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.”
[Sidenote: _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.
[Music: Preludium]
[Sidenote: _Various readings_]
That by Hoffmeister and Kühnel was edited by Forkel, who, selecting
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:
[Sidenote: _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.
[Sidenote: _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 Forkel[68]
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.
[Sidenote: _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.
Forkel[71] 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.
[Sidenote: _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.”
In fugue he was especially careful about the part writing--no voice
must merely fill in the harmony, or break off before it had finished
what it had to say. He looked upon his voices as persons, who conversed
together as in private society, in which it would be unseemly for
anyone to disturb the conversation either by uninteresting remarks,
or by not finishing his sentences. On the other hand, he allowed his
pupils as much freedom as possible with regard to intervals. They might
try any experiments they liked as long as no damage was done to the
purity of the harmony, or the inward meaning of the movement. He tried
all possible experiments himself, and was glad to see his pupils do
so. The whole of his system is to be found in Kirnberger’s “Kunst des
reinen Satzes” (Art of pure writing).[72]
[Sidenote: _Pupils_]
Among his pupils were his sons, of whom an account has already been
given. The others were the following:--Johann Caspar Vogler, who began
studying under him at Arnstadt and Weimar, and, according to Bach’s own
showing, was a very fine organist. He became organist and Burgomaster
at Weimar.
Gottfried August Homilius, subsequently music director of the three
chief churches at Dresden, and cantor of the Kreuzschule. He was also
of considerable reputation as an organist and church composer. Died
1785.
Christoph Transchel, who died in 1800 at Dresden, was an esteemed
teacher and clavier player. He was the owner of a considerable musical
library.
Johann Ludwig Krebs eventually became Court organist and music director
at Altenburg, where he died in 1803. He was a very good organist
and composer. Bach’s pun, “Ich habe in meinem Bache nur einen Krebs
gefangen,” “I have only caught one Crab in my stream,” was intended to
show the esteem in which he held him.[73]
J. G. Goldberg of Königsberg was declared by Bach to be one of his best
pupils on the clavier and organ.
Altnikol, his son-in-law, a fine organ player, and organist at
Naumburg. He helped his father-in-law considerably during his blindness.
John Philipp Kirnberger, born 1721, died at Berlin in 1783, was Court
musician to Princess Amelia of Prussia, and celebrated as a theorist
and composer.
Johann Friedrich Agricola (1720-1774) became composer to the Prussian
Court. He was more known by his theoretical works than his compositions.
Johann Christian Kittel, who was organist at Erfurt and died in 1809,
was a thorough harmonist, a clever and learned organist, an able
composer, and a good teacher.
Johann Schneider, Court organist and first violinist at Saalfeld, and
afterwards organist of the Nicolai Church at Leipsic. He was also a
pupil of Graun.
Johann Martin Schubart (1690-1721) was Bach’s first pupil; he became
organist at Weimar, but died early.
A pupil named Voigt is mentioned by Emmanuel Bach as having come to his
father after he (Emmanuel) had left the house. Perhaps he is the author
of a “Conversation between an organist and his deputy about music,”
mentioned by Walther.
Gotthilf Ziegler, organist and music director at St Ulrich, Halle, was
a renowned teacher, composer and writer.
Ernst Bach, his cousin, was Capellmeister at Eisenach, having first
studied law, and become a barrister. He was also a composer and
organist.
J. H. Müthel, organist in Riga, a good performer and composer. Gerber
gives a long account of him, and Burney praises his playing and
compositions.[74]
[Sidenote: _Bach’s music in England_]
We have seen that the first attempt to publish the _Wohltemperirte
Clavier_ was made in London. England was early in its recognition of
the composer, chiefly through the efforts of Samuel Wesley (1766-1837)
who, becoming acquainted with his works, eagerly propagated a knowledge
of them. Wesley’s edition of the _Wohltemperirte Clavier_ was published
in conjunction with C. F. Horn in 1810; and through his influence,
Forkel’s “Life” of Bach was translated and published in 1820. He became
famous for his performances of Bach’s organ fugues, or as they were
called in those days “pedal fugues,” and perhaps the name of his third
son, Samuel Sebastian, may have some connection with his admiration for
Sebastian Bach.
In 1849 the English Bach Society was founded, having as its objects
the collection of the compositions and the performance of the works of
J. S. Bach. It gave the first performance of the “Matthew Passion” in
England at Hanover Square Rooms in 1854 under Sterndale Bennett. After
a few more performances the society was dissolved in 1870, and its
library given to the Royal Academy of Music.
In 1875 the “Bach Choir” was formed under the conductorship of Mr
Otto Goldschmidt, for the performance of the B minor Mass, which was
effected in 1876 at St James’s Hall, and the society was then placed
on a permanent footing for the purpose of performing works of Bach and
other composers. In 1885 Mr Otto Goldschmidt was succeeded by Professor
Villiers Stanford, under whose _bâton_ many of Bach’s important works
have been performed.
Bach is perhaps best known in England at present by his organ works,
which are familiar to all competent organists, and his violin solos,
which Herr Joachim has done so much to propagate. The _Wohltemperirte
Clavier_ is a household word to every earnest musician, and his
_Passions_ of _St Matthew_ and _St John_, besides the _Christmas
Oratorio_ and a few cantatas, are frequently performed in London
churches.
Selections from the organ works have been published in England from
time to time: by S. Wesley, by Coventry and Hollier (with the pedal
part arranged by Dragonetti for double bass), by Best and by Novello
with Best as editor. A complete edition is being brought out by Sir F.
Bridge and Mr J. Higgs.
FOOTNOTES:
[66] Afterwards the firm of C. F. Peters, Leipsic.
[67] See Forkel, p. 64.
[68] P. 56.
[69] Father of the author of Gerber’s Lexicon.
[70] Gerber was a Thuringian.
[71] P. 38.
[72] Forkel, pp. 40, 41.
[73] See page 49.
[74] In addition to the above-mentioned professional pupils, all
amateurs living near obtained at least a few lessons from “so great and
celebrated a man.”--Forkel, p. 42.