Delphi Masterworks of Johann Sebastian Bach (Illustrated) (Delphi Great Composers Book 3)

by Peter Russell

  This is, however, also the case with the B minor Mass: thus the Crucifixus occurs in the cantata “Weinen Klagen,” the Hosanna in “Preise dein Glücke,” the Agnus in “Lobet Gott in seinen Reichen.”

  The Mass is dedicated to Frederick Augustus in the following words: —

  “Illustrious Elector, — Gracious Master, — To Your Royal Highness I offer in deepest devotion this small fruit of the knowledge to which I have attained in music, with the most humble prayer that you will look upon it, not according to the poor composition, but with your world-renowned clemency, and therefore will take me under your powerful protection.

  “I have for some years had the direction of the music in the two chief churches at Leipsic, but have suffered several disagreeable things, and my income has been reduced though I am myself blameless; but these troubles would be easily overcome if your Highness would grant me the favour of a decree, after conference with your Court orchestra.

  “The gracious granting of my humble prayer would bind me to everlastingly honour you, and I offer myself to do anything with obedience that Your Royal Highness may require of me in the way of composing church or orchestral music, and to give unwearied industry, and to dedicate my whole strength to your service. — With ever-increasing faithfulness, I remain, Your Royal Highness’ most obedient Servant, — Johann Sebastian Bach.”

  This letter was handed in to the Court at Dresden when Bach was there on a visit, July 27th, 1733. The reader will remember that he was at this time in conflict with Ernesti, and the Council; — the title of “Hof compositeur,” Court composer, was not however given him until 1736. Though Hilgenfeldt says the B minor Mass was first performed at Dresden, it is doubtful whether it was ever performed outside the two chief churches at Leipsic, and even there it was only done in parts. On a score of the “Gloria” made in 1740 the note occurs “on the feast of the Nativity.” The “Sanctus” also was originally intended as a Christmas piece. The “Kyrie” is of great length; its score occupies forty-six pages in the Bach Gesellschaft edition. Like the rest of the choral portions, it has five voices, two sopranos, alto, tenor and bass. The orchestra consists of two flutes, two oboi d’amore, two bassoons, strings and continuo.

  The Gloria is scored for three trumpets, drums, two flutes, two oboes, two bassoons, strings and continuo. It will be observed that for the joyful music of the Gloria the tone of the oboe proper was considered more suitable than the perhaps more plaintive tone of the oboe d’amore, which is used in the Kyrie.

  At the very outset the hearers are made aware that a work of unusual proportions is commencing. The words Kyrie eleison are sung in a massive five part adagio with independent orchestral parts, coming to a full close at the end of the fourth bar. Here an instrumental “largo ed un poco piano” commences and continues for twenty-five bars; it foreshadows the vocal fugue, of which the following is the impressive subject:

  After this fugue has been worked at considerable length there is an instrumental interlude, and it recommences, the bass leading off with the subject in the tonic. The Christe eleison is set as a duet for two sopranos in D major, and the second kyrie as a fugue, alla breve, in four parts, in which the instruments double the voices. It has the following stirring subject:

  The “Gloria” begins in D major, and consists of eleven movements, opening with a vigorous five part chorus vivace.

  “Quoniam tu solus Sanctus” is a bass aria accompanied by Corno di caccia, two fagotti and continuo. There are no other instruments.

  The Creed contains seven movements. The words “Credo in unum deum” are a fugue on the ancient Plainsong, which is in semibreves, with a perpetually moving bass on the organ in crotchets. The only orchestral instruments are two violins, which play independent parts.

  “Et incarnatus est”

  “Et incarnatus est” for five voices is based on an arpeggio figure imitated in all the parts:

  The “Crucifixus,” one of the most impressive movements, is founded on a chromatic ground bass, which recurs thirteen times, the four part chorus singing various harmonies above it. This is the form of the Passacaglia, and the same bass was used by Bach in the opening chorus of the cantata, “Jesu, der du meine Seele,” though in a very different manner. “Et resurrexit” is another movement conceived in Bach’s happiest mood. It is in D major, like the Gloria, and has, if possible, even more energy and swing. This is the vigorous opening phrase:

  and it is repeated for the words “Cujus regni non erit finis.”

  “Et in Spiritum sanctum” forms a bass solo accompanied by two oboi d’amore.

  “Confiteor unum baptisma,” a closely knit fugue on two subjects, is in five parts with an independent organ bass. After a time the tempo becomes adagio, and one of the most overpowering effects in the whole of music introduces the words “et exspecto resurrectionem mortuorum”; as it were the whole of creation is called to witness the supreme miracle of the resurrection of the dead.

  The Sanctus

  The Sanctus is a six part chorus; the voices move for the most part in flowing triplets, the bass generally in an octave figure. After a time the triplets give way to the following powerful passage:

  after a few bars of which the triplets are resumed.

  “Pleni sunt cœli et terra gloria ejus,” is a six part fugue, and “osanna” is a double chorus. The “Dona nobis pacem” has the same opening passage as the Rathswahl cantata. The work from beginning to end is on a gigantic scale, in which each separate movement is a masterpiece from every point of view.

  Chapter X

  The Wohltemperirte Clavier— “The Art of Fugue”— “Musical Offering” — Bach as a Teacher — Bach’s Works in England.

  The Wohltemperirte Clavier was gradually compiled and formed into a complete work in two parts. The first part was completed at Cöthen in 1722, and entitled “The well tempered clavier, or preludes and fugues through all tones and semitones, both with major and minor thirds. For the edification and use of young musicians who are eager to learn, and for the recreation of those who are already facile in this study. Collected and prepared by Johann Sebastian Bach, Grand-ducal Capellmeister and Director of Chamber music to the Court of Cöthen, Anno 1722.”

  The Wohlt. Clavier intended for Clavichord

  The expression “well-tempered” refers to the equal temperament, of which Bach was so strong an advocate, and many of the pieces would be impossible with any other system of tuning. There is sufficient internal evidence to show that these delicate and beautiful compositions were primarily intended for the clavichord, as this instrument had a power of expression which was denied to all the other keyed instruments of that period. It is a mistake therefore to play them on the harpsichord, and Spitta is right in his assertion that they require for their adequate performance the very best pianoforte that the skill of modern makers can produce. The larger number of the pieces in the first collection were written at Cöthen, and probably quickly after one another. According to a tradition they were written on one of his journeys, when he had not access to an instrument. Schumann considered that many of the preludes were not originally connected with the fugues. Bach made three copies which still exist. He never had any intention of publishing a work which would scarcely meet with success among the general public from its difficulty. The second part was completed in 1740 or 1744. The only autograph is in the British Museum, add. MS. 35,021, of a page of which we give a photograph. It is written on large paper, fourteen staves to a page.

  Gerber says that Bach valued the work highly for its educational value, and played it through no less than three times to him.

  It was first printed by A. F. C. Kollmanns in London in 1799, but this impression was never published. The three first editions were those of Hoffmeister and Kühnel,66 Simrock in Berlin, and Nägeli in Zurich, all in 1801. The first English edition was that of Wesley and Horn, 1811.

  Various readings

  That by Hoffmeister and Kühnel was edited by Forkel, who, selecti
ng from a great number of copies, published many of the fugues in a shortened form, believing that these were Bach’s last arrangements of them. It is well known that Bach constantly polished and improved his works; and the number of different readings of the Wohltemperirte Clavier would fill a large volume. Amongst the more noticeable varieties of reading is that of the E minor prelude in Part I. In Litolff’s edition (Köhler) and Novello’s (Best) there is a florid melody in the right hand, above the chords, which accompany the moving bass. In Chrysander’s edition it is explained that Bach’s more mature taste led him to discard the florid passages, and it is accordingly published from a later MS. with only the chords on the first and third beats of the bar, the melody being entirely omitted.67

  The “Art of Fugue” is a series of workings of a single subject in many different ways. Like the Wohltemperirte Clavier it was primarily intended for educational purposes. Forkel gives the following account of it:

  Art of Fugue

  “This excellent and unique work was not published till 1752, after the composer’s death, but was for the most part engraved during his life by one of his sons. Marpurg, at that time at the helm of musical literature in Germany, wrote a preface to the edition, in which much that is good and true is said concerning the work.

  “But this ‘Art of Fugue’ was too lofty for the great world; it became only known in the very small world of connoisseurs. This small world was soon provided with copies; the plates were useless, and were finally sold by Bach’s heirs as old copper.”...

  “The last fugue but one has three subjects, the third being the notes b, a, c, h. This fugue was however interrupted by the blindness of the author, and could not be finished.

  “To make up for the unfinished fugue, the editors added at the end the four voice chorale ‘Wenn wir in höchsten Nöthen sein,’ which he dictated to his son-in-law Altnikol on his death-bed.”

  The work was brought out at the Leipsic Fair of Easter 1752. Mattheson was loud in his praise saying it would astonish all French and Italian fugue-makers. But the work was in reality finished. The MS. was complete, and the engraving was being done under the author’s direction when he died in 1750. No one could fulfil his intentions, and the engravers simply went on engraving everything that came to hand, both sketches and completed movements, and it was full of printer’s errors. Hauptmann clearly shows that the last (unfinished) fugue is certainly Bach’s own work, but that it has no connection with the “Art of Fugue,” which closes in reality with the fugue for two claviers. The series of fugues are all on one subject; the unfinished work leaves the subject, and has nothing to do with the other fugues. We have therefore Bach’s last work complete, and the incomplete portion is due to a mistake of the first publishers.

  Musical Offering

  “The Musical Offering” is a series of fugues and canons on a subject given to Bach at Potsdam by Frederick the Great. The work consists of —

  1. Fuga (ricercata) for three voices.

  2. Fuga (ricercata) for six voices.

  3. VIII. Canons.

  4. Fuga canonica in epidiapente.

  5. Sonata (Trio) for flute, violin, and bass.

  6. Canon perpetuus for flute, violin, and bass.

  It is headed:

  “Regis Iussu Cantio, Et Reliqua Canonica Arte Resoluta.”

  The dedicatory letter will explain its purpose:

  “Most Gracious King, — To Your Majesty is proffered herewith in humblest obedience a musical offering, whose most excellent portion originates from your noble hand. I recall with respectful pleasure the peculiarly royal favour with which during my visit to Potsdam your Majesty was pleased to play to me a fugue theme, and to require me immediately to work it out in your presence. Obedience to your Majesty’s command was my duty. I however soon remarked, that for want of proper preparation the working out was not as good as so excellent a theme required. I therefore resolved to work out this most royal theme properly and to make it known to the world. This project is now fulfilled to the best of my ability, and it has no other object than in some small way to do honour to the fame of a monarch, whose greatness and power both in the arts of peace and war, and especially in that of music are acknowledged and admired by all. I make bold to add this humble request: that your Majesty will accord a gracious reception to this small work, and by so doing still further extend your royal condescension. — Your Majesty’s most humble and obedient servant,

  The Author.

  “Leipsic, July 7, 1747.”

  This dedication however only referred to a portion of the work, which was gradually completed and engraved later. The epithet ricercata perhaps refers to the mechanical difficulty of the pieces.

  The six Great or English Suites are so called according to Forkel68 because they were written for some Englishman of rank. The same authority says that the six little French suites received their name because they are in French taste. It does not appear that the composer gave either of these names. Both sets seem to have been written at Cöthen.

  Bach as a teacher

  All accounts agree as to Bach’s wonderful capacity for teaching, and we have a description of his methods from one of his pupils, H. N. Gerber,69 which we make no apology for quoting in full:

  “He went to Leipsic to study partly law and partly music under the great Joh. Seb. Bach.... In the first six months he heard much excellent church music and many concerts under Bach’s direction, but no opportunity arose which gave him courage to approach the great man, until at last he mentioned his wish to one of his friends called Wilde (afterwards organist at St Petersburg) who introduced him to Bach. Bach received him in the most friendly manner and at once called him ‘Fellow-countryman.’70 He promised to give him instruction, and asked whether he had practised fugues diligently. At the first lesson he placed the ‘Inventions’ before him. When Gerber had studied these to Bach’s satisfaction, he was given a number of suites, and then the Wohltemperirte Clavier. This work Bach played through three times to him with unapproachable art; and my father counted those amongst his most enjoyable lessons when Bach, under the excuse that he felt indisposed to teach, would seat himself at one of his excellent instruments, and the hours passed like minutes. The end of a lesson was taken up with figured bass-playing, for which Bach would choose the violin solos of Albinoni; and I must confess that the skill with which my father performed these basses in Bach’s manner, and especially in the flow of the parts amongst each other was unsurpassable. This accompaniment was so beautiful in itself that no solo part that I have heard could give me so much pleasure.” Gerber was for two years under Bach.

  Forkel71 tells us that the first thing he taught was his own peculiar touch, and for this purpose the pupil was kept for several months at finger exercises, in fact they sometimes lasted from six to twelve months; but when the pupil’s patience began to flag he was given little pieces which Bach composed specially for him, such as the six little preludes for beginners, and the two-part inventions. He wrote these during the lesson, and was thus able to make them suit the particular requirements of the pupil. Together with the finger exercises the pupil had to practise all manner of ornaments, and Bach demanded the severest possible application from all his pupils.

  As soon as possible he was made to learn whichever of Bach’s greater works suited him. In order to lighten the difficulties, Bach played the piece through to the pupil, and said, “that is how it must sound.”

  One can, says Forkel, scarcely enumerate the many advantages of such a method. Even if it were only that the pupil is roused to emulation through the pleasure of hearing such a performance, the advantage would be very great. But in addition to this he obtains at once a grip of the piece in its complete form, instead of having to work it out bit by bit as he gradually overcomes the mechanical difficulties.

  The instrument on which Bach taught was the clavichord, on account of its expressive quality which trained the ear to fine shades of tone; he would have nothing to say to mere finger
training apart from understanding the music, and insisted on the cultivation of both art and technique together.

  Method of teaching Composition

  In teaching composition Bach did not begin with dry counterpoints leading to nothing, as in his time was done by all other teachers; still less did he trouble his pupils about tone-relationships, which in his opinion concerned only theorists and instrument makers. He started at once with pure four part figured bass, and insisted on the proper leading of the parts, because this would give the clearest insight into the harmonic progressions. He then went on to the chorale, to which he at first set the basses and made the pupil only write the tenor and alto, afterwards gradually making him write the bass. He insisted at all times not only on the greatest possible purity in the harmony, but on the natural and flowing connection of all the single voices. The models he himself has left are known to every connoisseur, and his inner voices are often so singable that they might serve for the upper part. This style had to be striven for by the pupil, and until he had reached a high degree of proficiency Bach did not consider it wise to allow him to try inventing on his own account. He took for granted that all his composition pupils had the faculty of thinking in music. If any had not this faculty he was advised not to attempt composition.

  As soon as the above-mentioned preparations in harmony were finished, he began with two voice fugue, and in this, and all composition practice, the pupil was strictly forbidden to use the clavier. Those who were obliged to do so he called “Knights of the keyboard.”