J.S. KEVIN BOWYER The Clock Pieces BWV Anh. 133-150 Fragments, Variants and other Misattributed Works

Marcussen Organ of Sct. Hans Kirke, Denmark NI 5734/5 NI 5734/5

ORGLET I SCT. HANS KIRKE, ODENSE J.S. BACH Marcussen & Søn, 1962/87

The Works for Organ I. Rygpositiv: II. Hovedværk: III. Brystværk: Pedal: Gedakt 8’ Bordun 16’ Trægedakt 8’ Træprincipal 16’ VOLUME XVI Quintatøn 8’ Principal 8’ Gedaktfløjte 4’ Subbas 16’ Principal 4’ Rørfløjte 8’ Principal 2’ Oktav 8’ Rørfløjte 4’ Oktav 4’ Blokfløjte 2’ Gedakt 8’ Gemshorn 2’ Spidsfløjte 4’ Oktav 1’ Oktav 4’ Nasat 1 1/3’ Spidsquint 2 2/3’ Cymbel 2 kor Kobbelfløjte 4’ KEVIN BOWYER Sesquialtera 2 kor Oktav 2’ Regal 16’ Nathorn 2’ Scharf 4 kor Mixtur 5 kor Tremulant Rauschquint 5 kor at the Krumhorn 8’ Cymbel 3 kor Fagot 16’ Marcussen Organ of Sct. Hans Kirke, Tremulant Trompet 8’ Trompet 8’ Skalmeje 4’ Odense, Denmark

H+R, H+B, R+B, P+H, P+R, P+B. Manual: C-g3. Pedal: C-f1. Mekanisk traktur og registratur.

Produced by Dominic Fyfe. Recorded in Sct. Hans Kirke, Odense, Denmark, September 2001 Cover: 15th Century Crucifixion, from Mittelrhein, Darmstadt Museum © Sonia Halliday Photographs P 2004 Wyastone Estate Limited © 2004 Wyastone Estate Limited

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KEVIN BOWYER

Kevin Bowyer was born in Southend-on- Disc One 75.46 Sea in January 1961. He studied with Christopher Bowers-Broadbent, David Concerto in D major after Vivaldi BWV 972 Sanger and Virginia Black and has won first 1 I [untitled] 2.19 prizes at the international organ 2 II Larghetto 3.17 competitions in St. Albans, Dublin, Paisley, 3 IIII Allegro 2.36 Odense and Calgary. He has played 4 Wer nur den lieben Gott lässt walten BWV 691a 2.15 throughout Europe, North America, Australia and Japan and has become 5 6 Prelude and Fugue in C major BWV 545a 5.08 celebrated for contemporary and unusual 7 Prelude in A major BWV 536a/i 1.51 repertoire. He has broadcast widely for the 8 Ich ruf’ zu dir, Herr Jesu Christ BWV Anh 73 4.02 BBC and many radio stations throughout 9 An Wasserflüssen Babylon BWV 653a 4.57 the world and has released more than fifty 10 Passacaglia in D minor BWV Anh 182 6.28 recordings. His legendary sense of humour, 11 Fugue in C minor on a theme by Legrenzi BWV 574b 6.41 which makes him popular with audiences, 12 Vater unser im Himmelreich BWV 683a 1.59 has also made him a highly sought after 13 Allein Gott in der Höh sei her BWV 676a 2.00 teacher; in which capacity he works at the 14 Ich hab mein Sach Gott Heimgestellt BWV 708a 0.43 St. Giles International Organ School in 15 Fugue in D minor BWV Anh 180 2.06 London, Warwick, Oxford and Leicester and at the Royal Northern College of Music 16 Ach Gott und Herr BWV 692 1.26 in Manchester. Kevin also reads (in particular Joyce, Beckett and the Powys family), drinks (real ale and malt whiskies) and enjoys the odd pinch of snuff. 17 Ach Gott und Herr BWV 693 1.39 18 Schmücke dich, o liebe Seele BWV 759 3.10 19 Vater unser im Himmelreich BWV 760 1.57 20 Vater unser im Himmelreich BWV 761 3.48 21 22 Fantasia and Fugue in D minor BWV 549a 5.18 23 Fugue in E minor BWV 962 3.34

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32 Drei Ciacone BWV Anh. 82-84 Two sources survive for these works, one of which Concerto in C major after Prince Johann Ernst BWV 984 attributes them all to Sigr. Giov. Seb. Bach. The other attributes BWV Anh. 83 to H.B. 24 I [untitled] 3.17 and BWV Anh. 84 to Joh. Bern. Bach. The likelihood is that all three ciacone are the work of Johann Bernhard Bach (1676-1749), son of Johann Ægidius Bach (1645-1716 – 25 II Adagio e affettuoso 2.16 organist of the church of St. Michael, , succeeding Johann Pachelbel). J B was 26 III Allegro assai 2.59 therefore a distant cousin of J S, sharing the same Great Grandfather (Hans Bach, c.1550-1626). J B Bach succeeded his uncle, (1642-1703) as Disc Two 79.35 town organist and court harpsichordist in 1703, occasionally working under Telemann. His pupils included Johann Gottfried Walther. 1 Prelude in A minor BWV 543a/i 3.07 2 3 Prelude and Fugue in G minor BWV 535a 4.37 35 Prelude and Fugue in B flat on BACH BWV 898 Spitta believed this to be an early 4 Valet will ich dir geben BWV 735a 3.23 work of Bach, but it contains numerous stylistic impossibilities which appear to date 5 Christ lag in Todesbanden BWV 695a 3.11 it to the second half of the 18th century. The countersubject in the fugue bears striking 6 Pedalexercitium BWV 598 1.50 similarities to the countersubject in Liszt’s, very much later, Prelude and Fugue on 7 Fantasia in C major BWV 573 0.58 BACH. 8 Jesu, meine Freude BWV 753 1.45 37 Prelude and Fugue in E flat BWV Anh. 177 A modest and expressive work, 9 Wie schön leucht uns der Morgenstern BWV 764 1.19 probably by Johann Christoph Bach (1642-1703). 10 O Trauerichkeit, O Herzeleid BWV Anh 200 0.20 11 Jesu Leiden, Pein und Tod BWV Anh 57 4.37 © Kevin Bowyer. April 2004

18 Stücke für eine Spieluhr 12 1a Fantasia – G major BWV Anh 133 1.33 13 1b Scherzo – G major BWV Anh 134 0.50 14 2a Bourlesca – A minor BWV Anh 135 1.17 15 2b Trio – A minor BWV Anh 136 1.46 16 3a L’Intrada della Caccia – E flat major BWV Anh 137 0.47

4 13 NI 5734/5 NI 5734/5 missing notes. August Klughardt, the original transcriber of the works, reported mistunings because of the length of time the instrument had spent out of commission, and rhythmic untidiness in the mechanism. 17 3b Continuazione della Caccia – E flat major BWV Anh 138 1.06 The tradition then was that the pieces had been composed by J S Bach during his 18 4a Il Fine della Caccia – D major BWV Anh 139 1.35 employment there, hence their place in the Schmieder BWV Appendix. But the sound 19 4b Trio (Il Fine della Caccia) – D minor BWV Anh 140 1.06 is unstylistic, closer in language to the music of Bach’s sons. Ernst Simon has 20 5a Psalm Lied: O Gott die Chtistenheit – suggested (Mechanische Musikinstrumente früherer Zeiten und ihre Musik, Wiesbaden F major BWV Anh 141 1.23 1960) that these little pieces were composed or gathered together by (1710-1784) in the late 1750s. Whilst not, strictly speaking, organ 21 5b Psalm 110 – A minor BWV Anh 142 1.31 music at all the inclusion of these works here might be justified on the grounds of the 22 6a Polonaise – E minor BWV Anh 143 1.02 tradition of mechanical music by Haydn, Beethoven and Mozart among others, played 23 6b Polonaise Trio – A minor BWV Anh 144 1.09 on the organ. A thin excuse possibly – but who can deny the delightful effect of these 24 7a Marsch – C major BWV Anh 145 0.56 little pieces in this wonderful environment?... 25 7b Marsch – F major BWV Anh 146 1.02 26 8a La Combattuta – G major BWV Anh 147 1.13 30 Fugue in B flat on BACH BWV Anh. 45 An imposing fugue by the Biberach 27 8b Scherzo – G minor BWV Anh 148 0.55 organist, Justinus Heinrich Knecht (1752-1817), a student of Abbé Vogler. Whilst there 28 9a Menuett – G major BWV Anh 149 1.07 is no denying the energy of the music, as well as the impressive cumulative effect, the 29 9b Trio – G minor BWV Anh 150 1.17 writing contains textures and technicalities which render quite preposterous its 30 Fugue in B flat major on BACH BWV Anh 45 2.55 attribution to Bach. The Knecht autograph manuscript survives. 31 Toccata in A major BWV Anh 178 5.37 31 Toccata in A major BWV Anh. 178 This fascinating work survives in five separate Drei Ciacone sources, all in British libraries. Two ascribe it to Purcell, one to Michelangelo Rossi and 32 I in B flat BWV Anh 82 5.38 one to J S Bach. The other source gives no composer’s name. A sixth source, non British 33 II in A BWV Anh 83 3.39 and now lost, was in the hand of Christian Friedrich Knuth (1793-1849). Scribal 34 III in G BWV Anh 84 4.50 considerations seem to suggest a date no later than the end of the 17th century or 35 36 Prelude and Fugue in B flat major on BACH BWV 898 5.08 possibly very early in the 18th. Jonathan Baxendale suggests (Toccata for Organ or 37 38 Prelude and Fugue in E flat major BWV Anh 177 5.06 Harpsichord, Anon. England, circa 1690, unpublished 1999), and the ear bears this out, that this piece is not the work of any of its attributed composers but instead bears a distinctly North German stamp. In fact it shares many similarities with the keyboard toccatas of Dietrich Buxtehude (1637-1707).

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Dark, mysterious places and obscure, remote objects have always been sources of 7 Fantasia in C (fragment) BWV 573 An unfinished autograph manuscript in the fascination for me. Things hidden, obscure, untreasured – the forgotten. I well Klavierbüchlein für (1722). It seems to be a working manuscript, remember prising up drain covers as a boy to reveal the holes beneath, fascinated by not a fair copy, and breaks off before the end of the page. the cool darkness and the fat, black spiders there. My love of caves, and of the cavernous complexity of religious history, my vocation in contemporary music 8 Jesu, meine Freude (fragment) BWV 753 and coupled with my general disinterest in the mainstream of things are all elements 9 Wie schön leucht uns der Morgenstern (fragment) BWV 764 Two autograph which probably have their roots here too. Thus it should come as no surprise that this fragments. BWV 753 is found in the Klavierbüchlein für Wilhelm Friedemann Bach (1720). volume, number 16, is, more than any other, the one whose arrival I have been so eagerly awaiting since the programme schedule was put together nearly fifteen years 10 O Trauerichkeit, o Herzeleid (fragment) BWV Anh. 200 This is a tiny autograph ago. It contains music drawn from some of the darkest corners of Bach attribution – fragment from the Orgelbüchlein. I believed its inclusion here to be justified by the fact delightful, surprising treasures, neglected and unfinished pieces and, yes, one or two that it is just long enough to provide a glimpse of what the piece might have been, just very fat, very black, spiders crawling up into the light from two and a half centuries sufficiently long to conjure up the unformed ghost of the music. of unloved obscurity. 11 Jesu Leiden, Pein und Tod BWV Anh. 57 After the distress of so many unfinished Since this programme was put together by me I felt obliged to write the liner notes, if works, this breathtakingly beautiful and caressingly ornate chorale prelude by Johann not justifying it then at least taking responsibility for it. Early on in this series I wrote Caspar Vogler (1696-1763), pupil of J S Bach and organist/harpsichordist to the court that the purpose of the project as a whole was not simply to present the complete of Weimar, later mayor of the city. organ works of J S Bach, done so often before, but to set a much wider remit: to offer a survey, an overview, of Bach attribution in the eighteenth and early nineteenth 12 18 Stücke für eine Spieluhr BWV Anh. 133-150 The Anhalt-Cöthen Castle clock centuries. The important word is attribution, and the limitation of the survey up to the pieces first appeared in print in 1897. The clock in question, a large Grandfather clock early nineteenth century has precluded the inclusion of completions of fragmentary (Standuhr), 2.93 metres tall by 70-82 centimetres wide, housed a musical mechanism in works by later composers. Such unfinished works, nearly all of them in autograph its upper portion. The device consisted of nine barrels with pegs that activated manuscript (i.e. in Bach’s own hand), have thus been permitted to remain incomplete hammers, which in turn struck a harp (Harfenuhr). Each barrel contained two pieces of in the recorded performance. In this DVD age this particular release might be thought music, hence the division of the eighteen pieces into pairs. of as Deleted Scenes, Abandoned Shoots, Outtakes, multi camera angles and storyboards. By the late Nineteenth Century the clock had been moved several times. Being so large it was necessary to dismantle the item to move it and, as a result, the clock These two CDs present but a selection of the most neglected works in this repertoire. mechanism had for long been separated from the musical mechanism. A A truly exhaustive survey, taking every work and every variant into account, would reconstruction, as far as was possible given that some pegs had become lost, was have expanded the series from 29 to 40 CDs. undertaken in 1896 and the harp, although not fully functioning, was made to play again so that these works could be notated. The peg holes provided testament for

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DISC 2 This is the last volume for which I will be writing notes so I would like to take this opportunity to express my profound thanks and appreciation to Adrian Farmer, 1 Prelude in A minor BWV 543a/I An early working of the well known A minor Dominic Fyfe, John Gladwyn and all at Nimbus Records for their support and vision Prelude, this version, preserved in a number of sources, delivers several shocks to any at seeing this project through to its completion. Also due thanks is Henning Nielsen, ear accustomed to the final revision, in particular the heavily chromatic opening Organist of Sct. Hans, Odense. subject and the stormy passage over the held pedal A, delivered at double tempo. The Fugue, BWV 543ii, is identical to that in the other sources and as such is not recorded So that the listener may know precisely what is offered a brief paragraph on each work here. follows:

2 Prelude and Fugue in G minor (fragment) BWV 535a This fragment survives in DISC 1 autograph manuscript. The Prelude is very different from the Prelude in the later version (BWV 535) and may have been intended as a mere skeleton to be elaborated in 1 Concerto in D (after Vivaldi) BWV 972 The original is No. 9 from Vivaldi’s L’Estro performance. The Fugue, which survives complete only in the later version, breaks off Armonico, Opera Terza, Libro Primo. Bach’s arrangement does not involve the pedal. about twelve bars from the end, at the bottom of a page in the source. Because of differences in style and detail it seemed an intrusion, rather in the manner of a head 4 Wer nur den lieben Gott lässt walten BWV 691a A version of the better known transplant, to append the end of the later working to the unfinished early version so BWV 691 but with added prologue, interludes and coda. This version is thought not the piece breaks off here as it does in the manuscript. to originate with Bach.

4 Valet will ich dir geben BWV 735a and 5 Prelude and Fugue in C BWV 545a The Prelude is a version of the well known C 5 Christ lag in Todesbanden BWV 695a Different versions of the better known major Prelude, BWV 545, but is truncated at both the beginning and the end, having works BWV 735 and 695. more in common perhaps with the B flat variant, BWV 545b. The Fugue differs from the well known version in a number of details. 6 Pedal Exercitium (fragment) BWV 598 A pedal exercise? A fragment of a lost toccata? An extract from a cello piece? The handwriting in the source is that of the 7 Prelude in A BWV 536a/I This is a fascinating variant of the well known A major young C P E Bach but the title there, Pedal Exercitium Bach, was added by C A Thieme prelude, BWV 536/i. It seems to have been made in order to simplify the pedal part, (1721-95), Konrektor of the Leipzig Thomasschule. The manuscript breaks off on a giving the pedal solo to the hands and avoiding the top of the pedalboard altogether, held low D but the performance here adds a brief coda of four notes, bringing the ship a feature which makes the better known version so unusual. The Fugue appears in the into port. variant in 3/8 instead of ?, hinting at a quicker tempo, but, with the exception of a brief, rather redundant, coda is mostly identical in notes with the well known version. As such it is omitted here. 10 7 NI 5734/5 NI 5734/5

8 Ich ruf’ zu dir, Herr Jesu Christ BWV Anh. 73 A beautiful and very expressive 16 Ach Gott und Herr BWV 692 and version of the well known Orgelbüchlein chorale but expanded rather in the manner of 17 Ach Gott und Herr BWV 693 Both by Bach’s cousin, Johann Gottfried Walther BWV 691a above. The handwriting in the source is that of C P E Bach and the style (1684-1748), organist in Erfurt and later at the court in Weimar. makes him the most likely arranger. 18 Schmücke dich, o liebe Seele BWV 759 A beautiful prelude by Gottfried August 9 An Wasserflüssen Babylon BWV 653a An early and already very lovely version Homilius (1714-85), pupil of J S Bach. of the beautiful prelude from the Leipzig Chorales. 19 Vater unser im Himmelreich BWV 760 and 10 Passacaglia in D minor BWV Anh. 182 A haunting work by Christian Friedrich 20 Vater unser im Himmelreich BWV 761 Both by Georg Böhm (1661-1733), organist Witte (or Witt, c.1660-1716), musical director to the town of Altenburg. at the Johanniskirche in Lüneburg and a major influence on the young J S Bach.

11 Fugue in C minor on a theme by Legrenzi BWV 574b A second, fascinating, 21 Fantasia and Fugue in D minor BWV 549a An early version of the well known C variant of the C minor Fugue, BWV 574. Unlike the first variant, this version retains minor work (BWV 549). Perhaps the transposition was made to avoid the high D in the the cadenza. There are some dramatic twists in the harmony, not contained in the other opening pedal flourish. two workings. 23 Fugue in E minor BWV 962 An expressive work by Johann Georg 12 Vater unser im Himmelreich BWV 683a A version of the well known chorale Albrechtsberger (1736-1809), organist of Melk Abbey and later of St. Stephen’s expanded in the same manner as BWV 691a above. Cathedral, Vienna.

13 Allein Gott in der Höh sei her BWV 676a A reworked and shortened version of 24 Concerto in C (after Prince Johann Ernst) BWV 984 The first disc closes as it the well known prelude, running to just 47 bars instead of the original 126. opened, with a concerto arrangement by Bach – again leaving the pedals aside. The original is by Prince Johann Ernst von Sachsen-Weimar. In addition to this complete 14 Ich hab mein Sach Gott Heimgestellt BWV 708a A version of the chorale arrangement Bach also left a version with pedals of the first movement (BWV 595). harmonization, BWV 708 but this time in triple metre.

15 Fugue in D minor BWV Anh. 180 An expressive fugue by Johann Peter Kellner (1705-72), pupil of H. F. Quehl and an acquaintance of both Bach and Handel.

8 9 J.S.BACH • THE WORKS FOR ORGAN: VOLUME 16 Nimbus KEVIN BOWYER NI 5734/5 BWV 764 1.19 BWV Anh Anh BWV 133-150 21.35 BWV Anh Anh BWV 200 0.20 BWV Anh Anh BWV 57 4.37 BWV 695a 3.11 BWV 735a 3.23 BWV 7531.45 Valet will ich Valet dir geben, Christ lag in Todesbanden, Jesu Leiden, Pein und Tod, 18 Stücke für eine Spieluhr, Drei Ciacone on BACH, BWV 898Anh BWV 177 5.08 5.06 Jesu, meine Freude, Wie schön leucht uns der Morgenstern, O Trauerichkeit, O Herzeleid, O Trauerichkeit, 2526 II III Adagio e Disc affettuosoTwo Allegro assai12-34 A Prelude in BWV 543a/i minor, Prelude and Fugue in BWV G 535aminor, 5 4.37 11 3.07 2.16 12-29 3031 Fugue in B flat major on BACH, Anh BWV 45 2.59 A in Toccata 32 Anh BWV 178 major, 33 2.55 I34 II35-36 in B flat, Anh BWV 82 Prelude and Fugue 79.35 in B flat major IIIA, in Anh BWV 83 in G, Anh BWV 8437-38 Prelude and Fugue in E flat major, 5.37 5.38 3.39 4.50 678 Pedalexercitium, BWV 5989 Fantasia in BWV C 5730.58 major, 1.50 10 NI 5734/5 2004 Wyastone Estate Limited P Made in the UK by Nimbus Records © 2004 Wyastone Estate Limited http://www.wyastone.co.uk BWV 691a 2.15 , BWV 708a 0.43 BWV Anh BWV 734.02 BWV 676a 2.00 BWV 683a 1.59 BWV 760BWV 761 1.57 3.48 BWV 759 3.10 , BWV 653a 4.57

BWV 536a/i 1.51 , BWV 692 1.26 , BWV 6931.39 LC 5871 Allein Gott in der Höh sei heR, Vater unser im Vater Himmelreich, An Wasserflüssen Babylon Ich hab mein Sach Gott Heimgestellt Ich ruf’ Herr zu Jesu dir, Christ, Ach Gott und Herr, Ach Gott und Herr Schmücke dich, o liebe Seele, unser im Vater Himmelreich, unser im Vater Himmelreich, Concerto in BWV C 984 major, Wer Wer nur den lieben Gott lässt walten, THE WORKS FOR ORGAN VOLUME 16 Kevin Bowyer at the Marcussen Organ of Sct. Hans Kirke, Odense, Denmark J.S.BACH 13 1011 Passacaglia Anh in BWV 182D 12 minor, Fugue in BWV C 574bminor, 6.28 6.41 9 14 8 5 - 67 Prelude and Fugue in BWV C 545amajor, A Prelude in major 5.08 1516 Fugue Anh in BWV 180 D 17 minor, 18 19 20 21-22 Fantasia and Fugue in BWV D 549aminor, 23 2.06 Fugue in BWV E 96224minor, 5.18 I [untitled] 3.34 3.17 Disc OneConcerto in BWV D 972 major, 123IIII I Allegro4 II [untitled] Larghetto 75.46 2.36 2.19 3.17

J.S.BACH • THE WORKS FOR ORGAN: VOLUME 16 Nimbus KEVIN BOWYER NI 5734/5