Johann Sebastian Bach: Orgelwerke auf CD

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Among the various genres of Bach's music in which his foundation on tradition is the most manifested is the genre of organ music, most notably, his contrapuntal cycles for organ.

Unlike his organ preludes, which were grouped by Bach himself into a set of compilations, almost all of his organ preludes and fugues "were passed on to us in the form of manuscripts - in autographs, which comprise only one third of his surviving music, in copies and even copies made from copies." (here and further on below are quotations from the book of the great theologist, philosopher, musician, doctor and Nobel Peace Prize recipient Albert Schweitzer (1875 — 1965); translated into Russian by Yakov Druskin).

The flourishing of the contrapuntal cycle - a composite form of contrasting movements, including an improvisational movement (under different names - either a prelude, a fantasia or a toccata) and a fugue, is connected to the late Renaissance and the Baroque. The historical development of this gente is directed towards a unity of its composite sections, which, however, manifests itself in different ways; from a homogeneity and even a thematic unity to a purposeful contrast (of tempo, motion, etc.). In the organ chorale preludes Bach, of course, stems from the Getman tradition (in its various manifestations), whereas in his contrapuntal cycles various other influences can be perceived. Among the composers of contrapuntal cycles who had influenced Bach Albert Schweitzer mentions emphatically not only the Germans Johann Jacob Froberger (1616 — 1667) and Dietrich Buxte-hude (1637—1710) but also the greatest of the Italian masters of the transition period between the Renaissance and the Baroque, the Italian Girolamo Frescobaldi (1583 — 1643).

Most of Bach's organ compositions were written by him during his Weimar period of com¬posing (from 1708 to 1717), when he served as a court organist and chamber musician of the reigning Duke Wilhelm Ernst; some works were even written during his pre-Weimar period (at the beginning of the 1700s in Liineburg, Arnstadt). In the 1720s Bach turned to organ music at very rare episodes, while in the 1730s (especially during the second half of the decade) the composer's interest toward this musical genre was greatly revived; during this period a number of new compositions were written and a number of old compositions was revised.

In the conventional catalogue of Bach's works — Bach-Werke-Verzekhnh (henceforward indicated as BWV) the dates for most of the organ compositions have been indicated with question marks, and upon determining their chronology "it is necessary to guide oneself by purely artistic considerations".

Partita on the Theme of the Chorale «O Gott, du frommer Gott» (BWV. 767), in all probability the earliest of all the compositions presented in this program, was written about 1700 in Liineburg. The genre of the partita is presented in this case not as a variety of a Baroque suite (such as, for instance, the "English Suites," "French Suites" and "Partitas" - the well-known sets of Bach's claviet compositions) but as variations on a chorale — a form, not used by the composer during the mature period of his creativity. The form of the composition is, in essence, a "theme" (Partita I) with variations, the number of which (eight) corresponds to the number of the chorale's verses (the final variation is "Partita IX"). Likewise, the Prelude and Fugue in С minor (BWV 549), in which the theme of the fugue is intonationally connected with the prelude, also pertains to the very first years of the 1700s.

The Fugue in G Minor (BWV. 578) and the Prelude and Fugue in E minor (BWV. 533) were most likely created in 1709 (at the beginning of the Weimar period). Especially striking for its polished character, chamber qualities and intimate lyricism is the Fugue in G minor, which Bach himself called little (in contrast to the famous Fantasia and Fugue in the same key BWV. 542).

The monumental Prelude and Fugue in С minor (BWV. 546) presents an excellent example of a contrapuntal cycle, the movements of which were written at different time periods. The Fugue was composed in Weimar around 1716, and the Prelude - in 1730 in Leipzig. According to some researchers the Fugue had been performed together with another Prelude. Notwithstanding the circumstances of its composition, the work is striking for its integrity and homogeneity of form.

Among the enigmas of Bach's legacy is the Kleines harmonisches Labyrinth ("Little Harmonic Labyrinth", BWV. 591), distinct (as follows from the title) with a special boldness of juxtaposition of chords and tonalities. The main question, however, which arises is that of Bach's authorship: it is very probable that the composer of this work is Johann David Heinichen (1683 - 1729).

Nonetheless, this composition, notwithstanding some reservations, has been included in the Bach-Werke-Verzeichnis; this, along with the composition's style, presents evidence of Bach's authorship.

A special place among the Preludes and Fugues for Organ is held by the sole composition published by the composer himself the Prelude and Fugue in E-flat major (BWV. 552): Bach placed it into the third part of his Clavier-UbungTII). The basis of this compilation, published in 1739, is comprised of chorale preludes, written on the socalled "creed songs," dedicated to the main teachings and events of the Christian religious teaching. The order of the chotales' appearance corresponds to the catechesis of Martin Luther (1483 - 1546); the songs composed by the latter comprise the core of the volume.

According to Bach's conception the Prelude in E-flat major opened up this volume of chorales, whereas the Fugue closed it. This in particular is what the large proportions of the composition is connected, as well as its symbolism: - the depiction of the Holy Trinity, the main dogma of the Christian faith. The Fugue's second and third themes are in essence variations on the first theme, and at the same time they bring into it new aspects. The virtuosity, subservient to the artistic aim, as well as a rare coordination of the whole work with its patts are what form the characteristics of Bach's music, which are especially revealed in this majestic music. (melody. su)