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diff --git a/59085-8.txt b/59085-0.txt index 278c4e3..544f881 100644 --- a/59085-8.txt +++ b/59085-0.txt @@ -1,35 +1,7 @@ -The Project Gutenberg EBook of Johann Sebastian Bach, by A. [André] Pirro +*** START OF THE PROJECT GUTENBERG EBOOK 59085 *** -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. -Title: Johann Sebastian Bach - The Organist and His Works for the Organ -Author: A. [André] Pirro - -Commentator: Ch.-M. (Charles-Marie) Widor - -Translator: Wallace Goodrich - -Release Date: March 18, 2019 [EBook #59085] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH *** - - - - -Produced by David Newman, Chuck Greif, Linda Cantoni, and -the Online Distributed Proofreading Team at -http://www.pgdp.net @@ -150,18 +122,18 @@ 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 +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. +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 +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)! @@ -182,7 +154,7 @@ 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 +FROBERGER (1615[?]-1667), a _protégé_ of Emperor Ferdinand III., by whom he had been sent, in early life, to study with Frescobaldi in Rome. @@ -196,11 +168,11 @@ 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. +BUXTEHUDE (1637-1707), the celebrated organist at Lübeck. BRUHNS, his pupil. -BÖHM, organist of St. John's Church in Lüneburg. +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 @@ -211,11 +183,11 @@ 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 +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 +[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 @@ -231,7 +203,7 @@ HOMILIUS, of Dresden, a composer of church music. TRANSCHEL, of Dresden, a distinguished clavecinist. -GOLDBERG, of Königsberg, composer of pieces called +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.) @@ -245,7 +217,7 @@ ALTNIKOL, organist at Naumburg; Bach's son-in-law. AGRICOLA, composer to the King of Prussia, known through his theoretical works. -MÜTHEL, of Riga. +MÃœTHEL, of Riga. KIRNBERGER, court musician at Berlin. "He loved his art with a fervor at once enthusiastic and sincere," says Forkel. "Not @@ -253,14 +225,14 @@ 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_. +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 +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.] @@ -272,14 +244,14 @@ 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 +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 +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...." @@ -288,7 +260,7 @@ 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 +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 @@ -304,7 +276,7 @@ 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 +André Pirro has so conscientiously analyzed the specific work of the master, I have to concern myself only with his technique as a virtuoso. @@ -414,8 +386,8 @@ _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 +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 @@ -448,7 +420,7 @@ 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_. +_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; @@ -459,11 +431,11 @@ 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 +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 +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 @@ -477,7 +449,7 @@ 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 +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 @@ -676,7 +648,7 @@ 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 +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 @@ -690,14 +662,14 @@ 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 +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 +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 +conscientious Boëly, of Saint-Germain-l'Auxerrois; the published compositions bear witness to the ideal of those times, an ideal without a name. @@ -743,7 +715,7 @@ 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, + 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 @@ -776,7 +748,7 @@ 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 +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 @@ -797,7 +769,7 @@ task of playing Bach "in the Bach spirit." A. PIRRO. -WÜSTWEILER, September 27, 1894. +WÃœSTWEILER, September 27, 1894. @@ -867,7 +839,7 @@ 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, +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 @@ -901,7 +873,7 @@ Bentivoglio was born at Ferrara in 1579); and, moreover, on January 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 +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. @@ -914,7 +886,7 @@ 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 +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. @@ -942,7 +914,7 @@ 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 +technique. Abbé Maugars, who knew him at Rome in 1639, still praised the ornamentation and the marvellous cleverness of his improvised Toccatas. @@ -991,7 +963,7 @@ 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 +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_, @@ -1110,7 +1082,7 @@ 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 +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). @@ -1174,7 +1146,7 @@ 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 +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_." @@ -1187,7 +1159,7 @@ J.S. Bach; it runs: 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 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] @@ -1200,19 +1172,19 @@ 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 +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 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_).] +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 @@ -1261,7 +1233,7 @@ 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_ +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 @@ -1298,7 +1270,7 @@ 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_, +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 @@ -1316,7 +1288,7 @@ 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 +[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 @@ -1357,10 +1329,10 @@ 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. +[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 +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.] @@ -1391,12 +1363,12 @@ 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 +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 +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 @@ -1428,7 +1400,7 @@ 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_.)] +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, @@ -1441,7 +1413,7 @@ 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 +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. @@ -1643,7 +1615,7 @@ 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 +[Footnote 48: Following the publication of the "_neu eröffnetes Orchester_" of Mattheson, Buttstedt had written an essay entitled: _Ut mi sol @@ -1652,7 +1624,7 @@ Orchester_" of Mattheson, Buttstedt had written an essay entitled: 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 +same year by the "_neu beschütztes Orchester_" (defense of the new orchestra), with the epigraph: _Ut mi sol @@ -1671,10 +1643,10 @@ 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, +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 +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 @@ -1746,7 +1718,7 @@ 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_, +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 @@ -1783,9 +1755,9 @@ and finally [Music] -[Footnote 52: See Merkel (Johann): "_Betrachtungen über die deutsche +[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).] +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 @@ -1829,7 +1801,7 @@ 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 +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 @@ -1956,7 +1928,7 @@ 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 +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, @@ -2027,7 +1999,7 @@ 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 +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] @@ -2039,7 +2011,7 @@ 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, +[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.] @@ -2134,7 +2106,7 @@ 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; +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 @@ -2162,15 +2134,15 @@ 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 +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 66: Hanslick: _Vom Musikalisch-Schönen_.] [Footnote 67: Schopenhauer: _Lichtstrahlen aus seinen Werken_ (J. -Frauenstädt, Leipzig, 1874, p. 128).] +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 @@ -2237,7 +2209,7 @@ 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.] +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 @@ -2278,10 +2250,10 @@ 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, +(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" +patronage accorded to the troupe of Gabriel Möller, "Hofcomödiant" (court comedian), was not of long duration; it had already ceased in 1709.] @@ -2297,7 +2269,7 @@ 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 +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 @@ -2380,7 +2352,7 @@ 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 +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 @@ -2388,7 +2360,7 @@ 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 +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 @@ -2436,7 +2408,7 @@ underwent at the hands of Bach in a fugue for harpsichord: 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 +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. @@ -2454,7 +2426,7 @@ upon which one of the latter is not definitely known. [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). +(_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.] @@ -2510,7 +2482,7 @@ this style. 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_).] +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 @@ -2521,7 +2493,7 @@ Eitner,[89] is written wholly upon this form of the Ionic tetrachord: [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 +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 @@ -2563,10 +2535,10 @@ the opera "_Paride_" produced at Dresden in 1662: [Music: ERMILLO. - Già trafitto ha il mesto seno, + Già trafitto ha il mesto seno, chi soccorso, o ciel, mi da?] -In the second _Sonate à Programme_ of Kuhnau this phrase must impress +In the second _Sonate à Programme_ of Kuhnau this phrase must impress one with the depth of Saul's melancholy:[91] [Music] @@ -2634,8 +2606,8 @@ 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 +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 @@ -2726,7 +2698,7 @@ 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 +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.] @@ -2761,7 +2733,7 @@ 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, +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 @@ -2773,13 +2745,13 @@ 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, +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 +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 @@ -2798,7 +2770,7 @@ 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. +period of Bach's residence in Cöthen. [Footnote 104: P. iii, 2. B.-G. xv, p. 155.] @@ -2814,7 +2786,7 @@ imposing portion.] [Footnote 106: P. ii, 3. B.-G. xv, p. 120.] -This fugue (also from the Cöthen period, as well as the prelude, +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 @@ -2866,12 +2838,12 @@ 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_ +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 +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 @@ -2958,7 +2930,7 @@ 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 +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 @@ -2978,17 +2950,17 @@ 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, +_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 +[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._] @@ -3004,7 +2976,7 @@ evident unity of composition.[117] reminiscence of Buxtehude, is in three movements of different rhythms.] -The publication of the _Clavierübung_ may be fixed at about the year +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. @@ -3044,7 +3016,7 @@ 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.] +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 @@ -3116,10 +3088,10 @@ 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 +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 +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 @@ -3141,7 +3113,7 @@ _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 +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. @@ -3160,23 +3132,23 @@ various collections, although some have been published separately. I In chronological order, the first of these collections is the -_Orgelbüchlein_.[130] +_Orgelbüchlein_.[130] -[Footnote 130: _Orgelbüchlein Worinne einem anfahenden Organisten +[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 +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, +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 +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 +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 @@ -3197,9 +3169,9 @@ 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 +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 +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, @@ -3227,7 +3199,7 @@ 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 +"_Der vollkommene Capellmeister_," and Becker, "_Rathgeber für Organisten_"). The prelude to the chorale "_Heut' triumphiret Gottes Sohn_" is conceived in the same manner.] @@ -3247,18 +3219,18 @@ 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 +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, +[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_.] +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 +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 @@ -3282,15 +3254,15 @@ 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 +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 +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 +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. @@ -3298,17 +3270,17 @@ 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] +Böhm.[135] [Footnote 135: Compare that chorale with this fragment of a chorale -by Böhm, _Vater unser im Himmelreich_: +by Böhm, _Vater unser im Himmelreich_: [Music]] II -The chorales of the Orgelbüchlein were compiled by Bach for +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 @@ -3319,7 +3291,7 @@ 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 +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 @@ -3331,7 +3303,7 @@ 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_" +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._] @@ -3340,7 +3312,7 @@ 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 +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 @@ -3363,9 +3335,9 @@ 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_. +the chorale-prelude _Schmücke dich, O liebe Seele_. -"_Schmücke dich, O liebe Seele!_" Adorn thyself, O dear soul; be +"_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 @@ -3376,7 +3348,7 @@ 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 +"_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 @@ -3386,13 +3358,13 @@ 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 +"_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 +is beautiful and joyous.... "Schmücke dich, o liebe Seele!" Adorn thyself, O dear soul! * * * * * @@ -3404,7 +3376,7 @@ 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 +'_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 @@ -3437,7 +3409,7 @@ 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 +[Footnote 141: Einige kanonische Veränderungen über das Weihnachtslied: _Vom Himmel hoch da komm' ich her_.] [Footnote 142: These variations were published separately. Bach had @@ -3451,7 +3423,7 @@ present numerous differences of editing.] III -The Third Part of the _Clavierübung_ contains twenty-one arrangements +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 @@ -3477,12 +3449,12 @@ 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 +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._] +[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 @@ -3495,7 +3467,7 @@ 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 +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 @@ -3504,7 +3476,7 @@ 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 +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 @@ -3532,7 +3504,7 @@ 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 +return from Lübeck, and which so scandalized the parish, confusing the congregation by their ornamentation. @@ -3541,7 +3513,7 @@ 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 +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. @@ -3574,13 +3546,13 @@ 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." +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 +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 @@ -3588,13 +3560,13 @@ 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. +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 +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 @@ -3630,10 +3602,10 @@ 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, +[Footnote 150: _Der Vollkommene Kapellmeister_, Hamburg, 1739, §69, p. 467.] -[Footnote 151: Mattheson says, _à propos_ of this stop: "The French +[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 @@ -3653,7 +3625,7 @@ 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 +[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 @@ -3661,7 +3633,7 @@ 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.] +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 @@ -3679,13 +3651,13 @@ 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 +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 +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] @@ -3731,13 +3703,13 @@ 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 +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 +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 @@ -3746,14 +3718,14 @@ 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 +of six chorales published at Zella by Schübler, with the Bach annotations.[158] -[Footnote 158: _Sechs Choräle von verschiedener Art auf einer Orgel +[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, +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._ +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 @@ -3771,7 +3743,7 @@ 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_. +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 @@ -3805,7 +3777,7 @@ 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 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 @@ -3821,7 +3793,7 @@ 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 +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 @@ -3839,17 +3811,17 @@ 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 +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 +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._] +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.]] @@ -3858,7 +3830,7 @@ not the reed of the same name already mentioned.--TR.]] 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 +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.] @@ -3904,7 +3876,7 @@ 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 +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 @@ -3967,7 +3939,7 @@ 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 +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 @@ -3988,24 +3960,24 @@ 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 +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 +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 +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.] +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).] @@ -4034,7 +4006,7 @@ 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 +mixtures, said Schröter,[171] organist in Nordhausen; Petri[172] made a similar recommendation. [Footnote 171: _Deutliche Anweisung zum Generalbass_ (Halberstadt, @@ -4050,7 +4022,7 @@ 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 +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 @@ -4078,7 +4050,7 @@ 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 +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 @@ -4132,7 +4104,7 @@ 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") +_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 @@ -4159,18 +4131,18 @@ 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, +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 +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 +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 @@ -4192,7 +4164,7 @@ 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 +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.]] @@ -4201,7 +4173,7 @@ _Great Organ._ 1. Principal, 8' 2. Viola da Gamba, 8' - 3. Quintatön, 16' + 3. Quintatön, 16' 4. Gedackt (Bourdon), 8' 5. Quinte, 6' 6. Octave, 4' @@ -4219,7 +4191,7 @@ _Choir Organ._ 1. Principal, 4' 2. Lieblich Gedackt, 8' - 3. Spitzflöte, 4' + 3. Spitzflöte, 4' 4. Quinte, 3' 5. Sesquialter 6. Nachthorn (night horn), 4' @@ -4230,7 +4202,7 @@ _Pedal Organ._ 1. Principalbass, 8' 2. Subbass, 16' 3. Posaunenbass (trombone), 16' - 4. Flötenbass 4' + 4. Flötenbass 4' 5. Cornetbass, 2'[181] [Footnote 181: This was a reed stop.] @@ -4238,16 +4210,16 @@ _Pedal Organ._ The organ in the palace at Weimar contained the following stops, according to A. Wette:[182] -[Footnote 182: _Historische Nachrichten von der berühmten +[Footnote 182: _Historische Nachrichten von der berühmten Residenzstadt Weimar._ Weimar, 1737, p. 175, 176.] _Great._ 1. Principal, 8' - 2. Quintatön, 16' + 2. Quintatön, 16' 3. Gemshorn, 8' 4. Gedackt, 8' - 5. Quintatön, 4' + 5. Quintatön, 4' 6. Octave, 4' 7. Mixture, 6 ranks 8. Cymbel, 3 ranks @@ -4262,7 +4234,7 @@ _Choir._ 5. Kleingedackt (small bourdon), 4' 6. Octave, 4' - 7. Waldflöte 2' + 7. Waldflöte 2' 8. Sesquialtera _Pedal._ @@ -4275,7 +4247,7 @@ _Pedal._ 6. Trompeten-Bass, 8' 7. Cornett-Bass, 4' -We have mentioned the special feature of the organ in Cöthen: a +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 @@ -4293,16 +4265,16 @@ _Great._ 1. Gross Principal (of pure tin), 16' - 2. Gross Quintatön, 16' + 2. Gross Quintatön, 16' 3. Klein Principal, 8' 4. Schalmei, 8' - 5. Flûte allemande, 8' + 5. Flûte allemande, 8' 6. Gemshorn, 8' 7. Octave, 4' 8. Quinte, 3' 9. Quint-Nasat, 3' 10. Octavina, 2' - 11. Waldflöte, 2' + 11. Waldflöte, 2' 12. Grosse Mixtur, of 5 and 6 ranks 13. Cornetti, of 3 ranks @@ -4317,7 +4289,7 @@ _Echo._ 3. Grobgedackt (large scale bourdon) 8' 4. Octave, 4' - 5. Rohrflöte, 4' + 5. Rohrflöte, 4' 6. Octave, 2' 7. Nasat, 3' 8. Sedecima, 1' @@ -4332,11 +4304,11 @@ _Echo._ _Choir._ 1. Leiblich gedackt, 8' - 2. Quintatön, 8' - 3. Flûte douce, 4' + 2. Quintatön, 8' + 3. Flûte douce, 4' 4. Quinta decima, 4' 5. Decima nona, 3' - 6. Hohlflöte, 2' + 6. Hohlflöte, 2' 7. Viola, 2' 8. Vigesima nona, 1-1/2' 9. Weitpfeife, 1' @@ -4347,7 +4319,7 @@ _Choir._ _Pedal._ 1. Gross Principal, 16' - 2. Gross Quintatön, 16' + 2. Gross Quintatön, 16' 3. Octave, 8' 4. Octave, 4' 5. Quinte, 3' @@ -4360,7 +4332,7 @@ _Pedal._ 12. Subbass, 16' 13. Posaune, 16' 14. Trompete, 8' - 15. Hohflöte, 1' + 15. Hohflöte, 1' 16. Mixtur, of 4 ranks Finally, the specification of the principal organ in the @@ -4375,7 +4347,7 @@ _Great._ 1. Principal, 16' 2. Principal, 8' - 3. Quintatön, 16' + 3. Quintatön, 16' 4. Octave, 4' 5. Quinte, 3' 6. Superoctave, 2' @@ -4398,24 +4370,24 @@ _Echo (Brustwerk)._ 9. Geigenregal[186] (Violin-regal), 4' -[Footnote 186: In combination with the _Quintatön_ of eight feet, +[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' + 2. Quintatön, 8' 3. Lieblich Gedackt, 8' 4. Kleingedackt, 4' - 5. Querflöte + 5. Querflöte (_Flauto traverso_), 4' 6. Violine, 2' 7. Rauschquinte doppelt 8. Mixtur, of 4 ranks 9. Sesquialtera - 10. Spitzflöte, 4' - 11. Schallflöte, 1' + 10. Spitzflöte, 4' + 11. Schallflöte, 1' 12. Krummhorn,[187] 16' 13. Trompete, 8' @@ -4436,7 +4408,7 @@ 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. +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 @@ -4469,7 +4441,7 @@ 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_ +[Footnote 189: _Die wahren Grundsätze zum Gebrauch der Harmonie_ (Berlin, 1773) p. 53. See also Mizler (_Necrolog_, p. 171) and Forkel (p. 22).] @@ -4495,18 +4467,18 @@ beginning of a piece, or if it ornament a characteristic interval 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._] +[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 +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 +[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 @@ -4517,7 +4489,7 @@ 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'_ +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 @@ -4529,8 +4501,8 @@ as found in the well-known editions:[194] [Music] -[Footnote 192: L. Diémer: _Les Clavecinistes français du XVIIIe -siècle_ (Durand and Schönewerk).] +[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 @@ -4540,7 +4512,7 @@ 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 +_Vater unser im Himmelreich_ (_Clavierübung_, Part III). But in this case, Bach uses a special notation: [Music] @@ -4554,7 +4526,7 @@ 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, +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: @@ -4617,7 +4589,7 @@ 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 +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 @@ -4625,14 +4597,14 @@ 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 +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, +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 +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 @@ -4644,7 +4616,7 @@ 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 +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 @@ -4662,16 +4634,16 @@ 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, +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 +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 +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 +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 @@ -4688,7 +4660,7 @@ 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 +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. @@ -4699,7 +4671,7 @@ 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 +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, @@ -4714,8 +4686,8 @@ 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 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.] @@ -4733,14 +4705,14 @@ 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. +received next year from the Prince of Anhalt-Cöthen. -At Cöthen there was no more organ playing to be done; no more church +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. +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. @@ -4753,14 +4725,14 @@ 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_; +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 +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 @@ -4854,7 +4826,7 @@ FIRST YEAR. CHURCH CANTATAS. VOL. I. - No. 1. Wie schön leuchtet der Morgenstern. + 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. @@ -4872,12 +4844,12 @@ 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. + " 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. + " 18. Gleich wie der Regen und Schnee vom Himmel fällt. " 19. Es erhub sich ein Streit. " 20. O Ewigkeit, du Donnerwort. (First setting.) @@ -4888,7 +4860,7 @@ PIANOFORTE WORKS. VOL. I. Fifteen Inventions and Fifteen Symphonies. - _Klavierübung:_ + _Klavierübung:_ First Part: Six partitas. Second " A concerto and a partita. Third Part: Chorale-preludes and duets. @@ -4910,16 +4882,16 @@ _First Issue:_ CHURCH CANTATAS. VOL. III. - No. 21. Ich hatte viel Bekümmerniss. - " 22. Jesus nahm zu sich die Zwölfe. + 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. + " 24. Ein ungefärbt Gemüthe. " 25. Es ist nichts Gesundes an meinen Leibe. - " 26. Ach wie flüchtig, ach wie nichtig. + " 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. + " 30. Freue dich, erlöste Schaar. _Second Issue:_ @@ -4931,7 +4903,7 @@ ii: 1-12. 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. + 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. @@ -4984,12 +4956,12 @@ CHURCH CANTATAS. VOL. V. No. 41. Jesu, nun sei gepreiset. " 42. Am Abend aber desselbigen Sabbaths. - " 43. Gott fähret auf mit Jauchzen. + " 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. + " 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. @@ -5019,9 +4991,9 @@ 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. + " 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.) @@ -5082,11 +5054,11 @@ 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. + " 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. + " 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. @@ -5111,13 +5083,13 @@ EIGHTEENTH YEAR. CHURCH CANTATAS. VOL. VIII. - No. 71. Gott ist mein König. + 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. + " 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. @@ -5141,7 +5113,7 @@ violin, with accompaniment of two violins, viola and _continuo_. violoncellos and _continuo_. 4. Concerto in G major for _obbligato_ violin with accompaniment of -two flutes (_flûtes à bec_), two violins, viola, violoncello and +two flutes (_flûtes à bec_), two violins, viola, violoncello and _continuo_. 5. Concerto in D major for pianoforte, flute and violin, with @@ -5157,10 +5129,10 @@ _First Issue:_ CHURCH CANTATAS. VOL. IX. - No. 81. Jesus schläft, was soll ich hoffen? + 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. + " 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. @@ -5214,7 +5186,7 @@ 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. + " 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. @@ -5233,10 +5205,10 @@ 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. + " 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. + " 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. @@ -5248,11 +5220,11 @@ 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. + " 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. + " 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. @@ -5269,8 +5241,8 @@ supplementary readings. _Second Issue:_ (Organ works.) - No. 1. _Orgelbüchlein_ (Little Organ-book). - No. 2. Six Chorales (the so-called _Schübler_ chorales). + 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. @@ -5315,16 +5287,16 @@ CHURCH CANTATAS. VOL. XIV. " 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. + " 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. + " 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. + (_a_) Mit Gnaden bekröne der Himmel die Zeiten. (_b_) Ein Herz, das seinen Jesum lebend weiss. @@ -5334,12 +5306,12 @@ 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." + 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." + bekröne der Himmel die Zeiten." II. Cantata. "O angenehme Melodei." III. Instrumental movement for violin, flute and _continuo_. @@ -5353,7 +5325,7 @@ CHURCH CANTATAS. VOL. XV. " 143. Lobe den Herrn, meine Seele. " 144. Nimm, was dein ist. " 145. So du mit deinem Munde. - " 146. Wir müssen durch viel Trübsal. + " 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. @@ -5387,7 +5359,7 @@ THIRTY-SECOND YEAR. CHURCH CANTATAS. VOL. XVI. - No. 151. For the second day after Christmas: "Mein süsser Trost." + 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 @@ -5402,7 +5374,7 @@ CHURCH CANTATAS. VOL. XVI. Dich nicht." " 159. " Quinquagesima: "Sehet, wir geh'n hinauf gen Jerusalem." - " 160. " Monday in Easter-week: "Ich weiss, dass mein Erlöser + " 160. " Monday in Easter-week: "Ich weiss, dass mein Erlöser lebt." @@ -5410,16 +5382,16 @@ THIRTY-THIRD YEAR. CHURCH CANTATAS. VOL. XVII. - No. 161. Komm, du süsse Todesstunde. + 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. + " 167. Ihr Menschen, rühmet Gottes Liebe. " 168. Thue Rechnung! Donnerwort. " 169. Gott soll allein mein Herze haben. - " 170. Vergnügte Ruh', beliebte Seelenlust. + " 170. Vergnügte Ruh', beliebte Seelenlust. THIRTY-FOURTH YEAR. @@ -5429,11 +5401,11 @@ 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!" + " " "Tönet, ihr Pauken! Erschallet, Trompeten!" Cantata gratulatoria in adventum regis (Thanksgiving Cantata upon the - Accession of the King). "Preise dein Glücke, gesegnetes Sachsen." + Accession of the King). "Preise dein Glücke, gesegnetes Sachsen." Appendix. I. Dramma per musica. "Angenehmes Wiederau." - " II. " " "Auf, schmetternde Töne der muntern + " II. " " "Auf, schmetternde Töne der muntern Trompeten." @@ -5443,14 +5415,14 @@ 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. + " 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. + " 178. Wo Gott der Herr nicht bei uns hält. " 179. Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei. - " 180. Schmücke dich, o liebe Seele. + " 180. Schmücke dich, o liebe Seele. THIRTY-SIXTH YEAR. @@ -5471,14 +5443,14 @@ THIRTY-SEVENTH YEAR. CHURCH CANTATAS. VOL. XIX. No. 181. Leichtgesinnte Flattergeister. - " 182. Himmelskönig, sei willkommen. + " 182. Himmelskönig, sei willkommen. " 183. Sie werden euch in den Bann thun. (Second Setting.) - " 184. Erwünschtes Freudenlicht. + " 184. Erwünschtes Freudenlicht. " 185. Barmherziges Herze der ewigen Liebe. - " 186. Ärg're dich, o Seele, nicht. + " 186. Ärg're dich, o Seele, nicht. " 187. Es wartet Alles auf dich. " 188. Ich habe meine Zuversicht. - " 189. Meine Seele rühmt und preist. + " 189. Meine Seele rühmt und preist. " 190. Singet dem Herrn ein neues Lied. (Lobe, Zion, deinen Gott.) @@ -5509,7 +5481,7 @@ 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. + " 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_. @@ -5530,7 +5502,7 @@ 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_. +_Gesangbuch_ and from Anna Magdalena Bach's _Notenbüchlein_. FORTIETH YEAR. @@ -5565,7 +5537,7 @@ Three incomplete church cantatas. No. 1. Nun danket alle Gott. " 2. Ihr Pforten zu Zion. - " 3. Ehre sei Gott in der Höhe. + " 3. Ehre sei Gott in der Höhe. Two incomplete Marriage Cantatas. @@ -5580,8 +5552,8 @@ 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. + " 2. Gott der Hoffnung erfülle euch. + " 3. Siehe, es hat überwunden der Löwe. " 4. Lobt ihn mit Herz und Munde. Appendix II. @@ -5628,7 +5600,7 @@ Concerto for four violins by Antonio Vivaldi in its original form. _Second Issue:_ -Musical pieces in Anna Magdalena Bach's _Notenbüchlein_. +Musical pieces in Anna Magdalena Bach's _Notenbüchlein_. FORTY-FOURTH YEAR. @@ -5668,21 +5640,21 @@ I. FOR ORGAN. 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. + 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. + 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. + 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. + 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. @@ -5691,9 +5663,9 @@ I. FOR ORGAN. 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. + 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. @@ -5763,9 +5735,9 @@ II. OTHER COMPOSITIONS. Chorale-accompaniments, 68. - Clavierbüchlein, 89^1. + Clavierbüchlein, 89^1. - Clavierübung, 55, 56, 66. + Clavierübung, 55, 56, 66. Concertos, xviii. In C major (for 2 Clavecins), 57. @@ -5782,12 +5754,12 @@ II. OTHER COMPOSITIONS. 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. + 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 sich selbst erhöhet, der soll erniedriget werden, 97. Wer weiss, wie nahe mir mein Ende? 82. Zur Rathswahl zu Leipzig, xviii, 81. @@ -5806,7 +5778,7 @@ II. OTHER COMPOSITIONS. 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. + O Mensch, bewein' dein' Sünde gross, 81. Wenn ich einmal soll scheiden, 99. Oratorios: @@ -5825,368 +5797,6 @@ II. OTHER COMPOSITIONS. -End of Project Gutenberg's Johann Sebastian Bach, by A. [André] Pirro - -*** END OF THIS PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH *** - -***** This file should be named 59085-8.txt or 59085-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/9/0/8/59085/ - -Produced by David Newman, Chuck Greif, Linda Cantoni, and -the Online Distributed Proofreading Team at -http://www.pgdp.net - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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[André] Pirro - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Johann Sebastian Bach - The Organist and His Works for the Organ - -Author: A. [André] Pirro - -Commentator: Ch.-M. (Charles-Marie) Widor - -Translator: Wallace Goodrich - -Release Date: March 18, 2019 [EBook #59085] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK JOHANN SEBASTIAN BACH *** - - - - -Produced by David Newman, Chuck Greif, Linda Cantoni, and -the Online Distributed Proofreading Team at -http://www.pgdp.net - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 59085 ***</div> @@ -6892,380 +6852,7 @@ Gellert, the poet.—<span class="smcap">Tr.</span>]</p></div> -<pre> - - - - - -End of Project Gutenberg's Johann Sebastian Bach, by A. 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