Johann Sebastian Bach: The Organist and His Works for the OrganPirro, André
History
Johann Sebastian Bach: The Organist and His Works for the Organ
Pirro, André
Bach, Johann Sebastian, 1685-1750; Composers -- Germany -- Biography
Finally, we would mention the prelude in _C_ major in 9-8 time[124];
it recalls in its movement a fantasia by Froberger.
[Footnote 124: P. ii, 7. B.-G. xv, p. 228.]
It is curious to observe that the fugue which follows it played a
part in the inspiration of _Die Meistersinger_, in its analogous
figures, and in resuming the subject at the close, this time in
augmentation, like a chorale melody.
Is it not of some interest to see brought together, in a work of
Bach's, these extremes in music? Froberger, with all his inheritance
of past centuries; Wagner, proclaiming the dawn of a new art?
THE CHORALE
PRELUDES (_VORSPIELE_)--TRIOS--FANTASIAS--FUGUES
We have seen to what an early period of Bach's life his first free
compositions revert; perhaps of still earlier origin are the works
which the Chorales inspired in him.
Liturgical in character, and thus all the more closely identified
with the popular sources from which he sometimes drew his own
inspirations in order to idealize them mystically in a sort of
"_procession en Dieu_," the chorale is the soul of Lutheran religious
music. Far more; this universal prayer, the spiritualized communion
of the faithful (their sole participation, really, in a dogma freely
interpreted), passed from the inner temple to the outer court, like
the reading of Holy Writ; the Bible was the book of the family, the
volume of chorales its musical breviary.
The very first arrangements of chorales made by Bach convey a little
of that intimate charm, of that impression of "home" and its domestic
circle, where in the evening the hymns are sung between the reading
of two chapters from the Evangelists; it would seem as though the
young man, an orphan, in imparting to them their expression of quiet
sympathy, desired that they should take the place of those same
intimate pleasures which had been denied him.
In fact, the "_Partite_," these two sets of variations upon "_Christ,
der Du bist der helle Tag_" and "_Gott, Du frommer Gott_,"[125] lend
themselves but poorly to the somewhat formal solemnity of a public
service.
[Footnote 125: These variations are contained in the fifth volume of
the Peters edition (Part ii, 1 and 2).]
Public-domain text, read in full here on John Shaqi.
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