness, even of vacuity, which it possessed
+(_still_, in German, means quiet); this produced more the effect of
+diaphony, of a harmonic filling-in, like the _sostenuto_ of certain
+of our wind-instruments, than of polyphony in real parts, which one
+could not distinguish.
+
+These lines of J. Th. Mosewius[169] will give us, further, an idea
+of the _rôle_ which the organ played in the orchestras of Bach and
+Händel: "It is a widely prevailing impression, and one confirmed by
+the new instrumentation which Mozart and Mosel made for the Händel
+oratorios, that by their use of the organ these two masters (Bach and
+Händel) supplied those features of our instrumentation which were
+then lacking. Such an opinion is correct, if nothing more is meant
+than that in concert rooms where no organ is available, it must be
+replaced by other instruments.[170] It must not be inferred that this
+new instrumentation maintains reciprocal relations with the original
+accompaniment. In the former it is the string-quartet which serves as
+the foundation of the harmony, and it is only the wind-instruments
+which affect the color. With Händel (and Bach) the organ, which
+fills out the figured bass, serves as a background for all the other
+instruments; the color is added by all the other voices of the
+orchestra, whether strings or wind."
+
+[Footnote 169: J. Th. Mosewius: _J.S. Bach in seinen Kirchencantaten
+und Choralgesängen_ (Berlin, Trautwein, 1845), p. 25.]
+
+[Footnote 170: This is what was done by Robert Franz. See _Offener
+Brief an Eduard Hanslick_ (Leipzig, 1873).]
+
+Nothing could be more just than this statement of Mosewius; the
+organ serves to combine all the parts of the orchestra, unifying
+them without betraying its agency by any too assertive quality; a
+gray background, if you will, upon which some livelier colors are
+displayed, as in paintings of the school of Panselinos.
+
+This testimony of Bach himself, specifying in his plans stops of a
+very soft and well-rounded quality for the accompanying organ, is
+corroborated by his contemporaries.
+
+Scheibe, Adlung, and others permitted in the accompaniment of arias
+and recitatives but a single _bourdon_ of eight feet, called, from
+its use for such purposes, _Musikgedackt_. A recitative, especially,
+was to be sustained lightly, for fear of covering the voice of the
+singer; a few prolonged notes to guide him, occasional soft chords,
+and, curiously enough, if one believe in the strict treatment of the
+organ, _arpeggios_, as upon a clavecin.
+
+The staccato was generally employed in playing the bass; but this
+license stopped here, and for ordinary organ pieces Bach exacted from
+his pupils the strictest legato.
+
+Even in playing in the choruses, and with full orchestra, the organ
+had to be content with the "half-tone" tint; neither reeds nor
+mixtures, said Schröter,[171] organist in Nordhausen; Petri[172] made
+a similar recommendation.
+
+[Footnote 171: _Deutliche Anweisung zum Generalbass_ (Halberstadt,
+1772), p. 137.]
+
+[Footnote 172: _Anleitung zur practischen Musik_ (Leipzig, 1782).]
+
+Moreover, the accompaniment, at least such of it as was contrapuntal
+in nature or consisted of successive chords, was played usually upon
+the _positif_ (choir), whose pipes were less powerful than those of
+the great organ; the bass was executed upon the latter manual in
+the manner already indicated, sometimes also _legato_. The pedal
+itself might be added here; in certain passages it only marked the
+accents with stops of more emphatic quality, when it was desirable to
+emphasize the breadth of the rhythm, or to avoid confusion, when the
+movement was too rapid. This is confirmed by Saint-Lambert (_Traité
+d'accompagnement_, p. 58): "When the tempo is so rapid," says he,
+"that the accompanist cannot conveniently play all the notes, it
+will suffice if he play and accompany only the first notes of each
+measure, leaving to the basses the task of performing all the notes,
+which they will be able to accomplish much more easily, having no
+accompaniment to play in addition. Very rapid tempi are not suited
+to accompanying instruments; on this account, if particularly quick
+passages are encountered, even in a slow movement, the _accompagneur_
+(sic) may leave them to the other instruments; or, if he play them
+himself, he may so modify them as to play only the principal notes
+of such passages; that is to say, the notes which fall upon the
+principal beats of the measure."
+
+Again, the organist was obliged to take into consideration the small
+number of orchestral players and of voices. Bach, in a memorandum
+of August 23, 1730, enumerates twelve singers and eighteen players,
+besides the organist; the _Kapelle_ over which Gerlach held sway in
+the new Protestant church at Leipzig, was still smaller: four singers
+and ten players.
+
+It is true that Bach, first of all an organist himself, did not
+always bequeath such an ungrateful task to the organ; besides the
+organ of accompaniment, he gives us examples of what he calls _organo
+obligato_. Numerous cantatas furnish such instances; we find one in
+the Passion according to St. Matthew, with the added interest of an
+indication of the registration. It is where the chorus, in unison,
+sings the chorales, _O Lamm Gottes, unschuldig_, and _O Mensch,
+bewein' dein' Sünde gross_.[173] The register which Bach prescribes
+here is the _Sesquialtera_, undoubtedly in combination with some
+foundation stops. The character of this register, thus particularly
+selected, seems to call for the _tasto solo_; without doubt Bach
+demanded it because of its decisive quality, for the purpose of
+bringing out the chorale sung by the _ripieno_ against the other two
+choruses and the two orchestras, which he treated independently. The
+brightness of the _Sesquialtera_ would seem to recommend it also
+for the _sinfonie_, or prelude, of the cantata composed for the
+election of the Council[174] (August, 1731). This idea is supported
+by the fact that a _Sesquialtera_ was undoubtedly added to the
+_positif_ of the organ in St. Thomas' Church in 1730 or 1731, by the
+organ-builder, J. Scheibe.
+
+[Footnote 173: B.-G. iv. [The first and last numbers, respectively,
+of Part I. In the first the chorale is sung by a special chorus of
+sopranos, usually boys, while the two mixed choruses and the two
+orchestras are treated contrapuntally. In the other instance the
+two choruses are united in one, as are also the two orchestras, and
+the chorale is sung by all the sopranos, the counterpoint being
+assigned to the remaining three vocal parts, supported by the
+orchestra.--TR.]]
+
+[Footnote 174: B.-G. v.]
+
+A register of quite opposite effect was used to support the whole
+orchestra in the Reformation Cantata[175] (1717). The Luther
+chorale-melody is here entrusted to the sixteen-foot _Bombarde_ on
+the pedal, accompanied in the orchestra by the violoncello and the
+violone, a similar instrument.
+
+[Footnote 175: B.-G. xviii, 10.]
+
+In these particular instances we see that Bach departed from the
+general custom of omitting the reeds and mutation stops;[176] but
+here the organ derived from its own resources sonorities most
+individual in character, the accompaniment being furnished by
+a second instrument (the orchestra). Moreover, as W. Rust, the
+authorized editor of the Bach cantatas, says, "When the organ is
+_obbligato_ it does not present itself in a polyphonic capacity, for
+then it would cover up all the other instruments; but it should be
+treated as a solo part, like a flute or an oboe."[177]
+
+[Footnote 176: The _organo obbligato_ was sometimes written with more
+delicate intentions; for example, in the alto aria with accompaniment
+of an _oboe da caccia_, from the cantata _Wer weiss, wie nahe mir
+mein Ende?_ (B.-G. v.).]
+
+[Footnote 177: We should add here, that the organs were not of
+the same pitch as the other instruments, for they were tuned to
+chorus-pitch, a whole tone lower than the normal diapason. The organ
+at Weimar, on the contrary, was a minor third higher.]
+
+With regard to Bach's orchestra, we should remember that the cantata
+_Die Himmel erzählen_ ("The heavens declare the glory of God")
+suggests the registration for the first movement of the sonata in
+_E_ minor. True, it will be said that Bach wrote these trios for
+pedal-clavecin; but their performance upon the organ, too, should
+not be neglected. Certain adagios, by reason of their long-sustained
+notes, demand an instrument capable of prolonging the tone. This
+first movement, in fact, is but a transcription of the _Sinfonie_
+(_adagio_ and _vivace_) which serves as an overture to the cantata
+just mentioned. The instrumentation: _Oboe d'amore_, _Viola da gamba_,
+and _continuo_. These are _timbres_ to be found in all organs; we may
+add that the _Viola da gamba_ of the organ was one of Bach's favorite
+stops. It is not unwarranted to consider that in many chorales the
+_cantus_, placed in the tenor, was played with this register upon a
+separate manual, just as Bach would have given it to the violoncellos
+in the orchestra.
+
+For we must take into consideration this practice of Bach's
+of transferring to the organ resources of the orchestra, to
+the orchestra those of the organ. Thus, in the Pastorale
+(_Hirtengesang_) of the Christmas Oratorio, Bach produces the effect
+of an organ whose manuals respond to each other, the one with
+foundation stops contrasted with the chorus of oboes upon another.
+
+This passing from one manual to another Bach seldom indicates in his
+organ compositions; one piece, however, furnishes us with directions
+which are authentic beyond question, and extremely interesting. It
+is the great prelude in _E_ flat major, published in Part III of
+the _Clavierübung_. On comparing these indications with others,
+particularly with those in the _D_ minor (Doric) Toccata, one may
+decide to play upon the great manual (_Oberwerk_)[178] all that is
+written with pedal; where the pedal is silent, one may change to the
+choir (_Rückpositif_). In carrying this deduction to its limits, one
+might even formulate the rule that when the parts are reduced to two,
+they should be played upon the swell (_Brustwerk_).
+
+[Footnote 178: _Oberwerk_ means literally the higher manual; in
+two-manual organs the stronger was, at that time, found above the
+other. The name _Rückpositif_ came from the custom of placing the
+pipes behind the back (_Rücken_) of the organist. Finally, the swell
+bore the name _Brustwerk_, the pipes being placed facing the breast
+(_Brust_) of the player. In a three-manual organ the great keyboard
+was situated between the swell, which was above, and the choir, which
+was below it.]
+
+
+III
+
+In connection with the foregoing it will be interesting to learn the
+specifications of the principal organs of which Bach was able to
+avail himself during his long career. We find details concerning them
+in various works, notably in Adlung (_Musica mechanica organoedi_),
+or in the supplement which J.F. Agricola, an esteemed pupil of Bach,
+added to this work, published after the death of its author; and in
+the contemporary writings of local historians.
+
+The organ at Arnstadt, the first at which Bach held the position of
+organist, possessed twenty-four registers, divided among two manuals
+and the pedal:[179]
+
+[Footnote 179: This instrument was constructed in 1701, by J.F.
+Wender, an organ-builder of Mühlhausen. [The specification as
+compiled from the existing stop-handles by Mr. C.F.A. Williams
+("Bach": J.M. Dent & Co.: London), differs slightly from the above,
+which is given by Spitta.--TR.]]
+
+_Great Organ._
+
+   1.  Principal,               8'
+   2.  Viola da Gamba,          8'
+   3.  Quintatön,              16'
+   4.  Gedackt (Bourdon),       8'
+   5.  Quinte,                  6'
+   6.  Octave,                  4'
+   7.  Mixtur, 4 ranks
+   8.  Gemshorn,                8'
+   9.  Cymbel, 2 ranks
+  10. Trompete,                 8'
+  11. Tremulant
+  12. Cymbelstern[180]
+
+[Footnote 180: A sort of Glockenspiel, which produced _l'accord
+parfait_ [undoubtedly the major triad].]
+
+_Choir Organ._
+
+  1.  Principal,                4'
+  2.  Lieblich Gedackt,         8'
+  3.  Spitzflöte,               4'
+  4.  Quinte,                   3'
+  5.  Sesquialter
+  6.  Nachthorn (night horn),   4'
+  7.  Mixtur, 2 ranks
+
+_Pedal Organ._
+
+  1. Principalbass,             8'
+  2. Subbass,                  16'
+  3. Posaunenbass (trombone),  16'
+  4. Flötenbass                 4'
+  5. Cornetbass,                2'[181]
+
+[Footnote 181: This was a reed stop.]
+
+The organ in the palace at Weimar contained the following stops,
+according to A. Wette:[182]
+
+[Footnote 182: _Historische Nachrichten von der berühmten
+Residenzstadt Weimar._ Weimar, 1737, p. 175, 176.]
+
+_Great._
+
+  1.  Principal,                8'
+  2.  Quintatön,               16'
+  3.  Gemshorn,                 8'
+  4.  Gedackt,                  8'
+  5.  Quintatön,                4'
+  6.  Octave,                   4'
+  7.  Mixture, 6 ranks
+  8.  Cymbel, 3 ranks
+  9.  Glockenspiel
+
+_Choir._
+
+  1. Principal,                 8'
+  2. Violdigamba,               8'
+  3. Gedackt,                   8'
+  4. Trompete,                  8'
+  5. Kleingedackt
+     (small bourdon),           4'
+  6. Octave,                    4'
+  7. Waldflöte                  2'
+  8. Sesquialtera
+
+_Pedal._
+
+  1. Gross-Untersatz,          32'
+  2. Subbass,                  16'
+  3. Posaun-Bass,              16'
+  4. Violon-Bass,              16'
+  5. Principal-Bass,            8'
+  6. Trompeten-Bass,            8'
+  7. Cornett-Bass,              4'
+
+We have mentioned the special feature of the organ in Cöthen: a
+pedal which boasted of two octaves and a half, from great _C_ to
+_f'_ sharp; we should further emphasize in this organ, otherwise not
+especially noteworthy, the quality of the _Principal_[183] in the
+great organ, and of the eight-foot Trumpet in the pedal.
+
+[Footnote 183: [The _Principal_ here referred to is undoubtedly the
+eight-foot Diapason.--TR.]]
+
+The organ in the University church in Leipzig, of which Bach made an
+expert examination December 17, 1717, was a remarkable instrument,
+which he was very fond of playing. It was one of the masterworks of
+the manufacturer Scheibe. It had the following registers:
+
+_Great._
+
+   1. Gross Principal
+      (of pure tin),           16'
+   2. Gross Quintatön,         16'
+   3. Klein Principal,          8'
+   4. Schalmei,                 8'
+   5. Flûte allemande,          8'
+   6. Gemshorn,                 8'
+   7. Octave,                   4'
+   8. Quinte,                   3'
+   9. Quint-Nasat,              3'
+  10. Octavina,                 2'
+  11. Waldflöte,                2'
+  12. Grosse Mixtur,
+      of 5 and 6 ranks
+  13. Cornetti, of 3 ranks
+  14. Zink (a species of
+      _cornett_), of
+      2 ranks
+
+_Echo._
+
+   1. Principal (in front),     8'
+   2. Viola di Gamba naturelle, 8'
+   3. Grobgedackt
+      (large scale bourdon)     8'
+   4. Octave,                   4'
+   5. Rohrflöte,                4'
+   6. Octave,                   2'
+   7. Nasat,                    3'
+   8. Sedecima,                 1'
+   9. Schweizerpfeife,          1'
+  10. Largo.[184]
+  11. Mixtur, of 3 ranks
+  12. Helle (bright) Cymbel,
+      of 2 ranks
+
+[Footnote 184: Undoubtedly _larigot_.]
+
+_Choir._
+
+   1. Leiblich gedackt,         8'
+   2. Quintatön,                8'
+   3. Flûte douce,              4'
+   4. Quinta decima,            4'
+   5. Decima nona,              3'
+   6. Hohlflöte,                2'
+   7. Viola,                    2'
+   8. Vigesima nona,        1-1/2'
+   9. Weitpfeife,               1'
+  10. Mixtur, of 3 ranks
+  11. Helle Cymbel, of 2 ranks
+  12. Sertin (serpent?),        8'
+
+_Pedal._
+
+   1. Gross Principal,         16'
+   2. Gross Quintatön,         16'
+   3. Octave,                   8'
+   4. Octave,                   4'
+   5. Quinte,                   3'
+   6. Mixtur, of 5 and 6 ranks
+   7. Grosse Quintenbass,       6'
+   8. Jubal (open flute),       8'
+   9. Nachthorn,                4'
+  10. Octave,                   2'
+  11. Second Principal,        16'
+  12. Subbass,                 16'
+  13. Posaune,                 16'
+  14. Trompete,                 8'
+  15. Hohflöte,                 1'
+  16. Mixtur, of 4 ranks
+
+Finally, the specification of the principal organ in the
+_Thomaskirche_ in Leipzig, installed in 1525, twice rebuilt during
+the seventeenth century, enlarged in 1670; and considerably repaired,
+in 1721, by Johann Scheibe:[185]
+
+[Footnote 185: Vogel, _Leipziger Chronicke_. Vol. iii, chap. vi, p.
+110.]
+
+_Great._
+
+  1. Principal,                16'
+  2. Principal,                 8'
+  3. Quintatön,                16'
+  4. Octave,                    4'
+  5. Quinte,                    3'
+  6. Superoctave,               2'
+  7. Spielpfeife
+     (a species of flute),      8'
+  8. Sesquialtera
+  9. Mixtur, of 6, 8, and
+     10 ranks
+
+_Echo (Brustwerk)._
+
+  1. Grobgedackt,               8'
+  2. Principal,                 4'
+  3. Nachthorn,                 4'
+  4. Nasat,                     3'
+  5. Gemshorn,                  2'
+  6. Cymbel, of 2 ranks
+  7. Sesquialtera
+  8. Regal,                     8'
+  9. Geigenregal[186]
+     (Violin-regal),            4'
+
+[Footnote 186: In combination with the _Quintatön_ of eight feet,
+says Adlung, the _Geigenregal_ sounds almost like a stringed
+instrument.]
+
+_Choir._
+
+   1. Principal                 8'
+   2. Quintatön,                8'
+   3. Lieblich Gedackt,         8'
+   4. Kleingedackt,             4'
+   5. Querflöte
+      (_Flauto traverso_),      4'
+   6. Violine,                  2'
+   7. Rauschquinte doppelt
+   8. Mixtur, of 4 ranks
+   9. Sesquialtera
+  10. Spitzflöte,               4'
+  11. Schallflöte,              1'
+  12. Krummhorn,[187]          16'
+  13. Trompete,                 8'
+
+[Footnote 187: _Cromorne._ Also called _lituus_ (clarion) by
+Praetorius (_Syntagma musicum_), Tome ii, chap. xv, p. 40. Adlung
+suggests this simple derivation: _cor_ and _morne_ (sad, reserved).]
+
+_Pedal._
+
+  1. Subbass (of metal),       16'
+  2. Posaune,                  16'
+  3. Trompete,                  8'
+  4. Schalmei,                  4'
+  5. Cornett,                   3'
+
+The St. Thomas church possessed in addition a small organ. This
+instrument, at one time abandoned, and later again brought into
+service, stood at Bach's time in a gallery, opposite the large organ.
+It possessed a stop called _Trichter-Regal_, a sort of _Vox humana_.
+This organ was used in performance of the St. Matthew Passion music,
+in coöperation with the other.
+
+When Bach played for strangers, he was fond of astonishing them by
+his originality in registration. "After having first of all censured
+as ill-advised the combination of certain stops," says Forkel,[188]
+"the listeners were greatly surprised upon hearing the admirable
+effect produced by these very combinations, suddenly drawing from the
+organ a sonority at once original and varied, whose attainment might
+have been vainly sought by following older methods....
+
+[Footnote 188: _Ueber J.S. Bach's Leben, Kunst und Kunstwerke._]
+
+"In trying an unfamiliar organ, his first step was to draw all the
+registers and to play upon the great manual with all couplers. He was
+in the habit of saying, jestingly, that he wished at the outset to
+know if the instrument possessed good lungs."
+
+With this art in registration was combined the greatest facility in
+improvisation.
+
+"It was often the case," writes Kirnberger,[189] "that friends asked
+Bach to play to them at times other than during religious service.
+Then he would choose some theme and treat it in every form of organ
+composition, playing without interruption for two hours or more, yet
+without exhausting his resources. Perhaps he made use of his subject
+first in a prelude and fugue for all the foundation stops. Then his
+genius in registration was displayed in a movement in three, or in
+four, parts, always upon the same theme. Now followed a chorale,
+and the subject served as a counterpoint to the chorale-melody, in
+ingenious imitations in three or four voices. Finally he concluded by
+a fugue for _organo pleno_, based upon the same subject, interweaving
+the previous variations of it he had made."
+
+[Footnote 189: _Die wahren Grundsätze zum Gebrauch der Harmonie_
+(Berlin, 1773) p. 53. See also Mizler (_Necrolog_, p. 171) and Forkel
+(p. 22).]
+
+
+IV
+
+In a technical work compiled for his son Friedemann, Bach left us
+an explanation of the signs employed by him to indicate the various
+ornaments which he calls _Manieren_. They are thus illustrated:
+
+[Music:
+
+Trillo. Mordant. Trillo u. Mordant. Cadence. Doppelcadence.
+
+idem. Doppelcadence und Mordant. idem. Accent steigend. (rising.)
+
+Accent fallend. (falling.) Accent u. Mordant. Accent u. Trillo. idem.]
+
+The greater number of these ornaments,[190] as we see by the table,
+do not begin upon the given note. However, if a turn occur at the
+beginning of a piece, or if it ornament a characteristic interval
+(as, for example, in the fugue in _F_ minor), the essential note
+should be struck first; even if such a rendering produce a discord
+with the other parts.
+
+[Footnote 190: _Clavierbüchlein, vor Wilhelm Friedemann Bach
+angefangen in Cöthen den 22. Januar, anno 1720._]
+
+The mordent--it is the _pincé simple_ or the "pluck" of
+Chambonnières, Couperin, and Le Bègue, who had borrowed it from
+lute-players[191]--is generally diatonic, although with this
+exception: if the note which it affects be marked with an accidental
+in the same measure, the accidental must be observed in executing the
+mordent.
+
+[Footnote 191: See A. Méreaux: _Les Clavecinistes de 1637 à 1790.
+Tableau synoptique et comparatif de tous les agréments avec leur
+signes et leur effet_. Heugel, Paris.]
+
+These ornaments should be played "with regard for their value and
+upon the beat";[192] however, an excessive rigor in this respect
+should not be affected; Bach did not exact such precision, and did
+not attach to these figures such great importance that he did not
+feel at liberty to substitute for them, in copies of these same
+pieces made by himself, other and practically equivalent ones.
+Certain of them are, moreover, quite rare; for example, the _accent_.
+We find it employed, at least in the organ compositions, only in
+an arrangement of the chorale _Allein Gott in der Höh' sei Ehr'_
+(_Gloria in excelsis_). No piece could be more elaborated than this
+one; and in it are introduced a majority of the signs employed by
+Bach; we borrow from Mr. E. Dannreuther's interesting work, "Musical
+Ornamentation,"[193] the transcription of the first six measures
+of this chorale, fully written out. Such an example will be more
+instructive than all we could say upon this subject, if the reader
+will take pains to compare this interpretation with the musical text
+as found in the well-known editions:[194]
+
+[Music]
+
+[Footnote 192: L. Diémer: _Les Clavecinistes français du XVIIIe
+siècle_ (Durand and Schönewerk).]
+
+[Footnote 193: This work contains, with numerous examples, a study of
+ornamentation, from G. Diruta to J.S. Bach in the first part, from
+Ph. E. Bach to our own period in the second. (London: Novello, Ewer &
+Co.)]
+
+[Footnote 194: P. vi, 9. B.-G.]
+
+This is evidently a species of appoggiatura, as also in the chorale
+_Vater unser im Himmelreich_ (_Clavierübung_, Part III). But in this
+case, Bach uses a special notation:
+
+[Music]
+
+In his Method for clavecin Ph. E. Bach, in speaking of a similar
+figure, thus explains it: "The first note of this figure must not
+be made too short, if the tempo be slow or moderate; for the second
+would then be held too long. It should be gently dwelt upon, not
+suddenly hammered."
+
+"Play _flautato_," says W. Rust[195] upon the subject of such a fugue
+in an orchestral part; one should thus anticipate the beat with the
+flutist's stroke of the tongue, according to Quantz (_Essai d'une
+méthode pour apprendre à jouer de la Flûte traversière_. Berlin,
+1752); that is to say, that the first of the two notes should be
+considered as written thus:
+
+[Music]
+
+[Footnote 195: B.-G. xiii, p. xvi. We again encounter this grouping
+in the flute part of the _et in unum Deum_ of the _B_ minor Mass.]
+
+In a solfeggio lesson by J.G. Walther,[196] written in 1708, this
+indication, called _punctus serpens_, signifies that the notes
+are to be slurred; that is, bound together, two by two. This
+is, undoubtedly, the most correct interpretation, which fairly
+corresponds to what S. Scheidt calls "_imitatio violistica_."
+
+[Footnote 196: The autograph was contained in the collection of Ph.
+Spitta.]
+
+Analogous notations of Frescobaldi[197] and Muffat[198] indicate a
+similar manner of execution.
+
+[Footnote 197: _Toccata_ II (_libro_ i).]
+
+[Footnote 198: _Toccata 6a_ (adagio), and _Toccata 3a_ of the
+_Apparatus musico-organisticus_.]
+
+
+
+
+Appendix
+
+
+To facilitate the perusal of our work, we will close with a short
+sketch of J.S. Bach's life.
+
+Bach was born March 21, 1685, at Eisenach. His father, Ambrosius
+Bach, was a musician of the town; his uncle, Johann Christoph Bach,
+an organist.[199]
+
+[Footnote 199: Veit Bach was born in Gotha during the second half of
+the sixteenth century; he is considered the progenitor of the Bach
+family. He was the first representative of the race of musicians
+who furnished "cantors" and organists to the greater number of the
+central German cities. At Erfurt, for instance, the direction of the
+"council music" was in their hands from 1625 until 1735, and even
+after their disappearance the town musicians were still referred to
+as "the Bachs."]
+
+When Bach was nine years of age his mother died; the next year
+followed the decease of his father, and the boy was taken in by his
+elder brother, organist at Ohrdruf. Here he attended the Lyceum,
+where the teaching of music held an important place; the chorus,
+formed of the pupils, was renowned. Young Sebastian, gifted with a
+good soprano voice, was a member of this chorus; and in addition
+studied the clavecin under the direction of his brother, a pupil of
+Pachelbel. With such zeal did he devote himself to these studies,
+that he copied by moonlight a volume of pieces which he had been
+forbidden to play, his brother wishing to reserve for himself the
+right to conquer their difficulties.
+
+He did not remain long under the charge of his brother, whose
+family was gradually increasing. In 1700, undoubtedly upon the
+recommendation of Elias Herda, cantor of the school in Ohrdruf, Bach
+was admitted to St. Michael's School in Lüneburg; but he was now no
+longer a pupil, for in return for the general instruction which he
+received he was obliged to act as a sort of assistant chorusmaster
+for his comrades; at least as a leader. When his voice changed, which
+soon came about, he was charged with the clavecin accompaniment at
+chorus rehearsals, or with playing a violin part in the orchestra. He
+had, in fact, studied that instrument since his earliest childhood,
+his father having been a good violinist. He profited in his new
+surroundings by the advice of Georg Böhm, organist of St. John's
+Church in Lüneburg, and a musician of merit, whose influence upon
+Bach is apparent in many of the latter's earlier compositions,
+especially in the chorales.
+
+The location of Lüneburg permitted him also, from this time on,
+to make trips on foot to Hamburg, where he heard Adam Reinken and
+Vincent Lübeck, or to Celle, where the orchestra of the ducal court
+performed French music; then the fashion, complains Mattheson, not
+because of a value whose existence this German critic denied, but
+simply--the final misfortunes of the reign of Louis XIV. had not yet
+dimmed this glory--because it was French.
+
+In 1703 Bach left St. Michael's School; he had been so busily
+occupied with music while there, that he very likely had been unable
+to exhaust the depths of the general curriculum, which in itself
+was rather limited. Not that they had been satisfied with giving
+him instruction of a too elementary nature; but Bach, in point
+of intellectual culture, was much inferior to most of the great
+musicians of his time, Mattheson and Händel, for instance, both of
+whom had attended the University.
+
+In any case, Bach's scant means would have forbidden his availing
+himself of a university education. On leaving St. Michael's School
+he was obliged to provide for himself; but here his talent for the
+violin came to his aid, and procured him admission, at Weimar, not
+only to the court orchestra, but to an orchestra which Johann Ernst,
+the brother of the reigning Duke Wilhelm Ernst, maintained at his own
+expense. He did not remain there long; in the summer of 1703, as a
+result of a journey to Arnstadt, where he was heard upon the organ
+of the New Church,[200] the position of organist of this parish was
+offered him. The place was a modest one (seventy thalers salary),
+but advantageous for Bach, who at his leisure could perfect himself
+in organ-playing and practise vocal composition, having a choir to
+conduct; his first cantata dates from Arnstadt.
+
+[Footnote 200: This instrument was constructed in 1701 by Wender, an
+organ-builder in Mühlhausen. Wender had a certain local reputation,
+but was unskilful and not very conscientious.]
+
+Besides, meagre as was his salary, he could save enough for a
+journey to Lübeck to hear Buxtehude, whom he had long desired to
+know; for while his brother Christoph had taught him Pachelbel's
+methods, Georg Böhm, of another school, had already impressed on
+him that dualism whence was born, when another element was added to
+it, his own originality. Receiving the favor of a leave of absence
+for one month, Bach betook himself from Arnstadt to Lübeck the last
+of October, 1705; he did not return until February, 1706. From this
+journey he brought back a new virtuosity and the susceptibility of a
+young artist who from that moment felt himself a master; the former
+singularly disappointed the parish. He now accompanied the chorale
+with Buxtehude's exaggerated freedom; the ears of the faithful
+could not follow such elaborations, and, still worse, their voices
+lost the clue, and the choir fell into confusion. Hence a scandal,
+and thereupon a reprimand from the vestry. Moreover, had not Bach
+singularly outstayed his leave of absence? And again, why should
+he now neglect his choir? Why no more "music"? and still other
+grievances. Stung to the quick, Bach answered them by thenceforth
+affecting the very excesses in accompaniment which had met with such
+opposition, and by leaving entirely to themselves his choristers,
+whose _sottise_ and coarseness disgusted him. As to the rest, he
+explained nothing, but sought another place; more than a year passed
+in these troubles. Upon the death of G. Ahle, organist of the church
+of St. Blasius in Mühlhausen, he applied for this position; it fell
+to his lot as the result of a competition, and he entered upon his
+duties during the summer of 1707. The same year (October 17) he
+married his cousin, Maria Barbara Bach.
+
+From a pecuniary point of view the situation was not bad,[201]
+but the organ was detestable. Bach gave himself no rest until he
+accomplished its restoration by the council; he himself drew up a
+scheme for this, which was found to be so practical that it was
+adopted. But scarcely had the work been commenced, when the Duke
+of Saxe-Weimar, Wilhelm Ernst, offered him the position of court
+organist (1708). Bach accepted; Mühlhausen was then the scene of
+sectarian dissensions, pietists and orthodox were in open strife, in
+which were lost the efforts of Bach to establish a "regular style of
+music wholly to the glory of God,"[202] as he himself said; to which,
+moreover, the pietists were by doctrine[203] opposed. An aggravating
+circumstance was that Frohne, the _Oberintendant_ of the church of
+St. Blasius, was one of the most ardent disciples of Spener, the
+founder of the pietists' sect; and Bach had chosen, as godfather for
+his first child, Eilmar, pastor of the Church of the Blessed Virgin
+Mary, who was the defender of the older traditions, to which Bach was
+devotedly attached.
+
+[Footnote 201: Besides a salary of 85 thalers, he had various
+perquisites "in kind."]
+
+[Footnote 202: One of his cantatas, _Gott ist mein König_, was
+engraved in separate parts by Brückner of Mühlhausen.]
+
+[Footnote 203: See Philipp Spitta: _Johann Sebastian Bach_, vol. i,
+p. 354.]
+
+Bach spent nine years at Weimar; for him this period was the
+complement of his finished years of study, and was the most brilliant
+in his career as a virtuoso. He played at neighboring courts, and his
+reputation was sufficiently great to put to flight Marchand (who was
+called "_le grand Marchand_"), who had been invited in 1717 to meet
+him in a sort of musical tournament. Numerous cantatas, as well as
+some chamber music, date from this period. In fact, during the last
+years of his residence in Weimar, Bach had undertaken the duties,
+without the title, of director of chamber music to the court, in
+addition to his vocation as organist; succeeding the aged Drese, who
+was too old to fill the position effectively. Upon the death of the
+latter, late in 1716, Bach expected the appointment; but nothing came
+of it, and this lack of recognition caused him to accept the offer he
+received next year from the Prince of Anhalt-Cöthen.
+
+At Cöthen there was no more organ playing to be done; no more church
+music to direct--the prince was a Calvinist. As to his duties, for
+which he had been well prepared by his recent experience at Weimar,
+Bach was content with the composition of most of the suites and
+sonatas for violin, _viola da gamba_, flute, and clavecin; further,
+the first part of the Well-tempered Clavichord dates from Cöthen.
+This is worthy of note, because of the relationship which can be
+established between certain organ works and some of those in this
+volume.
+
+A life which might thenceforward have been so quiet, Bach being
+treated as a friend by his prince, and having no further care than
+the performance of music in an intimate manner, was in 1720 crossed
+by a sudden misfortune; upon his return from a journey to Carlsbad,
+Bach found his home desolate; his wife, Maria Barbara, was dead.
+
+Despite his grief, Bach recovered himself in a comparatively short
+time, for in November of the same year he went to Hamburg to conduct
+the cantata _Wer sich selbst erhöhet, der soll erniedriget werden_;
+he drew from Adam Reinken, by his improvisations upon the organ, an
+outburst of enthusiasm which the old man had never entertained for
+anyone but himself.
+
+Left alone with his children, who were still young, Bach lost no time
+in remarrying (December 3, 1721); this time a good musician, Anna
+Maria Wülken, who acted as his copyist, and for whom he wrote several
+pieces.
+
+Upon the death of Kuhnau, cantor at St. Thomas' School in Leipzig
+(1722), Bach advanced his candidacy. He was not unknown in Leipzig,
+where enough confidence had been reposed in him to cause his summons
+as an expert, in 1717, to examine with Kuhnau the organ in the
+University Church.
+
+Meanwhile there were delays; Bach was not installed until May 31,
+1723. Beside music lessons, and the direction of the choirs in St.
+Thomas' and St. Nicholas' Churches, the cantor (the third in the
+school by order of precedence) was still charged with certain duties
+of supervision, and in addition had a course in Latin to conduct; the
+latter Bach avoided as much as possible.
+
+In itself it was not, on the whole, a very advantageous position
+for Bach, nor one where his independence would be respected; many
+annoyances, besides an almost overwhelming amount of labor, were
+caused him by the director, or more indirectly by envious musicians.
+Despite all these mortifications, and the difficulties of his
+situation--mitigated, it is true, as long as the celebrated Gessner
+was at the head of the school--Bach never left it; in soliciting
+it, he had taken into consideration the advantages it offered for
+bringing up his family, which was steadily increasing.
+
+We have commented upon the relatively small number of organ
+compositions which date from this period, but this is not the case
+with the other religious works; of 295 cantatas, divided among
+five liturgical years, about 266 were written in Leipzig; five
+settings of the Passion, the Christmas Oratorio (1734), the Easter
+(1736), that of the Ascension, and a number of motets, composed
+between 1723 and 1734--only a few of these are to-day complete;
+others are apocryphal--four "_Missae breves_" (short masses), the
+Mass in _B_ minor, composed between 1730 and 1737, testify to
+his prodigious activity in this style of music. Further, he did
+not rest without writing numerous secular works, in particular
+the concertos for several clavecins; he published some technical
+studies which he engraved himself; and he completed the second part
+of the Well-tempered Clavichord. If we add to the time devoted to
+the composition of these works that given to the duties of his
+position--to lessons, rehearsals, etc.--and to numerous pupils, we
+shall realize why this last period is less productive of biographical
+incidents of note. We may finally mention the famous journey to
+Berlin in 1740, the last triumph of "Old Bach."
+
+In consequence of this excess of fatigue, Bach was destined to lose
+his sight during the last years of his life; the unskilfulness of the
+surgeons did the rest.
+
+Bach passed away July 28, 1750. His remains were interred in St.
+John's cemetery; but the location of his grave is to-day unknown,
+because of the transformation which this burying ground underwent at
+the end of the last century.[204]
+
+[Footnote 204: [Subsequent to the writing of the above, and during
+the progress of general disinterment incidental to the devotion to
+other uses of the land occupied by the cemetery, Bach's remains
+were found and identified by most scientific methods. In August,
+1900, took place the official ceremony of reinterment in a stone
+sarcophagus, contained in a crypt constructed for the purpose at
+the foot of the chancel steps of the new _Johanniskirche_ (St.
+John's Church). Upon this occasion the University _Gesangverein zu
+St. Pauli_ sang. September 2d of the same year, at the close of the
+weekly "Abend-Motette" (the program on this occasion having been
+devoted entirely to works of Bach), the solo-quartet of the church
+sang in the crypt the chorale from the St. Matthew Passion _Wenn
+ich einmal soll scheiden_, in the presence of a few other reverent
+"friends of Bach's music." The following morning the lid of the
+sarcophagus was permanently closed and sealed.
+
+By its side, enclosed in a similar receptacle, lie the ashes of
+Gellert, the poet.--TR.]]
+
+
+
+
+Catalogue
+
+OF THE
+
+COMPLETE WORKS
+
+OF
+
+JOHANN SEBASTIAN BACH
+
+EDITION OF THE BACH-GESELLSCHAFT
+
+
+FIRST YEAR.
+
+CHURCH CANTATAS. VOL. I.
+
+  No. 1. Wie schön leuchtet der Morgenstern.
+   "  2. Ach Gott, vom Himmel sieh darein.
+   "  3. Ach Gott, wie manches Herzeleid. (First setting.)
+   "  4. Christ lag in Todesbanden.
+   "  5. Wo soll ich fliehen hin.
+   "  6. Bleib' bei uns, denn es will Abend werden.
+   "  7. Christ unser Herr zum Jordan kam.
+   "  8. Liebster Gott, wann werd' ich sterben?
+   "  9. Es ist das Heil uns kommen her.
+   " 10. Meine Seel' erhebt den Herren!
+
+
+SECOND YEAR.
+
+CHURCH CANTATAS. VOL. II.
+
+  No. 11. Lobet Gott in seinen Reichen.
+   "  12. Weinen, Klagen, Sorgen, Zagen.
+   "  13. Meine Seufzer, meine Thränen.
+   "  14. Wär' Gott nicht mit uns diese Zeit.
+   "  15. Denn du wirst meine Seele nicht in der Hölle lassen.
+   "  16. Herr Gott, dich loben wir.
+   "  17. Wer Dank opfert, der preiset mich.
+   "  18. Gleich wie der Regen und Schnee vom Himmel fällt.
+   "  19. Es erhub sich ein Streit.
+   "  20. O Ewigkeit, du Donnerwort. (First setting.)
+
+
+THIRD YEAR.
+
+PIANOFORTE WORKS. VOL. I.
+
+Fifteen Inventions and Fifteen Symphonies.
+
+  _Klavierübung:_
+    First Part: Six partitas.
+    Second  "   A concerto and a partita.
+    Third Part: Chorale-preludes and duets.
+    Fourth  "   Aria, with thirty variations.
+
+  Toccata in F sharp minor.
+  Toccata in C minor.
+  Fugue in A minor.
+
+
+FOURTH YEAR.
+
+Passion-music according to St. Matthew the Evangelist.
+
+
+FIFTH YEAR.
+
+_First Issue:_
+
+CHURCH CANTATAS. VOL. III.
+
+  No. 21. Ich hatte viel Bekümmerniss.
+   "  22. Jesus nahm zu sich die Zwölfe.
+   "  23. Du wahrer Gott und David's Sohn.
+   "  24. Ein ungefärbt Gemüthe.
+   "  25. Es ist nichts Gesundes an meinen Leibe.
+   "  26. Ach wie flüchtig, ach wie nichtig.
+   "  27. Wer weiss, wie nahe mir mein Ende.
+   "  28. Gottlob! nun geht das Jahr zu Ende.
+   "  29. Wir danken dir, Gott, wir danken dir.
+   "  30. Freue dich, erlöste Schaar.
+
+_Second Issue:_
+
+Christmas Oratorio, the Text from St. Luke, ii: 1-21; and St. Matthew
+ii: 1-12.
+
+  First Part: For Christmas Eve: Jauchzet, frohlocket, auf, preiset
+              die Tage!
+  Second  "   For the day after Christmas: Und es waren Hirten in
+              derselben Gegend.
+  Third   "   For the second day after Christmas: Herrscher des
+              Himmels, erhöre das Lallen.
+  Fourth  "   For New Year's Day: Fallt mit Danken, fallt mit Loben.
+  Fifth   "   For the Sunday after New Year's: Ehre sei dir, Gott,
+              gesungen.
+  Sixth   "   For the Feast of the Epiphany: Herr, wenn die stolzen
+              Feinde schnauben.
+
+
+SIXTH YEAR.
+
+The Mass in B Minor.
+
+
+SEVENTH YEAR.
+
+CHURCH CANTATAS. VOL. IV.
+
+  No. 31. Der Himmel lacht, die Erde jubiliret.
+   "  32. Liebster Jesu, mein Verlangen.
+   "  33. Allein zu dir, Herr Jesu Christ.
+   "  34. O ewiges Feuer, o Ursprung der Liebe.
+   "  35. Geist und Seele wird verwirrt.
+   "  36. Schwingt freudig euch empor.
+   "  37. Wer da glaubet und getauft wird.
+   "  38. Aus tiefer Noth schrei' ich zu dir.
+   "  39. Brich dem Hungrigen dein Brot.
+   "  40. Dazu ist erschienen der Sohn Gottes.
+
+
+EIGHTH YEAR.
+
+Four Masses, in F major, A major, G minor and G major.
+
+
+NINTH YEAR.
+
+CHAMBER-MUSIC. VOL. I.
+
+  Three Sonatas for pianoforte and flute.
+  Suite for pianoforte and violin.
+  Six Sonatas for pianoforte and violin.
+  Three Sonatas for pianoforte and _viola da gamba_.
+  Sonata for flute, violin, and figured bass.
+  Sonata for two violins and figured bass.
+  Appendix.
+
+
+TENTH YEAR.
+
+CHURCH CANTATAS. VOL. V.
+
+  No. 41. Jesu, nun sei gepreiset.
+   "  42. Am Abend aber desselbigen Sabbaths.
+   "  43. Gott fähret auf mit Jauchzen.
+   "  44. Sie werden euch in den Bann thun.
+   "  45. Es ist dir gesagt, Mensch, was gut ist.
+   "  46. Schauet doch und sehet, ob irgend ein Schmerz sei.
+   "  47. Wer sich selbst erhöhet, der soll erniedriget werden.
+   "  48. Ich elender Mensch, wer wird mich erlösen.
+   "  49. Ich geh' und suche mit Verlangen.
+   "  50. Nun ist das Heil und die Kraft.
+
+
+ELEVENTH YEAR.
+
+_First Issue:_
+
+Magnificat in D major.
+
+Four _Sanctus_, in C major, D major, D minor and G major. Appendix.
+
+_Second Issue:_
+
+VOCAL CHAMBER-MUSIC. VOL. I.
+
+
+TWELFTH YEAR.
+
+_First Issue:_
+
+Passion-music according to St. John the Evangelist.
+
+_Second Issue:_
+
+CHURCH CANTATAS. VOL. VI.
+
+  No. 51. Jauchzet Gott in allen Landen.
+   "  52. Falsche Welt, dir trau' ich nicht.
+   "  53. Schlage doch, gewünschte Stunde.
+   "  54. Widerstehe doch der Sünde.
+   "  55. Ich armer Mensch, ich Sündenknecht.
+   "  56. Ich will den Kreuzstab gerne tragen.
+   "  57. Selig ist der Mann.
+   "  58. Ach Gott, wie manches Herzeleid. (Second Setting.)
+   "  59. Wer mich liebet, der wird mein Wort halten. (First Setting.)
+   "  60. O Ewigkeit, du Donnerwort. (Second Setting.)
+
+
+THIRTEENTH YEAR.
+
+_First Issue:_
+
+MARRIAGE CANTATAS.
+
+  Dem Gerechten muss das Licht.
+  Der Herr denket an uns.
+  Gott ist unsere Zuversicht.
+  Three Chorales.
+
+_Second Issue:_
+
+PIANOFORTE WORKS. VOL. II.
+
+  Six greater Suites, known as the "English."
+  Six lesser Suites, known as the "French."
+
+_Third Issue:_
+
+Funeral Ode upon the death of the wife of August the Strong,
+"Christiane Eberhardine," Queen of Poland and Electress of Saxony.
+
+
+FOURTEENTH YEAR.
+
+PIANOFORTE WORKS. VOL. III.
+
+  The Well-tempered Clavichord.
+    First Part, 1722.
+    Second Part, 1744.
+
+Appendix. Supplementary Readings and Explanations.
+
+
+FIFTEENTH YEAR.
+
+ORGAN WORKS. VOL. I.
+
+  Six Sonatas for 2 manuals and pedal.
+  Six Preludes and Fugues. First Series.
+  Six    "      "     "    Second   "
+  Six    "      "     "    Third    "
+  Three Toccatas.
+  Passacaglia.
+
+
+SIXTEENTH YEAR.
+
+CHURCH CANTATAS. VOL. VII.
+
+  No. 61. Nun komm, der Heiden Heiland. (First Setting.)
+   "  62. Nun komm, der Heiden Heiland. (Second Setting.)
+   "  63. Christen, ätzet diesen Tag.
+   "  64. Sehet, welch' eine Liebe hat uns der Vater erzeiget.
+   "  65. Sie werden aus Saba Alle kommen.
+   "  66. Erfreut euch, ihr Herzen.
+   "  67. Halt' im Gedächtniss Jesum Christ.
+   "  68. Also hat Gott die Welt geliebt.
+   "  69. Lobe den Herrn, meine Seele.
+   "  70. Wachet, betet, seid bereit allezeit.
+
+
+SEVENTEENTH YEAR.
+
+CHAMBER MUSIC. VOL. II.
+
+Seven Concertos for Pianoforte with orchestral accompaniment:
+
+No. 1, D minor; No. 2, E major; No. 3, D major; No. 4, A major; No.
+5, F minor; No. 6, F major; No. 7, G minor.
+
+Triple Concerto for Pianoforte, flute and violin, with orchestral
+accompaniment.
+
+Appendix.
+
+
+EIGHTEENTH YEAR.
+
+CHURCH CANTATAS. VOL. VIII.
+
+  No. 71. Gott ist mein König.
+   "  72. Alles nur nach Gottes Willen.
+   "  73. Herr, wie du willst, so schick's mit mir.
+   "  74. Wer mich liebet, der wird mein Wort halten. (Second and more
+          elaborate Setting.)
+   "  75. Die Elenden sollen essen.
+   "  76. Die Himmel erzählen die Ehre Gottes.
+   "  77. Du sollst Gott, deinen Herrn, lieben.
+   "  78. Jesu, der du meine Seele.
+   "  79. Gott der Herr ist Sonn' und Schild.
+   "  80. Ein' feste Burg ist unser Gott.
+
+
+NINETEENTH YEAR.
+
+CHAMBER MUSIC. VOL. III.
+
+1. Concerto in F major for two horns, three oboes, bassoon,
+_obbligato Quart-Geige_,[205] two violins, viola, violoncello, and
+_continuo_.
+
+[Footnote 205: A small-sized violin, tuned a fourth higher.]
+
+2. Concerto in F major for _obbligato_ trumpet, flute, oboe and
+violin, with accompaniment of two violins, viola and _continuo_.
+
+3. Concerto in G major for three violins, three violas, three
+violoncellos and _continuo_.
+
+4. Concerto in G major for _obbligato_ violin with accompaniment of
+two flutes (_flûtes à bec_), two violins, viola, violoncello and
+_continuo_.
+
+5. Concerto in D major for pianoforte, flute and violin, with
+accompaniment of violin, viola, violoncello and _continuo_.
+
+6. Concerto in B flat major for two violas, two gambas, violoncello
+and _continuo_.
+
+
+TWENTIETH YEAR.
+
+_First Issue:_
+
+CHURCH CANTATAS. VOL. IX.
+
+  No. 81. Jesus schläft, was soll ich hoffen?
+   "  82. Ich habe genug.
+   "  83. Erfreute Zeit im neuen Bunde.
+   "  84. Ich bin vergnügt in meinem Glücke.
+   "  85. Ich bin ein guter Hirt.
+   "  86. Wahrlich, ich sage euch.
+   "  87. Bisher habt ihr nichts gebeten in meinem Namen.
+   "  88. Siehe, ich will viel Fischer aussenden, spricht der Herr.
+   "  89. Was soll ich aus dir machen, Ephraim?
+   "  90. Es reifet euch ein schrecklich Ende.
+
+_Second Issue:_
+
+VOCAL CHAMBER MUSIC. VOL. II.
+
+Drama for the birthday of August III, king of Poland, etc.
+
+Drama for a university festival, upon which Dr. Gottlieb Kortte
+received the appointment of professor.
+
+Drama for the name-day of King Augustus.
+
+
+TWENTY-FIRST YEAR.
+
+_First Issue:_
+
+CHAMBER MUSIC. VOL. IV.
+
+Concertos for violin with orchestral accompaniment.
+
+  No. 1, in A minor,  }  for one violin.
+  No. 2, in E major,  }
+  No. 3, in D minor, for two violins.
+  No. 4, in D major. Symphonic movement for _obbligato_ violin.
+
+_Second Issue:_
+
+CHAMBER MUSIC. VOL. V.
+
+Three Concertos for two pianofortes, with orchestral accompaniment.
+
+  No. 1, in C minor.
+   "  2, in C major.
+   "  3, in C minor.
+
+_Third Issue:_
+
+Easter Oratorio: "Kommt, eilet und laufet."
+
+
+TWENTY-SECOND YEAR.
+
+CHURCH CANTATAS. VOL. X.
+
+  No.  91. Gelobet seist du, Jesu Christ.
+   "   92. Ich hab' in Gottes Herz und Sinn.
+   "   93. Wer nur den lieben Gott lässt walten.
+   "   94. Was frag' ich nach der Welt.
+   "   95. Christus der ist mein Leben.
+   "   96. Herr Christ, der ein'ge Gottessohn.
+   "   97. In allen meinen Thaten.
+   "   98. Was Gott thut, das ist wohlgethan. (First Setting. B flat
+           major.)
+   "   99. Was Gott thut, das ist wohlgethan. (Second Setting. G major.)
+   "  100. Was Gott thut, das ist wohlgethan. (Third Setting. G major.)
+  Appendix.
+
+
+TWENTY-THIRD YEAR.
+
+CHURCH CANTATAS. VOL. XI.
+
+  No. 101. Nimm von uns, Herr, du treuer Gott.
+   "  102. Herr, deine Augen sehen nach dem Glauben.
+   "  103. Ihr werdet weinen und heulen.
+   "  104. Du Hirte Israel, höre.
+   "  105. Herr, gehe nicht in's Gericht.
+   "  106. Gottes Zeit ist die allerbeste Zeit.
+   "  107. Was willst du dich betrüben.
+   "  108. Es ist euch gut, dass ich hingehe.
+   "  109. Ich glaube, lieber Herr.
+   "  110. Unser Mund sei voll Lachens.
+
+
+TWENTY-FOURTH YEAR.
+
+CHURCH CANTATAS. VOL. XII.
+
+  No. 111. Was mein Gott will, das g'scheh' allzeit.
+   "  112. Der Herr ist mein getreuer Hirt.
+   "  113. Herr Jesu Christ, du höchstes Gut.
+   "  114. Ach, lieben Christen, seid getrost.
+   "  115. Mache dich, mein Geist, bereit.
+   "  116. Du Friedensfürst,  Herr Jesu Christ.
+   "  117. Sei Lob und Ehr'dem höchsten Gut.
+   "  118. O Jesu Christ, mein's Lebens Licht.
+   "  119. Preise, Jerusalem, den Herrn.
+   "  120. Gott, man lobt dich in der Stille.
+
+
+TWENTY-FIFTH YEAR.
+
+_First Issue:_
+
+_Die Kunst der Fuge._ (The Art of Fugue.)
+
+Appendix. The Berlin autograph systematically arranged, and
+supplementary readings.
+
+_Second Issue:_ (Organ works.)
+
+  No. 1. _Orgelbüchlein_ (Little Organ-book).
+  No. 2. Six Chorales (the so-called _Schübler_ chorales).
+  No. 3. Eighteen Chorales (the so-called _great_ ones with the
+         Swan-song "_Vor deinen Thron tret' ich_").
+  Appendix A. Two older readings from Collection I.
+           B. Fifteen "    "      "        "     III.
+
+
+TWENTY-SIXTH YEAR.
+
+CHURCH CANTATAS. VOL. XIII.
+
+  No. 121. Christum wir sollen loben schon.
+  "   122. Das neugebor'ne Kindelein.
+  "   123. Liebster Immanuel, Herzog der Frommen.
+  "   124. Meinen Jesum lass' ich nicht.
+  "   125. Mit Fried' und Freud' ich fahr' dahin.
+  "   126. Erhalt' uns, Herr, bei deinem Wort.
+  "   127. Herr Jesu Christ, wahr'r Mensch und Gott.
+  "   128. Auf Christi Himmelfahrt allein.
+  "   129. Gelobet sei der Herr, mein Gott.
+  "   130. Herr Gott, dich loben alle wir.
+
+
+TWENTY-SEVENTH YEAR.
+
+CHAMBER MUSIC. VOL. VI.
+
+_First Issue:_
+
+  Six Sonatas for violin.
+  Six Suites for violoncello.
+
+_Second Issue:_
+
+Thematic Catalogue of the Church Cantatas, Nos. 1-120.
+
+
+TWENTY-EIGHTH YEAR.
+
+CHURCH CANTATAS. VOL. XIV.
+
+  No. 131. Aus der Tiefe rufe ich, Herr, zu dir.
+   "  132. Bereitet die Wege, bereitet die Bahn.
+   "  133. Ich freue mich in dir.
+   "  134. Ein Herz, das seinen Jesum lebend weiss.
+   "  135. Ach Herr, mich armen Sünder.
+   "  136. Erforsche mich, Gott, und erfahre mein Herz.
+   "  137. Lobe den Herren, den mächtigen König der Ehren.
+   "  138. Warum betrübst du dich, mein Herz.
+   "  139. Wohl dem, der sich auf seinen Gott.
+   "  140. Wachet auf, ruft uns die Stimme.
+
+Appendix. Two older arrangements of the Cantata No. 134:
+
+  (_a_) Mit Gnaden bekröne der Himmel die Zeiten.
+  (_b_) Ein Herz, das seinen Jesum lebend weiss.
+
+
+TWENTY-NINTH YEAR.
+
+VOCAL CHAMBER MUSIC. VOL. III.
+
+  Cantata. "Was mir behagt, ist nur die muntre Jagd."
+  Cantata. "Non sa che sia dolore."
+  Marriage Cantata. "O holder Tag, erwünschte Zeit."
+  Cantata. "Höchsterwünschtes Freudenfest."
+  Coffee Cantata. "Schweigt stille, plaudert nicht."
+  Cantata. "Mer hahn en neue Oberkeet."
+  Appendix   I. Gratulations-Kantate (Thanksgiving Cantata). "Mit Gnaden
+                bekröne der Himmel die Zeiten."
+            II. Cantata. "O angenehme Melodei."
+           III. Instrumental movement for violin, flute and _continuo_.
+
+
+THIRTIETH YEAR.
+
+CHURCH CANTATAS. VOL. XV.
+
+  No. 141. Das ist ja gewisslich wahr.
+   "  142. Uns ist ein Kind geboren.
+   "  143. Lobe den Herrn, meine Seele.
+   "  144. Nimm, was dein ist.
+   "  145. So du mit deinem Munde.
+   "  146. Wir müssen durch viel Trübsal.
+   "  147. Herz und Mund und That und Leben.
+   "  148. Bringet dem Herrn Ehre seines Namens.
+   "  149. Man singet mit Freuden von Sieg.
+   "  150. Nach dir, Herr, verlanget mich.
+
+
+THIRTY-FIRST YEAR.
+
+_First Issue:_
+
+WORKS FOR ORCHESTRA.
+
+Overtures in C major, B minor, D major, D major; _Sinfonia_ in F
+major. (With a Supplement to Year XXIX.)
+
+_Second Issue:_
+
+_Das musikalische Opfer_ (Musical Sacrifice), 1747.
+
+Appendix. Resolution of the Canons in the Musical Sacrifice.
+
+_Third Issue:_
+
+CHAMBER MUSIC. VOL. VII.
+
+Two Concertos for three pianofortes, with orchestral accompaniment.
+No. 1 in D minor, No. 2 in C major.
+
+
+THIRTY-SECOND YEAR.
+
+CHURCH CANTATAS. VOL. XVI.
+
+  No. 151. For the second day after Christmas: "Mein süsser Trost."
+   "  152.    "    Sunday after Christmas: "Tritt auf die Glaubensbahn."
+   "  153.    "    Feast of the Circumcision: "Schau, lieber Gott."
+   "  154.    "    first Sunday after the Epiphany: "Mein liebster
+                   Jesus."
+   "  155.    "    second  "         "        "     "Mein Gott, wie
+                   lange."
+   "  156.    "    third   "         "        "     "Ich steh' mit einem
+                   Fuss."
+   "  157.    "    Feast of the Purification of the B.V.M.: "Der Friede
+                   sei mit Dir."
+   "  158.    "    "       "         "         "      "     "Ich lasse
+                   Dich nicht."
+   "  159.    "    Quinquagesima: "Sehet, wir geh'n hinauf gen
+                   Jerusalem."
+   "  160.    "    Monday in Easter-week: "Ich weiss, dass mein Erlöser
+                   lebt."
+
+
+THIRTY-THIRD YEAR.
+
+CHURCH CANTATAS. VOL. XVII.
+
+  No. 161. Komm, du süsse Todesstunde.
+   "  162. Ach, ich sehe, jetzt da ich zur Hochzeit gehe.
+   "  163. Nur Jedem das Seine.
+   "  164. Ihr, die ihr euch von Christo nennt.
+   "  165. O heil'ges Geist- und Wasserbad.
+   "  166. Wo gehest du hin.
+   "  167. Ihr Menschen, rühmet Gottes Liebe.
+   "  168. Thue Rechnung! Donnerwort.
+   "  169. Gott soll allein mein Herze haben.
+   "  170. Vergnügte Ruh', beliebte Seelenlust.
+
+
+THIRTY-FOURTH YEAR.
+
+VOCAL CHAMBER MUSIC. VOL. IV.
+
+  Serenata. "Durchlaucht'ster Leopold."
+  Cantata. "Schwingt freudig euch empor." "Die Freude reget sich."
+  Dramma per musica. "Lasst uns sorgen, lasst uns wachen."
+    "       "        "Tönet, ihr Pauken! Erschallet, Trompeten!"
+  Cantata gratulatoria in adventum regis (Thanksgiving Cantata upon the
+    Accession of the King). "Preise dein Glücke, gesegnetes Sachsen."
+  Appendix.  I. Dramma per musica. "Angenehmes Wiederau."
+     "      II.    "       "       "Auf, schmetternde Töne der muntern
+                Trompeten."
+
+
+THIRTY-FIFTH YEAR.
+
+CHURCH CANTATAS. VOL. XVIII.
+
+  No. 171. Gott, wie dein Name, so ist auch dein Ruhm.
+   "  172. Erschallet, ihr Lieder.
+   "  173. Erhöhtes Fleisch und Blut.
+   "  174. Ich liebe den Höchsten von ganzem Gemüthe.
+   "  175. Er rufet seinen Schafen mit Namen.
+   "  176. Es ist ein trotzig und verzagt Ding.
+   "  177. Ich ruf' zu dir, Herr Jesu Christ.
+   "  178. Wo Gott der Herr nicht bei uns hält.
+   "  179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei.
+   "  180. Schmücke dich, o liebe Seele.
+
+
+THIRTY-SIXTH YEAR.
+
+PIANOFORTE WORKS. VOL. IV.
+
+Suites. Toccatas, Preludes, Fugues, Fantasies, and other pieces.
+
+Appendix I: Additional versions of the foregoing pianoforte
+compositions, as well as of some pieces in Vol. III.
+
+Appendix II: Fragments of Suites, various single movements and
+unfinished pieces.
+
+
+THIRTY-SEVENTH YEAR.
+
+CHURCH CANTATAS. VOL. XIX.
+
+  No. 181. Leichtgesinnte Flattergeister.
+   "  182. Himmelskönig, sei willkommen.
+   "  183. Sie werden euch in den Bann thun. (Second Setting.)
+   "  184. Erwünschtes Freudenlicht.
+   "  185. Barmherziges Herze der ewigen Liebe.
+   "  186. Ärg're dich, o Seele, nicht.
+   "  187. Es wartet Alles auf dich.
+   "  188. Ich habe meine Zuversicht.
+   "  189. Meine Seele rühmt und preist.
+   "  190. Singet dem Herrn ein neues Lied. (Lobe, Zion, deinen Gott.)
+
+
+THIRTY-EIGHTH YEAR.
+
+ORGAN WORKS. VOL. III.
+
+_First Part:_
+
+Preludes, Fugues, Fantasies, and other pieces.
+
+_Second Part:_
+
+Concertos, from Antonio Vivaldi.
+
+  Appendix   I. Supplementary reading of No. XIV, and unfinished pieces.
+     "      II. Compositions whose authenticity is not fully established.
+     "     III. The first movement of the second concerto in Vivaldi's
+                original.
+
+
+THIRTY-NINTH YEAR.
+
+_First Part:_
+
+MOTETS.
+
+  No. 1. "Singet dem Herrn ein neues Lied," for eight voices.
+   "  2. "Der Geist hilft unsrer Schwachheit auf," for eight voices.
+   "  3. "Jesu, meine Freude," for five voices.
+   "  4. "Fürchte dich nicht, ich bin bei dir," for eight voices.
+   "  5. "Komm, Jesu, komm," for eight voices.
+   "  6. "Lobet den Herrn, alle Heiden." Psalm 117, for four voices and
+         _continuo_.
+
+Appendix.
+
+    I. Instrumental accompaniment and figured organ part to the Motet
+       "Der Geist hilft unsrer Schwachheit auf."
+   II. Motet: "Ich lasse dich nicht, du segnest mich denn," for eight
+       voices.
+  III.   "    "Sei Lob und Preis mit Ehren," for four voices.
+
+_Second Part:_
+
+CHORALES AND SONGS.
+
+Chorales for four voices from the collection of Carl Philipp Emanuel
+Bach.
+
+Sacred songs and arias with figured or unfigured bass, from Schemell's
+_Gesangbuch_ and from Anna Magdalena Bach's _Notenbüchlein_.
+
+
+FORTIETH YEAR.
+
+ORGAN WORKS. VOL. IV.
+
+_First Part:_
+
+Chorale-preludes in Kirnberger's collection.
+
+_Second Part:_
+
+Other Chorale-preludes.
+
+_Third Part:_
+
+Chorale-variations.
+
+Appendix.
+
+   I. Supplementary readings and detached pieces.
+  II. Compositions and MSS. whose authenticity is not fully established.
+
+
+FORTY-FIRST YEAR.
+
+CHURCH MUSIC. SUPPLEMENTARY VOLUME.
+
+Cantata No. 191. Gloria in Excelsis Deo.
+
+Three incomplete church cantatas.
+
+  No. 1. Nun danket alle Gott.
+   "  2. Ihr Pforten zu Zion.
+   "  3. Ehre sei Gott in der Höhe.
+
+Two incomplete Marriage Cantatas.
+
+  No. 1. O ewiges Feuer, o Ursprung der Liebe.
+   "  2. Herr Gott, Beherrscher aller Dinge.
+
+Single movements.
+
+Appendix I.
+
+Four Church Cantatas, whose authenticity as of Sebastian Bach's
+composition is not fully established.
+
+  No. 1. Gedenke, Herr, wie es uns gehet.
+   "  2. Gott der Hoffnung erfülle euch.
+   "  3. Siehe, es hat überwunden der Löwe.
+   "  4. Lobt ihn mit Herz und Munde.
+
+Appendix II.
+
+Catalogue of the Church Compositions of Johann Ludwig Bach in
+Meiningen.
+
+Supplementary notes and comments.
+
+
+FORTY-SECOND YEAR.
+
+PIANOFORTE WORKS. VOL. V.
+
+Transcriptions of works of Bach's own composition and of that of
+others. Various Preludes, Fugues, and other pieces whose authenticity
+is probable.
+
+Appendix I.
+
+Compositions whose authenticity is not fully established, and some
+supplementary readings.
+
+Appendix II.
+
+Concerto No. 2 of Vivaldi and Fugue of Erselius in their original
+form.
+
+
+FORTY-THIRD YEAR.
+
+_First Issue:_
+
+CHAMBER MUSIC. VOL. VIII.
+
+  Three sonatas for flute and figured bass.
+  Sonata and Fugue for violin and figured bass.
+  Sonata for two pianofortes.
+  Concerto for four pianofortes, from Antonio Vivaldi.
+
+Appendix.
+
+Concerto for four violins by Antonio Vivaldi in its original form.
+
+_Second Issue:_
+
+Musical pieces in Anna Magdalena Bach's _Notenbüchlein_.
+
+
+FORTY-FOURTH YEAR.
+
+Joh. Seb. Bach's handwriting, in facsimile and chronological order.
+
+
+FORTY-FIFTH YEAR.
+
+Part I: English and French Suites (new corrected edition).
+
+Part II: Passion-music according to St. Luke.
+
+
+FORTY-SIXTH YEAR.
+
+History of the German Bach-Society.
+
+Thematic and Alphabetical Indices.
+
+
+
+
+INDEX OF REFERENCES
+
+TO WORKS OF J.S. BACH.
+
+
+I. FOR ORGAN.
+
+  _Alla Breve_, in D major, 46.
+
+  _Alla Breve_ (from P. & F., P. III, 7), 35.
+
+  Canzone, 41-45.
+
+  Chorales: XVII, 5, 18, 59 _et seq._
+
+  Chorale Preludes, 63 _et seq._
+    Allein Gott in der Höh' sei Ehr', 63, 90.
+    An Wasserflüssen Babylons, 64.
+    Aus tiefer Noth schrei' ich zu dir, 67.
+    Christ lag in Todesbanden, 59.
+    Ein' feste Burg ist unser Gott, 67, 74.
+    Wie schön leuchtet der Morgenstern (Prelude), 59.
+    Herr Jesus Christ, dich zu uns wend, 63.
+    Nun komm, der Heiden Heiland, 63.
+    "   "      "    "      "       (Fantasie), 64.
+    Schmücke dich, o liebe Seele, 64, 65.
+    Vater Unser im Himmelreich, 67, 91.
+    Von Himmel hoch da komm' ich her (Canonic Variations), 66.
+    Wenn wir in höchsten Nöthen sein; or, Vor deinen Thron trete ich, 68.
+      Orgelbüchlein, 59 _et seq._
+    Alle Menschen müssen sterben, 60.
+    Durch Adams Fall ist ganz verderbt, 60.
+    Gottes Sohn ist kommen, 62, 73.
+    Herzlich thut mich verlangen, 61.
+    Heut' triumphiret Gottes Sohn, 61 (footnote).
+    Hilf Gott, das mir gelinge, 62.
+    Ich ruf' zu dir, Herr Jesus Christ, 62.
+    In dir ist Freude, 61, 74, 76.
+    In dulci jubilo, 62, 73.
+    O Mensch, bewein' dein' Sünde gross, 60.
+    Wenn wir in höchsten Nöthen sein, 62.
+    Wer nur den lieben Gott lässt walten, 62.
+      Partitas:
+    Christ, der du bist der helle Tag, 58, 59.
+    Gott, du frommer Gott, 58.
+
+  Concertos (Vivaldi), 39.
+
+  Fantasie (P. IV, II), 33.
+
+  Fantasie (concerto) in G major (P. IX, 6), 33.
+
+  Fantasie and Fugue in G minor (P. II, 4), 53-55.
+
+  Fugues (see also Preludes and Fugues):
+    In C minor (P. IV, 6), 41.
+    "  C   "   (P. II, 6), 49, 57.
+    "  C   "   (P. IV, 9), 29.
+    "  D major (P. IV, 3), 35.
+    "  E flat major (P. III, 1), xviii.
+    "  G minor (P. IV, 7), 52^2.
+    "  B   "   (P. II, 10), xvii.
+    "  B   "   (P. IV, 8), 41.
+
+  Passacaglia, XVIII, 46.
+
+  Pastorale, XVIII, 83.
+
+  Preludes (see also Preludes and Fugues):
+    In C major (P. II, 1), 57.
+    "  C minor (P. II, 6), 57.
+    "  C   "   (Fantasie) (P. III, 6), 49.
+    "  E flat major (P. III, 1), 83.
+    "  G major (P. VIII, 11), 30.
+
+  Preludes and Fugues:
+    In C major (P. II, 7), 57.
+    "  C   "   (B.-G. in E major), (P. III, 7), 35.
+    "  C minor (P. IV, 5), 29.
+    "  E flat major (III, 1), 55.
+    "  E minor (II, 9), 56.
+    "  E   "   (III, 10), 34.
+    "  F   "   (II, 5), 48, 89.
+    "  G   "   (III, 5), 36.
+    "  G major (II, 2), 52^4.
+    "  A   "   (II, 3), 51, 52.
+    "  A minor (II, 8), xviii, 57.
+    "  A   "   (III, 9), 30.
+    "  B   "   (II, 10), 56.
+    Eight short Preludes and Fugues, 36.
+
+  Sonatas (Trios), 52, 53, 82.
+    In D minor, 52.
+    "  E   "    52, 82.
+
+  Toccatas:
+    In C major (P. III, 8), 40, 52, 62 (Adagio).
+    "  D minor (P. III, 3) (with fugue), 49, 83.
+    "  F major (P. III, 2) (with fugue), xviii (?), 49, 51.
+
+  Toccata and Fugue in D minor (P. IV, 4), 35.
+
+
+II. OTHER COMPOSITIONS.
+
+  a. Instrumental.
+
+    _Capriccio sopra la lontananza..._, 45^1.
+
+    Chorale-accompaniments, 68.
+
+    Clavierbüchlein, 89^1.
+
+    Clavierübung, 55, 56, 66.
+
+    Concertos, xviii.
+      In C major (for 2 Clavecins), 57.
+
+    Instrumental Chamber Music, 97.
+
+    Prelude for violin, xviii.
+
+    Suite for orchestra, xviii.
+
+    Well-tempered Clavichord, the, 96, 97.
+
+  b. Choral.
+
+    Cantatas, xvii, 96, 98.
+      Ach, bleib' bei uns, 74 (footnote).
+      Die Himmel erzählen, 52^4, 82.
+      Gott ist mein König, 96^2.
+      Ich hatte viel Bekümmerniss, 52^4.
+      Reformationscantate, 67.
+      Tritt auf die Glaubensbahn, 52.
+      Wer sich selbst erhöhet, der soll erniedriget werden, 97.
+      Wer weiss, wie nahe mir mein Ende? 82.
+      Zur Rathswahl zu Leipzig, xviii, 81.
+
+    Magnificat, 74 (footnote).
+
+    Masses:
+      In B minor, 98.
+        Et in unum Deum, 91.
+        Sanctus, xviii.
+      Missae Breves, 98.
+
+    Motets, xviii, 98.
+
+    Passions, 97.
+      St. Matthew, xvii, xviii, 88.
+        Ich will bei meinem Jesu wachen, xviii.
+        O Haupt voll Blut und Wunden, 62 (footnote).
+        O Lamm Gottes, unschuldig, 81.
+        O Mensch, bewein' dein' Sünde gross, 81.
+        Wenn ich einmal soll scheiden, 99.
+
+    Oratorios:
+      Christmas, 98.
+        Pastorale, 83.
+      Easter, 98.
+      Ascension, 98.
+
+    Theoretical.
+      Die Kunst der Fuge, 68.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Johann Sebastian Bach, by A. [André] Pirro
+
+*** END OF THE PROJECT GUTENBERG EBOOK 59085 ***