Académique Documents
Professionnel Documents
Culture Documents
iliiillii^iiiB^lli
LIBRARY
OF
UNIVERSITY
CALIFORNIA
SAN DIEGO
l)
L&U_^
X UJLG^
BACH
BELL'S MINIATURE
SERIES OF MUSICIANS
COMPANION SERIES TO
Cell's Jfttttiatur* <txit& ot ftainttte
inches, price
is.
net.
G.
C.
or in limp leather,
is. net.
EDITED BY
WILLIAMSON.
NOW
Lirr.D.
READY.
Music.
MENDELSSOHN. By VERNON
BLACKBURN.
PROUT, Professor of
Music, Dublin University, B.A., Mus.D.
SULLIVAN. By H. SAXE WYNDHAM, Secretary
MOZART. By EBENEZER
BACH.
By
E. H. THORNE.
A Iso in
WAGNER. By JOHN
HAYDN. By JOHN
CHOPIN.
By
E.
J.
SCHUMANN. By
ROSSINI.
VERDI.
F.
the Press.
RUNCIMAN.
RDNCIMAN.
F.
OLDMEADOW.
J. OLDMEADOW.
E.
By W. A. BEVAN.
By L. VIZETTI.
Others
LONDON
to
follow.
SONS.
oil painting.)
Bell's
BACH
E.
H.
THORNE
LONDON
GEORGE BELL & SONS
1904
TABLE OF CONTENTS
PAGE
LIFE OF BACH
EARLY YEARS
BACH AS ORGANIST
-12
-23
...
WORKS
26
33
BACH
AS CONTRAPUNTIST
35
39
41
43
25
19
46
55
60
LIST OF ILLUSTRATIONS
Frontispiece
IN
WHICH
J.
S.
(1708)
BACH
ST.
VATORY, LEIPZIG
.12
FACSIMILE OF
(1722)
ST.
BACH'S
14
MENT, LEIPZIG
24
n. (1744)
36
LIFE OF BACH
EARLY YEARS
was born
at
among them.
The family seems
contributed to the
building up
of
our John
Sebastian.
His
father,
BACH
councillor.
by
whom
He
he
had
issue
six
children,
John
J.
S.
BACH
HIS LIFE
hard-hearted
enough
to
take
3
it
from
him.
French
BACH
BACH AS ORGANIST.
This appointment he entered on August 14,
The organ had only two manuals. Here
1703.
is the specification
:
Oberwerk.
1
2.
3.
4.
5.
6.
Principal
Viol da Gamba
Quintaton
Gedackt
Quint
Octava
3.
Principalf
Lieblich gedackt
Spitz flute
4.
Quint
5.
Sesquialtera.
2.
HIS LIFE
manner
that
that score."
"
The
Consistory.
in the habit of
it,
and not go
*
off directly to
something
else,
BACH
Rambach was also accused of going to a wineshop during the sermon. It was enjoined that
he be punished, " and if he has anything to
remember against the organist, he must bring it
forward at the proper place, and not take the
matter into his own hands."
The Consistory dealt very patiently with the
HIS LIFE
had ordered him
to render within
eight
days.
The
(who seem
BACH
each other."
And Hilgenfeld " Here Bach
devoted himself to acquiring that overwhelming
mastery of the organ for which his fame is assured
for all time ; and also laid the foundation for his
:
a powerful pedal-organ.
follows
Its specification
had
was as
Upper Manual.
Ft.
Ft.
1.
Principal
2.
Quintaton
Gerashorn
Gedackt
Quintaton
3.
4.
5.
6.
16
7.
8.
9.
Octave
Mixture.
Cymbal.
Glockenspiel.
Lower Manual.
Ft.
Ft.
Principal
Viol dagamba
5.
6.
3.
Gedackt
7.
Small gedackt
Octave
Waldflote
4.
Trumpet
8.
Sesquialtera.
1.
2.
4
2
Pedal Organ.
Ft.
Ft.
2.
Great untersatz
Sub-bass
32
16
5.
6.
Trumpet
3.
Posaune
7.
Cornet.
4.
Violon bass
16
16
1.
Principal
HIS LIFE
who
While
to superintend the
organ at Miihlhausen,
according to his promise given when he left
there.
It is supposed that the remarkable regis-
repairs
at
of
his
former
feste
Burg
organist's
post
being
vacant,
Bach,
probably
but
it,
for
BACH
io
learn,
is
and
clavier player,
Marchand,
and compose
HIS LIFE
ii
in 1730.
new
cantata,
He
that
exalteth
BACH
12
church.
my
my
_ X
HIS LIFE
the
Thomas
Schule.
The
13
Erdmann quoted
youth up my fate has been
known to you until the last change, which took
me to Cothen. There lives a gracious Prince,
who both loves and understands music, and with
him I purposed to spend the closing term of my
life.
However, as it fell out, the above-mentioned serenissimus married a Princess of Berenburg, and as then it began to appear as though
the said Prince's musical inclination was growing
somewhat lukewarm, and at the same time the
new Princess seemed to despise my art, it was
the will of God that I should be called to be
Cantor in the Thomas Schule. Still, at first it
did not perfectly suit me to become Cantor from
having been Kapellmeister, for which reason my
resolution was delayed for a quarter of a year.
However, this position was described to me as so
Cothen
above.
is
" From
my
beloved patron.
At Cothen, where he had no church duties,
Bach seems to have devoted himself chiefly to
chamber compositions.
"
The
Well-tempered Clavichord
"
1722.
The
"The
title
given by
Bach
is
as follows
or,
Preludes
BACH
14
and Fugues
The
were
i >-.'
-T
*.<.
-.
..:',
...'^V,
"t
.-
rt.*''^,.
PX.
-
'
'
ff-
1-
*-~*-
r^iVix^c,
itr-.
^v
'^,
"WELL-TEMPERED CLAVICHORD"
(1722).
HIS LIFE
15
one
funerals,
As
engaged a deputy for his Latin classes.
Cantor he ranked third amongst the four headIn the
masters, the rector being the head.
churches he was subject to the superintendent
and to the Consistory ; in the Thomas Schule to
The
the Consistory and to the Town Council.
discipline of the school when Bach entered it
was lax, the rector, Ernesti, being an old man,
and, although learned, unable to control either
The insubordination of the
masters or boys.
boys seems to have been a continual trouble to
Bach, for after his death it was remarked in the
Town Council that " Herr Bach had been a great
musician, but not a schoolmaster," and that "the
school needed a Cantor, and not a Kapellmeister."
Bach, as befitted so great and universal a genius,
had always
insisted
than a Cantor.
He
"
May your
BACH
16
HIS LIFE
17
German Courts
with
made
it
no longer, and
choir
sing
BACH
i8
themselves as musicians.
Writing to
"
I find
Erdmann
at this time,
Bach
says
is by no means so
was described to me. Many fees
are stopped the town is very dear to
advantageous as
it
incidental to it
live in
the authorities are very strange folks, with
small love for music, so that I live under almost constant vexation, jealousy, and persecution, and I feel
compelled to seek, with God's assistance, my fortune
elsewhere. If your Excellency* should know of, or be
able to find, a suitable appointment in your town for
your old and faithful servant, I humbly crave you to
give me the benefit of your favourable recommenda;
Nothing shall be wanting on my part to give satisfaction and justify your favourable recommendation and
intercession.
present position secures me about
700 thalers, and when there are rather more deaths
than usual the fees increase in proportion but it is a
healthy air, so it happens, on the contrary, as in the
past year, that I lost above 100 thalers of the usual
funeral fees.
In Thuringia I can do more with 400
thalers than here with twice as many hundred, by
reason of the excessive cost of living."
tion.
My
the
resident at Dantsic.
to the
HIS LIFE
19
all
we might perhaps
infer
On
as rector
BACH
20
him
Council
"
May it please your Worships graciously to allow me
to represent to you that, according to your Worships'
ordering of the school of St. Thomas, it pertains to the
Cantor to choose from among the scholars those whom
he considers fit and able to be prefects, and in electing
them to have regard, not only to the voice, that it be
good and clear, but also to see that the prefects, and
especially the one who leads the first choir, shall be
able to undertake the direction of the choir in the
absence or illness of the Cantor and whereas this rule
;
HIS LIFE
21
alone,
says,
more
artificial
peace.
berg
variations,
and who,
in return,
gave Bach
snuff-box
into
BACH
22
which
he
dedication
"
sent
the
following
"
"
servant,
THE AUTHOR.
LEIPSIC,
"July
This
7.
1747."
"little
work"
consists of a
"
ricercare
"
HIS LIFE
23
As
is
well
tr
This
it
is
his eyesight
on by an English
oculist,
While composing
was operated
He
1750,
St.
John's, Leipsic.
On
BACH
24
On
son-in-law
and
Before
Thy
his
first
IN B-minor
Mass
25
BACH
26
at the
Handel
Palace, the
in the
accompaniCrystal
ment being scarcely audible when organ and
Brahms' Requiem is another
brass are silent.
work
our concert-rooms.
is
said
much
greater force.
to
an
of the
Passions.
THE PASSIONS
HIS
CHURCH WORKS
27
is
was produced, Bach seems to have been influenced by the secular recitative which he frequently heard in the opera at Dresden, and
accordingly the St. Matthew recitative is more in
The grand
our modern conventional style.
chorus, with choral "O man, thy heavy sin
lament," in the St. Matthew formed originally
the first chorus of the St. John Passion.
The St. Matthew was revived by Mendelssohn
at Berlin in 1829
exactly 100 years after its
In England it was
first performance at Leipsic.
first given by the Bach Society under Sterndale
Bennett in the Hanover Square Rooms in 1854,
and was repeated by them in St. Martin's Hall,
Long Acre, in 1858, when the writer was present,
and well remembers how excellently the loving
piety of the work was brought out by Bennett.
Later conductors have laid more stress on its
dramatic character. Dramatic it is, but loving
piety is its salient feature, as' it is also of the
St. John Passion^ and, in fact, of all Bach's
church works.
Sir Joseph Barnby gave performances of the
St. Matthew in Exeter Hall, Westminster Abbey,
and the Royal Albert Hall, and instituted performances of the St. John in St. Anne's Church,
Soho, which have been continued ever since, the
work being given there every Friday in Lent.
BACH
28
The
St. Paul's
Epiphany.
They
contain eleven
are echoed
all
his reverence
and
piety,
joy
contrasted
with
lowly
adoration
of
the
HIS
CHURCH WORKS
29
and
and
that choral
O Haupt
voll
been performed weekly during Advent and Christmastide at St. Anne's, Soho.
A kindred work is the Latin Magnificat, also
written for the Christmas festival, and produced
by Bach at St. Thomas's Church, Leipsic, with
hymns in German interpolated between the
movements.
The
accom-
BACH
30
his
hymnus."
In the ending of the symphony, after the words
"et divites dimisit inanes" ("and the rich He
hath sent empty away "), Bach indulges in a bit
of realistic humour, thus
:
Flutes.
Continue.
despised."
Other examples of Bach's humour are the cockcrowing passages in the Passions, the Peasant's
Cantata, and in the cantata The Strife between
Phoebus and Pan, when Midas alludes to his ears
he anticipates Mendelssohn
Night's Dream."
Bach is said
to
in the
"
have composed
Midsummer
five
years'
HIS
CHURCH WORKS
31
and
in
and
the
BACH
32
over, they are written for the church, and, therefore, for
devotional purposes.
is
of doubtful authenticity, as
is
also Blessing
and glory.
BACH'S
AS
ORGAN WORKS
orchestra.
He reigns supreme, and his works
are to this day the most exacting in technical
requirements.
They comprise six sonatas for two manuals
and pedal, a passacaglia, a pastorale, toccatas,
fantasias, a large number of choral preludes, and
The latter are
a host of preludes and fugues.
well known, "but the choral preludes are not so
much studied as they ought to be, for in them
we get some insight into Bach's treatment of the
organ, indications of which in the preludes and
Moreover, those for
fugues are exceedingly rare.
double pedal are excellent studies in legato pedalTo the use of stops in the choral preplaying.
ludes Best's edition (Messrs. Augener and Co.)
maybe some guide, the pedal being frequently used
to play the choral on an 8 or 4 foot stop.
Beyond
indicating this and the number of manuals, Bach
left scarcely any directions as to registering, so
that it is open to the player to consult his own
taste and the composition of his organ in this
matter.
33
BACH
34
The tendency
riot,
treatment.
BACH'S
IN Goldberg
whether of player or
variations
listener,
possible to play
that purpose.
The last variation is a
quodlibet, or pot-pourri of different melodies
worked together. An analysis of the work by
Mr. Tovey is published by Mr. Joseph Williams.
Part I. of the Clavieriibung consists of the six
partitas, also amongst his finest works.
Although
it is not oossible in these
pages to describe them
for
35
32
BACH
36
CHOPIN.
Part
II.
contains
the
well-known
Italian
Co.ncerto.
A[J
BK.
R,
NO. 17 OF
'744)-
HIS
other
is
from
their
relationship
37
in
character.
preludes.
played in public.
It must be premised that, like all old music,
these bear no marks of expression.
An indication of movement, or of modification of tone, is
of very rare occurrence, so that the performer has
to give his own reading of the work.
Now
some
BACH
38
at all
as
much
Bach
as in
BACH'S ORCHESTRAL
WORKS
movement
One has a
passepieds, gigues, etc.
called badinerie, and another a so-
called
rejouissance
and orchestra
(4)
Brandenburg Concertos.
Strings, three oboes, bassoon, and two horns.
2. Soli trumpet, flute, oboe, and violin, accompanied
by two violins, viola, and continue.
violas, three violoncellos,
3. Three violins, three
1.
BACH
40
4.
5.
strings.
6.
Two
bass,
violas, two
and continue.
viols
The
da gamba,
violoncello, double
Overtures.
2.
and drums.
The
sinfonia in
is
The
passions, the
BOTH
wrote
for
in the
the
seems
41
42
BACH
BACH AS CONTRAPUNTIST
be the greatest
and second to him is
His greatest predegenerally placed Mozart.
BACH
of
is
all
universally allowed to
contrapuntists,
art
his
in
the
PurcelFs toccata in
is proved by the
major is included
Bach Gesellschaft
edition (forty-second
the doubtful compositions.
The works of Byrd were well known on the
Continent in his own day, and are still known
year's issue)
among
to
come
amiss,
of countless chorals
the choral preludes,
his art of fugue, the musical offering, and his
innumerable fugues for organ and clavier. In
this respect he differs from Handel, whose canti
43
44
BACH
this
famous masters."
It cannot be denied that Germany was more
prolific in genius under the old system, nor that
the genius she has had since in Wagner and
Brahms did not emanate from academies. Hazlitt, in one of his essays, points out that all the
great schools of painting existed before the
establishment of academies, and his words seem
to hold true of the sister art of music.
Having spoken of Bach's marvellous contra-
BACH AS CONTRAPUNTIST
45
skill,
melody.
six
sonatas
phonic,
exquisite
or
abound
trios
in
for organ,
delightful
although polyThe
melody.
movement
in
the
major,
It
violin
and
gamba
which
THE "MASS
IN B
MINOR"
HERE
work
by
flute
strings, organ,
ist
&
ist
2nd
Fl.
Flute
Oboe.
& 2nd
Ob.
This
by
first
basses.
altos,
then
trebles,
THE "MASS
IN B
MINOR"
47
tions
Bach's
The
third Kyrie
is
for
as follows,
Ky
(the
ri
lei
Son, e
and organ
bars.
bass),
and
The theme
is
developed
of the Gloria
for fifty-nine
is
announced
BACH
48
by trumpets, accompanied
chestra
n.
by the whole
or-
Vivace.
ier
ra
pax
by
trebles
in
and
ta
tis.
Some holding
"
et
trumpets which accompany iterations of the
notes in the
first
second
"
terra
brilliant
The
"
Gratias
four-part chorus to the words
end of
agimus tibi," which also appears at the
"
" Dona nobis
the Mass as the
pacem is taken
THE "MASS
IN B
"We
MINOR"
thank Thee,
49
God,"
for
Gra
tias
gimus
ti
bi.
As
will
starts
in
unigenite
changeably
Jesu
this
Christi
is
altissime,"
and
inter-
BACH
50
We have already
part of the movement.
spoken of Bach as a religious teacher. Here he
seems to insist on the divinity of Christ. At the
"
the movewords " Qui tollis peccata mundi
first
ment merges
strings, flutes,
accompaniment of
and organ, the commencement of
which
canon.
in
is
"Qui sedes"
is
The
alto
following
aria
accompanied by
strings, organ,
bass air to the
The
solo oboe d'amore.
words "Quoniam tu solus sanctus" has the
remarkable accompaniment of horn, two bassoons,
organ, and continuo, and the effect of this com-
and
bination
is
extraordinarily rich.
Then
follows a
chorus to
the
ria
The beginning
De
of this
Pa
tris.
men.
theme resembles
that to
THE "MASS
MINOR"
IN B
51
"
De
urn.
Dominum Jesum
strings,
know
Christum/'
that
Bach
originally
"
"
et incarnatus est
in this
accompanied by
It
is
interesting to
them
this
in a separate chorus.
The
violins
accompany
_^
42
BACH
52
We now come
most
to the Crucifixus,
one of the
It has
the following ground bass, twelve times repeated
striking
pating.
" Et
and instrument
"
partici-
THE "MASS
MINOR"
IN B
53
full
orchestra.
The
and
the
orchestra,
the
of
nobility
movement
Sane- tus
Dom
i -
Sane- tus
Dom
- i -
Sanc-lus
Dom
Sanc-tus
De
nus
nus
De
nus
De
-'
Dom
nus.
us
Sa
us
Sa
us
Sa
ba- oth,
ba-oth,
ba- oth,
BACH
54
and
is
accompanied by
and organ.
continue,
already said,
is
and
2 in unison,
The Dona
as
violins
Nobis,
a repetition of the Gratias.
LIST OF
WORKS
CHURCH WORKS
in
MASSFour
minor.
short
The
John,
masses
(the
consisting only of
portions used in the
Passions according to
and
St.
Luke
(the
St.
latter
Matthew,
of
St.
doubtful
authenticity).
Christmas Oratorio.
Magnificat (Latin).
Easter Oratorio
Ascension Oratorio
arias.
Chorales.
Funeral
Ode on
the Death of
Queen
Chris-
tiana Eberhardine.
SECULAR CANTATAS
BACH
56
The
strife
'
Hochsterwiinschtes Freudenfest.
Ich bin in mir vergniigt.
For soprano.
The Choice of Hercules.
Mer hahn en neue Oberkeet. Soprano and
Bass.
O
O
angenehme Melodei.
holder Tag.
Wedding
cantata.
so che sia dolore.
Soprano.
Preise dein Gliick.
Congratulation cantata to
Non
August
III.
August
Birthday cantata
III.
Schweigt,
stille.
Coffe cantata.
sity festival.
ORCHESTRAL WORKS
Four overtures
(suites).
Five concertos.
Brandenburg.
Nine concertos for one clavier.
LIST OF
Three concertos
for
WORKS
two
57
claviers.
Two
CHAMBER MUSIC
Six sonatas for violin.
and
violin,
and fugue
violin.
ORGAN WORKS
Passacaglia in C minor.
Six sonatas for two manuals and pedal.
Fantasias in C minor, C major, B minor,
two
in
major.
Pastorale in F major.
minor.
Canzona in
Allabreve in
major.
D
D
Toccata
Toccata
Toccata
Toccata
Toccata
and
and
and
and
and
fugue
fugue
fugue
fugue
fugue
in
in
in
in
in
D
D
C
E
major.
minor.
dorian.
major.
major.
and
BACH
58
minor.
minor.
minor.
fugues.
G
A
Fugue
Fugue
Fugue
Fugue
in
G
G
G
major.
major.
in
minor.
in B minor.
Trio in
minor.
in
Orgelbiichlein.
chorals.
Forty-six
Tag."
short
Du
preludes
on
"
Variations on
Gott, du frommer Gott."
Variations on "Sei gegriisset Jesu giitig."'
Variations in canon form on " Vom Himmel
hoch da komm ich her."
Sixty-three larger choral preludes.
CLAVIER WORKS
Six partitas.
Clavieriibung, Part I.
Italian concerto.
Clavieriibung, Part II.
Duets; also choral
Clavieriibung, Part III.
LIST OF
WORKS
59
Toccatas
dilettissimo.
Six
little
preludes.
SPITTA.
FORKEL.
Life
"
MIZLER.
part
and Works
Musikalische
of Bach."
Bibliothek,"
MOSEWIUS.
BITTER.
"
J. S.
Bach,"
iv.,
Kirchen-
2 vols.
"Life of Bach"
POOLE.
vol.
i.
in
Hueffer's
"The
Great Musicians."
" Life of
SEDLEY TAYLOR.
his
Work
as a
Bach in Relation to
Church Musician and Com-
poser."
TOVEY.
Joseph Williams.
WINTERFELD.
"
Der
evangelische
Kirchenge-
sang."
GROVE.
BILLING
AND
Bell's
"
An
excellent series."
thoroughly
popular and understandable books on art and artists.
I
therefore welcome with confidence their new
'Miniature Series of Musicians.' which are exactly
my
readers
who
are
interested in
'
'
We
Bell's
'
popular.
'
A thenaum.
and
'
'
critical biographies.
St.
James's
Gazette.
"
and Mr.
J. S.
is impelled
supply something of a want.
students
is, no doubt, a class of readers and
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