r Liebster Jesu, wir sind hier, BWV 706/1 [1.28] JOHANNJOHANN SEBASTIANSEBASTIAN BACH x Wenn wir in höchsten Nöten sein, BWV 641 [1.39] TheThe CompleteComplete Organ Organ Works, Works, Vol. 1112 c Wer nur denToccata, lieben Gott Adagio lässt walten, and Fugue BWV 642 in C,[1.30] BWV 564 vt Alle MenschenI. Toccata müssen sterben, BWV 643 [1.28] [5.36] DAVID GOODEGOODE by Ach wie nichtig,II. Adagio ach wie flüchtig, BWV 644 [0.50] [3.52] u III. Fugue [4.17] TrinityTrinity CollegeCollege Chapel,Chapel, CambridgeCambridge Total Timings [75.23] Total timings [69.24] Prelude and Fugue in C major, BWV 549 1 OrgelbüchleinI. Prelude [2.20] s 21 Nun komm,II. Fugue der Heiden Heiland, BWV 599 [1.14] Christus, der uns selig macht, BWV[3.46] 620 [2.15] the young Sebastian was a choral scholar d BACH, BEAUTY AND BELIEF 2 Gott durch deine Güte, BWV 600 [1.04] Da Jesus an dem Kreuze stund, BWV 621 [1.26] and likely had his first experiences in organ 33 f O Mensch, bewein dein Sünde groß, BWV 622 [4.56] THE ORGAN WORKS OF J.S. Herr Christ,Christ der lag ein’ge in Todesbanden, Gottes Sohn, BWV BWV 601 718[1.25] [5.01] building and maintenance.2 In 1700 he 4 g Wir danken dir, Herr Jesu Christ, BWV 623 [1.02] BACH Lob sei dem allmächtigen Gott, BWV 602 [0.46] moved to Lüneburg, as a choral scholar 5 Puer natusFantasia in Bethlehem, and Imitatio BWV 603 in B minor, [1.42]BWV 563 h Hilf Gott, dass mir’s gelinge, BWV 624 [1.29] at St Michael’s School; this move brought 46 GelobetI. seistFantasia du, Jesu Christ, BWV 604 [1.16] j Christ lag in Todesbanden, BWV 625[1.48] [1.22] Introduction – Bach and the Organ 57 Der Tag,II. derImitatio ist so freudenreich, BWV 605 [1.47] k Jesus Christus, unser Heiland BWV[2.08] 626 [0.43] The organ loomed large from early on him into the orbit of many organists, 8 Vom Himmel hoch, da komm ich, BWV 606 [0.52] l Christ ist erstanden, BWV 627 [4.10] in Bach’s life. The foundations of his including Georg Böhm and Adam Reinken in 3 9 Vom HimmelTrio Sonata kam der No. Engel 6, Schar,BWV 530 BWV 607 [1.07] ; Erstanden ist der heilge Christ, BWV 628 [0.52] multifaceted career as a professional Hamburg. 1703 found him examining a new 60 In dulciI. jubilo,Vivace BWV 608 [1.24] ' Erschienen ist der herrliche Tag, BWV[4.05] 629 [0.56] musician were clearly laid in the careful organ at the New Church in Arnstadt, where 7q Lobt Gott,II. Lento ihr Christen allzugleich, BWV 609 [0.50] z Heut triumphieret Gottes Sohn, BWV[7.00] 630 [1.32] cultivation of Bach’s prodigious talent as an he was appointed as organist in August of 8 w Jesu, meineIII. Allegro Freude, BWV 610 [2.23] x Komm, Gott Schöpfer, heiliger Geist,[3.28] BWV 631 [0.42] organist whilst he was still a child. Johann that year, remaining for four years, his first c e Christum wir sollen loben schon, BWV 611 [1.51] Herr Jesu Christ, dich zu uns wend, BWV 632 [1.18] Sebastian Bach was born in Eisenach in major professional organist post (Wolff 2001 9r Fantasia in C major, BWV 570 v [3.08] [1.57] Wir Christenleut, BWV 612 [1.43] Liebster Jesu, wir sind hier distinctus, BWV 633 1685, and after the death of his father – the p. 526). Clearly showing remarkable talent t Helft mir Gotts Güte preisen, BWV 613 [1.23] b Liebster Jesu, wir sind hier, BWV 634 [1.54] 0 director of municipal music in the town – at as a player from an early age, Bach’s career y Das alteChrist, Jahr vergangen der du bist ist, BWVder 614helle Tag, BWV[1.53] 766 n Dies sind die heilgen zehn Gebot, BWV[9.50] 635 [1.10] the age of ten moved to Ohrdruf, where he remained founded upon the organ even as u In dir ist Freude, BWV 615 [2.35] m Vater unser im Himmelreich, BWV 636 [1.19] q he moved around in a variety of posts after i Mit FriedTrio und in Freud D minor, ich fahr BWV dahin, 583 BWV 616 [1.59] , Durch Adams Fall ist ganz verderbt,[5.00] BWV 637 [2.04] was taken in by his eldest brother, Johann leaving Arnstadt in 1707: as the organist of o Herr Gott, nun schleuß den Himmel, BWV 617 [2.32] . Es ist das Heil uns kommen her, BWV 638 [1.11] Christoph. Christoph was the organist at w p O LammPrelude Gottes, unschuldig,in A minor, BWV BWV 618 569 [3.25] ' Ich ruf zu dir, Herr Jesu Christ, BWV[5.05] 639 [2.05] St Michael’s Ohrdruf and had been taught Cambridge University Press, 2007), p. 9. 1 a Christe, du Lamm Gottes, BWV 619 [1.09] z In dich hab ich gehoffet, Herr, BWV 640 [1.13] by Pachelbel. During his years at Ohrdruf, 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician e Lobt Gott, ihr Christen, allzugleich, BWV 732 [1.29] (New York: Oxford University Press, 2001), p. 37. 1 Peter Williams, J.S. Bach: A Life in Music (Cambridge: 3 Wolff, Learned Musician, p. 525. r Liebster Jesu, wir sind hier, BWV 706/1 [1.28] JOHANNJOHANN SEBASTIANSEBASTIAN BACH x Wenn wir in höchsten Nöten sein, BWV 641 [1.39] TheThe CompleteComplete Organ Organ Works, Works, Vol. 1112 c Wer nur denToccata, lieben Gott Adagio lässt walten, and Fugue BWV 642 in C,[1.30] BWV 564 vt Alle MenschenI. Toccata müssen sterben, BWV 643 [1.28] [5.36] DAVID GOODEGOODE by Ach wie nichtig,II. Adagio ach wie flüchtig, BWV 644 [0.50] [3.52] u III. Fugue [4.17] TrinityTrinity CollegeCollege Chapel,Chapel, CambridgeCambridge Total Timings [75.23] Total timings [69.24] Prelude and Fugue in C major, BWV 549 1 OrgelbüchleinI. Prelude [2.20] s 21 Nun komm,II. Fugue der Heiden Heiland, BWV 599 [1.14] Christus, der uns selig macht, BWV[3.46] 620 [2.15] the young Sebastian was a choral scholar d BACH, BEAUTY AND BELIEF 2 Gott durch deine Güte, BWV 600 [1.04] Da Jesus an dem Kreuze stund, BWV 621 [1.26] and likely had his first experiences in organ 33 f O Mensch, bewein dein Sünde groß, BWV 622 [4.56] THE ORGAN WORKS OF J.S. Herr Christ,Christ der lag ein’ge in Todesbanden, Gottes Sohn, BWV BWV 601 718[1.25] [5.01] building and maintenance.2 In 1700 he 4 g Wir danken dir, Herr Jesu Christ, BWV 623 [1.02] BACH Lob sei dem allmächtigen Gott, BWV 602 [0.46] moved to Lüneburg, as a choral scholar 5 Puer natusFantasia in Bethlehem, and Imitatio BWV 603 in B minor, [1.42]BWV 563 h Hilf Gott, dass mir’s gelinge, BWV 624 [1.29] at St Michael’s School; this move brought 46 GelobetI. seistFantasia du, Jesu Christ, BWV 604 [1.16] j Christ lag in Todesbanden, BWV 625[1.48] [1.22] Introduction – Bach and the Organ 57 Der Tag,II. derImitatio ist so freudenreich, BWV 605 [1.47] k Jesus Christus, unser Heiland BWV[2.08] 626 [0.43] The organ loomed large from early on him into the orbit of many organists, 8 Vom Himmel hoch, da komm ich, BWV 606 [0.52] l Christ ist erstanden, BWV 627 [4.10] in Bach’s life. The foundations of his including Georg Böhm and Adam Reinken in 3 9 Vom HimmelTrio Sonata kam der No. Engel 6, Schar,BWV 530 BWV 607 [1.07] ; Erstanden ist der heilge Christ, BWV 628 [0.52] multifaceted career as a professional Hamburg. 1703 found him examining a new 60 In dulciI. jubilo,Vivace BWV 608 [1.24] ' Erschienen ist der herrliche Tag, BWV[4.05] 629 [0.56] musician were clearly laid in the careful organ at the New Church in Arnstadt, where 7q Lobt Gott,II. Lento ihr Christen allzugleich, BWV 609 [0.50] z Heut triumphieret Gottes Sohn, BWV[7.00] 630 [1.32] cultivation of Bach’s prodigious talent as an he was appointed as organist in August of 8 w Jesu, meineIII. Allegro Freude, BWV 610 [2.23] x Komm, Gott Schöpfer, heiliger Geist,[3.28] BWV 631 [0.42] organist whilst he was still a child. Johann that year, remaining for four years, his first c e Christum wir sollen loben schon, BWV 611 [1.51] Herr Jesu Christ, dich zu uns wend, BWV 632 [1.18] Sebastian Bach was born in Eisenach in major professional organist post (Wolff 2001 9r Fantasia in C major, BWV 570 v [3.08] [1.57] Wir Christenleut, BWV 612 [1.43] Liebster Jesu, wir sind hier distinctus, BWV 633 1685, and after the death of his father – the p. 526). Clearly showing remarkable talent t Helft mir Gotts Güte preisen, BWV 613 [1.23] b Liebster Jesu, wir sind hier, BWV 634 [1.54] 0 director of municipal music in the town – at as a player from an early age, Bach’s career y Das alteChrist, Jahr vergangen der du bist ist, BWVder 614helle Tag, BWV[1.53] 766 n Dies sind die heilgen zehn Gebot, BWV[9.50] 635 [1.10] the age of ten moved to Ohrdruf, where he remained founded upon the organ even as u In dir ist Freude, BWV 615 [2.35] m Vater unser im Himmelreich, BWV 636 [1.19] q he moved around in a variety of posts after i Mit FriedTrio und in Freud D minor, ich fahr BWV dahin, 583 BWV 616 [1.59] , Durch Adams Fall ist ganz verderbt,[5.00] BWV 637 [2.04] was taken in by his eldest brother, Johann leaving Arnstadt in 1707: as the organist of o Herr Gott, nun schleuß den Himmel, BWV 617 [2.32] . Es ist das Heil uns kommen her, BWV 638 [1.11] Christoph. Christoph was the organist at w p O LammPrelude Gottes, unschuldig,in A minor, BWV BWV 618 569 [3.25] ' Ich ruf zu dir, Herr Jesu Christ, BWV[5.05] 639 [2.05] St Michael’s Ohrdruf and had been taught Cambridge University Press, 2007), p. 9. 1 a Christe, du Lamm Gottes, BWV 619 [1.09] z In dich hab ich gehoffet, Herr, BWV 640 [1.13] by Pachelbel. During his years at Ohrdruf, 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician e Lobt Gott, ihr Christen, allzugleich, BWV 732 [1.29] (New York: Oxford University Press, 2001), p. 37. 1 Peter Williams, J.S. Bach: A Life in Music (Cambridge: 3 Wolff, Learned Musician, p. 525. St Blasius’s in Mühlhausen (1707 – 1708), court preludes and fugues do not exist in autograph influences on Bach’s organ works.5 Many of most, of the chorales and chorale preludes; some organist and chamber musician at Weimar (1708 form, a fact that in most cases does not affect these are traceable to other contemporary of the prelude/toccata and fugue pairs); didactic – 1717), capellmeister at Cöthen (1717 – 1723) the question of authorship as much as that of the German organ composers whose compositional (the Six Sonatas; the Orgelbüchlein); stylistic and cantor at St Thomas’ Church in Leipzig (1723 date of composition, although the authorship of style Bach would almost certainly have known. assimilation (the concerto transcriptions; – 1750). some organ works previously assumed to have As Williams states, these would have included some toccatas and fantasias; Legrenzi and been by Bach have been called into question, Pachelbel, Böhm, Buxtehude, Bruhns, Reinken, Corelli Fugues). In addition, collections such ‘The Complete Organ Works of Bach’ like the Eight Short Preludes and Fugues, BWV Kerl and Froberger. Bach’s organ works also as Clavierübung III and perhaps the Schübler Given that strong foundation, it is no surprise that 553 – 560. Others are easier by virtue of their frequently betray a French influence, both Chorales had a purpose that transcended their organ music flowed from Bach’s pen throughout singularity either to ascribe authorship to, such as specifically, such as in the famous example immediate utility: the desire to offer a musical- his life. Yet how do Bach’s organ works cohere? the Passacaglia, BWV 582, or to date, such as the of the Passacaglia, BWV 582, the first half of theological compendium (Clavierübung III), or For the monolithic notion of ‘The Complete Organ Concerto Transcriptions, BWV 592 – 596, which whose main theme originates in a piece by leave a musical legacy (Schübler Chorales). Works of Bach’ is misleading. The picture is more are from Bach’s Weimar years (Williams 2003 p. Raison, and more generically, such as in the fluid, even unclear, both as to the veracity of 202). However, the fluidity of the corpus is not as C minor Fantasia, BWV 562 with its stylistic A Note on Current Bach Scholarship individual works and of their particular chronology. interesting – or as significant – as the stylistic debt to French composers such as de Grigny. Such is the scope of Bach’s organ works. But The impression is of a combination of works that and generic variety it exhibits. In addition, an Italian influence is often felt how have they been covered in the literature? have reached us in their present form through an in the manual writing across-the-board from There is a fascinating dialectic evident in often uncertain process of revision and collection Genres, Styles and Influences the quasi-string writing in the Six Sonatas to current Bach studies more broadly between (such as the Six Sonatas, BWV 525 – 530) and Bach’s organ works are characterised, typically the tripartite Toccata in C, BWV 564 via the a hermeneutic taken up with purely musical those with a more definite origin and/or date, for the composer, by a multiplicity of genres Frescobaldian Canzona, BWV 588 and Corellian concerns for Bach’s works,6 and a broader such as Clavierübung III, which was published and stylistic influences. Broadly they can be Allabreve, BWV 589. analytical approach to his music that in 1739. Even a collection with a clear didactic categorised into five areas, though inevitably seeks to contextualize Bach’s contrapuntal, purpose that is apparently easy to date like the these overlap: chorale-based works (preludes, Purposes figurative and harmonic peculiarities and Orgelbüchlein, BWV 599 – 644 (its title page is partitas, variations, trios); the Six Sonatas; As the above discussion suggests, it is not complexities within a much broader framework dated to 1722 or 1723)4 can remain opaque in preludes/toccatas/fantasias (including the surprising that many of the exact original the chronology and detail of its contents: the Passacaglia) and fugues (paired together, purposes for the organ works remain unknown, title page was added later than the chorales and single); transcriptions of works by other though in general terms the following categories it contains (Williams 2003 p. 227). Many of the composers (concertos, trios, etc.); miscellaneous of use can be discerned: liturgical (many, if not 6 The work of Peter Williams is helpful in this regard. See Peter Wil- works (Allabreve, Canzona, Pièce D’Orgue, etc.). liams, The Organ Music of J.S. Bach, Second Edition (Cambridge: 4 See Peter Williams, The Organ Music of J.S. Bach, Second Edition 5 See Peter Williams, Bach Organ Music (London: BBC Music Guides, Cambridge University Press, 2003); Peter Williams, J.S. Bach: A Life in (Cambridge: Cambridge University Press, 2003), p. 227. Williams catalogues the multifarious stylistic 1972), p. 9. Music (Cambridge: Cambridge University Press, 2007). St Blasius’s in Mühlhausen (1707 – 1708), court preludes and fugues do not exist in autograph influences on Bach’s organ works.5 Many of most, of the chorales and chorale preludes; some organist and chamber musician at Weimar (1708 form, a fact that in most cases does not affect these are traceable to other contemporary of the prelude/toccata and fugue pairs); didactic – 1717), capellmeister at Cöthen (1717 – 1723) the question of authorship as much as that of the German organ composers whose compositional (the Six Sonatas; the Orgelbüchlein); stylistic and cantor at St Thomas’ Church in Leipzig (1723 date of composition, although the authorship of style Bach would almost certainly have known. assimilation (the concerto transcriptions; – 1750). some organ works previously assumed to have As Williams states, these would have included some toccatas and fantasias; Legrenzi and been by Bach have been called into question, Pachelbel, Böhm, Buxtehude, Bruhns, Reinken, Corelli Fugues). In addition, collections such ‘The Complete Organ Works of Bach’ like the Eight Short Preludes and Fugues, BWV Kerl and Froberger. Bach’s organ works also as Clavierübung III and perhaps the Schübler Given that strong foundation, it is no surprise that 553 – 560. Others are easier by virtue of their frequently betray a French influence, both Chorales had a purpose that transcended their organ music flowed from Bach’s pen throughout singularity either to ascribe authorship to, such as specifically, such as in the famous example immediate utility: the desire to offer a musical- his life. Yet how do Bach’s organ works cohere? the Passacaglia, BWV 582, or to date, such as the of the Passacaglia, BWV 582, the first half of theological compendium (Clavierübung III), or For the monolithic notion of ‘The Complete Organ Concerto Transcriptions, BWV 592 – 596, which whose main theme originates in a piece by leave a musical legacy (Schübler Chorales). Works of Bach’ is misleading. The picture is more are from Bach’s Weimar years (Williams 2003 p. Raison, and more generically, such as in the fluid, even unclear, both as to the veracity of 202). However, the fluidity of the corpus is not as C minor Fantasia, BWV 562 with its stylistic A Note on Current Bach Scholarship individual works and of their particular chronology. interesting – or as significant – as the stylistic debt to French composers such as de Grigny. Such is the scope of Bach’s organ works. But The impression is of a combination of works that and generic variety it exhibits. In addition, an Italian influence is often felt how have they been covered in the literature? have reached us in their present form through an in the manual writing across-the-board from There is a fascinating dialectic evident in often uncertain process of revision and collection Genres, Styles and Influences the quasi-string writing in the Six Sonatas to current Bach studies more broadly between (such as the Six Sonatas, BWV 525 – 530) and Bach’s organ works are characterised, typically the tripartite Toccata in C, BWV 564 via the a hermeneutic taken up with purely musical those with a more definite origin and/or date, for the composer, by a multiplicity of genres Frescobaldian Canzona, BWV 588 and Corellian concerns for Bach’s works,6 and a broader such as Clavierübung III, which was published and stylistic influences. Broadly they can be Allabreve, BWV 589. analytical approach to his music that in 1739. Even a collection with a clear didactic categorised into five areas, though inevitably seeks to contextualize Bach’s contrapuntal, purpose that is apparently easy to date like the these overlap: chorale-based works (preludes, Purposes figurative and harmonic peculiarities and Orgelbüchlein, BWV 599 – 644 (its title page is partitas, variations, trios); the Six Sonatas; As the above discussion suggests, it is not complexities within a much broader framework dated to 1722 or 1723)4 can remain opaque in preludes/toccatas/fantasias (including the surprising that many of the exact original the chronology and detail of its contents: the Passacaglia) and fugues (paired together, purposes for the organ works remain unknown, title page was added later than the chorales and single); transcriptions of works by other though in general terms the following categories it contains (Williams 2003 p. 227). Many of the composers (concertos, trios, etc.); miscellaneous of use can be discerned: liturgical (many, if not 6 The work of Peter Williams is helpful in this regard. See Peter Wil- works (Allabreve, Canzona, Pièce D’Orgue, etc.). liams, The Organ Music of J.S. Bach, Second Edition (Cambridge: 4 See Peter Williams, The Organ Music of J.S. Bach, Second Edition 5 See Peter Williams, Bach Organ Music (London: BBC Music Guides, Cambridge University Press, 2003); Peter Williams, J.S. Bach: A Life in (Cambridge: Cambridge University Press, 2003), p. 227. Williams catalogues the multifarious stylistic 1972), p. 9. Music (Cambridge: Cambridge University Press, 2007). involving contemporary theology,7 aesthetics,8 Bach’s compositional process. The ideal, then, be more specific and outline two ways in which it is highly suggestive. This desire for art to philosophy,9 and science.10 Assessing these seems to be to take an approach to describing the inherent theological nature of music, as it imitate nature in its perfection motivated different approaches to Bach’s music is Bach’s organ music that both honours was understood, appears to have influenced the Bach’s musical project throughout his career difficult, as the results are inevitably mixed. the music itself whilst allowing for wider music Bach actually wrote. and is particularly evident in his treatment On the one hand, there is a need to maintain contextual questions to shape one’s thinking as of counterpoint: ‘[c]haracteristic of Bach’s a degree of musical integrity by allowing the appropriate, perhaps on a piece-by-piece basis. i) Music as Theological Metaphor manner of composing is a way of elaborating musical features of Bach’s compositions to With that in mind, there seem to be two broad A theological idea that was found in the Leipzig the musical ideas so as to penetrate the come first in any attempt to understand them. extra-musical contexts of particular relevance circles in which Bach moved in the 1740s was material deeply and exhaustively.’14 Bach’s Thus, some of the least convincing musical- to the organ music of Bach in which purely that God’s beauty can be conceived conceptually maximization of thematic coherence, harmonic analytical work done from the contextual side musical observations can be worked out. These as a type of harmonia: richness, and contrapuntal complexity can arises from an approach to Bach’s music that are theology, and aesthetics. be thus understood as having a theological is too superficial. On the other hand, there is a God is a harmonic being. All harmony rationale. This rationale perhaps best fits the sense in some of the ‘music-only’ approaches Theological Aesthetics originates from his wise order and music with which there is no accompanying that any recourse to relevant external and Peter Williams highlights a conundrum that organization... Where there is no conformity, text to direct one’s interpretation of the musical contextual questions ought to be dismissed out needs tackling if one is to think theologically there is also no order, no beauty, and figures, and is particularly relevant in grasping of hand when clearly such factors occasionally about Bach’s organ music, namely the tension no perfection. For beauty and perfection the aesthetic behind specifically contrapuntal – perhaps often – played a legitimate role in that exists between Bach’s stated theological consists in the conformity of diversity.13 projects like The Art of Fugue. 7 Eric Chafe, Analyzing Bach Cantatas (New York: Oxford University intention in composition (most famously Press, 2000); Anne Leahy, ‘”Vor deinen Thron tret ich”: The Eschatolog- ical Significance of the Chorale Settings of the P271 Manuscript of the revealed in the composer’s signature ‘S.D.G.’ This fundamental idea of God’s beauty as ii) Music designed to move the Affections towards God Berlin Staatsbibliothek’ in Bach, Vol. 37, No. 2 (2006), pp. 81 – 118; – ‘Soli Deo Gloria’ (To God Alone Be Glory) expressed in His unity-in-diversity immediately Ever since the discovery of Bach’s personal Timothy A. Smith, ‘Fugues Without Words: A Hearing of Four Fugues from “The Well Tempered Clavier” as Passion Music’ in Bach, Vol. – that has been found on some of Bach’s invites the metaphorical projection of this Bible commentary, the so-called ‘Calov Bible’, 40, No. 2 (2009), pp. 45 – 66; Linda Gingrich, ‘Hidden Allegory in J.S manuscripts, penned after the final bars) and concept onto His creation: His beauty is it has often been noted that Bach’s music Bach’s 1724 Trinity Season Chorale Cantatas’ in The Choral Journal, Vol. 51, No. 1 (August 2010), pp. 6 – 17. the apparent self-interestedness of much expressed though His creation via the same appears to have been intended as an expression 8 Christoph Wolff, ‘Bach and the Idea of “Musical Perfection”’ in of Bach’s music.11 The key that unlocks this aesthetic of unity-in-diversity. While criticisms of a specifically, and personally-held, Lutheran Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New 15 York: Oxford University Press, 2001). dilemma is the observation made by John have been levelled at this definition of beauty faith. The implications of this in seeking an 9 See John Butt, ‘’A mind unconscious that it is calculating’? Bach Butt,12 that for Bach, as for other Lutherans, when held as an absolute value, as an informed speculation of Bach’s theological views and the rationalist philosophy of Wolff, Leibniz and Spinoza’ in John Butt (ed.), The Cambridge Companion to Bach (Cambridge: Cambridge music was intrinsically of eternal value. We can explanation of Bach’s contrapuntal practice of music are significant. For the indications University Press, 1997). 11 See Williams, Bach Organ Music, pp. 10-11. 13 Georg Vensky, 1742. Like Bach, Vensky was a member of Lorenz 14 Wolff, Learned Musician, p. 469. 10 David Yearsley, Bach and the Meanings of Counterpoint (New York: 12 See John Butt, ‘Bach’s metaphysics of music’ in Butt (ed.), The Christoph Mizler’s Society for Musical Science. Quoted in Wolff, Learned 15 See Robin A. Leaver, ‘Music and Lutheranism’ in Butt (ed.), The Cambridge University Press, 2002). Cambridge Companion to Bach, p. 53. Musician, p. 466. Cambridge Companion to Bach , pp. 39 – 40. involving contemporary theology,7 aesthetics,8 Bach’s compositional process. The ideal, then, be more specific and outline two ways in which it is highly suggestive. This desire for art to philosophy,9 and science.10 Assessing these seems to be to take an approach to describing the inherent theological nature of music, as it imitate nature in its perfection motivated different approaches to Bach’s music is Bach’s organ music that both honours was understood, appears to have influenced the Bach’s musical project throughout his career difficult, as the results are inevitably mixed. the music itself whilst allowing for wider music Bach actually wrote. and is particularly evident in his treatment On the one hand, there is a need to maintain contextual questions to shape one’s thinking as of counterpoint: ‘[c]haracteristic of Bach’s a degree of musical integrity by allowing the appropriate, perhaps on a piece-by-piece basis. i) Music as Theological Metaphor manner of composing is a way of elaborating musical features of Bach’s compositions to With that in mind, there seem to be two broad A theological idea that was found in the Leipzig the musical ideas so as to penetrate the come first in any attempt to understand them. extra-musical contexts of particular relevance circles in which Bach moved in the 1740s was material deeply and exhaustively.’14 Bach’s Thus, some of the least convincing musical- to the organ music of Bach in which purely that God’s beauty can be conceived conceptually maximization of thematic coherence, harmonic analytical work done from the contextual side musical observations can be worked out. These as a type of harmonia: richness, and contrapuntal complexity can arises from an approach to Bach’s music that are theology, and aesthetics. be thus understood as having a theological is too superficial. On the other hand, there is a God is a harmonic being. All harmony rationale. This rationale perhaps best fits the sense in some of the ‘music-only’ approaches Theological Aesthetics originates from his wise order and music with which there is no accompanying that any recourse to relevant external and Peter Williams highlights a conundrum that organization... Where there is no conformity, text to direct one’s interpretation of the musical contextual questions ought to be dismissed out needs tackling if one is to think theologically there is also no order, no beauty, and figures, and is particularly relevant in grasping of hand when clearly such factors occasionally about Bach’s organ music, namely the tension no perfection. For beauty and perfection the aesthetic behind specifically contrapuntal – perhaps often – played a legitimate role in that exists between Bach’s stated theological consists in the conformity of diversity.13 projects like The Art of Fugue. 7 Eric Chafe, Analyzing Bach Cantatas (New York: Oxford University intention in composition (most famously Press, 2000); Anne Leahy, ‘”Vor deinen Thron tret ich”: The Eschatolog- ical Significance of the Chorale Settings of the P271 Manuscript of the revealed in the composer’s signature ‘S.D.G.’ This fundamental idea of God’s beauty as ii) Music designed to move the Affections towards God Berlin Staatsbibliothek’ in Bach, Vol. 37, No. 2 (2006), pp. 81 – 118; – ‘Soli Deo Gloria’ (To God Alone Be Glory) expressed in His unity-in-diversity immediately Ever since the discovery of Bach’s personal Timothy A. Smith, ‘Fugues Without Words: A Hearing of Four Fugues from “The Well Tempered Clavier” as Passion Music’ in Bach, Vol. – that has been found on some of Bach’s invites the metaphorical projection of this Bible commentary, the so-called ‘Calov Bible’, 40, No. 2 (2009), pp. 45 – 66; Linda Gingrich, ‘Hidden Allegory in J.S manuscripts, penned after the final bars) and concept onto His creation: His beauty is it has often been noted that Bach’s music Bach’s 1724 Trinity Season Chorale Cantatas’ in The Choral Journal, Vol. 51, No. 1 (August 2010), pp. 6 – 17. the apparent self-interestedness of much expressed though His creation via the same appears to have been intended as an expression 8 Christoph Wolff, ‘Bach and the Idea of “Musical Perfection”’ in of Bach’s music.11 The key that unlocks this aesthetic of unity-in-diversity. While criticisms of a specifically, and personally-held, Lutheran Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New 15 York: Oxford University Press, 2001). dilemma is the observation made by John have been levelled at this definition of beauty faith. The implications of this in seeking an 9 See John Butt, ‘’A mind unconscious that it is calculating’? Bach Butt,12 that for Bach, as for other Lutherans, when held as an absolute value, as an informed speculation of Bach’s theological views and the rationalist philosophy of Wolff, Leibniz and Spinoza’ in John Butt (ed.), The Cambridge Companion to Bach (Cambridge: Cambridge music was intrinsically of eternal value. We can explanation of Bach’s contrapuntal practice of music are significant. For the indications University Press, 1997). 11 See Williams, Bach Organ Music, pp. 10-11. 13 Georg Vensky, 1742. Like Bach, Vensky was a member of Lorenz 14 Wolff, Learned Musician, p. 469. 10 David Yearsley, Bach and the Meanings of Counterpoint (New York: 12 See John Butt, ‘Bach’s metaphysics of music’ in Butt (ed.), The Christoph Mizler’s Society for Musical Science. Quoted in Wolff, Learned 15 See Robin A. Leaver, ‘Music and Lutheranism’ in Butt (ed.), The Cambridge University Press, 2002). Cambridge Companion to Bach, p. 53. Musician, p. 466. Cambridge Companion to Bach , pp. 39 – 40. in Luther’s writings are not only that he saw many cases the background text, where clear, examples of Edward’s affection-driven theology areblock given chords primacy when thein Bach’spedal finally musical enters portrayal (after music as inherently theological on a number of often illuminates both the general affekt of a in practice, the organ works of Bach clearly ofa thelengthy texts, manualiter with the affect exposition). of each text Eventually, captured different levels,16 but specifically that he saw given prelude, and the specificity of particular cohere in their common ability to promote both succinctlysemiquaver-driven in usually writing a short breaks space. free into This free is music as having a role in moving the believer’s harmonies and figurations that have been belief and beauty, or perhaps more accurately, achieveddemisemiquavers through for the the finalconcentrated section. use of affections towards God, and thus an ability chosen to illustrate it. belief through beauty. musical motifs, with each chorale setting marked to strengthen the believer’s faith in Christ.17 usuallyBWV 718 by Christ a single lag motif in Todesbanden which both propels the Combining this insight with the commonly- Conclusion – Bach, Beauty and Belief BachBWV 549Orgelbüchlein Prelude and Fugue in C minor settings‘Christ lag forward in Todesbanden’ and carry theis one burden of Luther’s of the observed (though not unchallenged) evidence Although the label of ‘The Complete Organ TheBWV Orgelbüchlein549 has a (‘Littlefascinating Organ provenance;Book’) was emotionalEaster texts import and ofset the to counterpoint. a chorale thatGenerally, was of the Baroque Affektenlehre (or ‘Doctrine of Works of Bach’ for the corpus is a misnomer, intendedScholars bynote Bach that to thecover C theminor entire work church is a theused chorale a number is heard of times in the by soprano Bach. texture.BWV 718 is the Affections’) in Bach’s music, it can be seen there are still many varied ways in which to yearactually as a transpositioncompendium of thechorale Prelude arrangements. and Fugue a chorale fantasia: relatively small-scale in how often Bach’s sacred music (chorale-based view it coherently; theological aesthetics is just However,in D minor only (BWV 46 were549a) completed – an identical out of work the 1length, Nun komm, but ambitious der Heiden and Heiland far-ranging BWV in599 scope or liturgically-intended; often both) makes its one example. Theology and aesthetics combine potentialtransposed 164 up chorales,possibly to for avoid reasons a high unknown. ‘d’ in the Theand openingstyle. The chorale melody of throughout the Orgelbüchlein is stylised is spiritual utility felt through its projection of throughout Bach’s organ music, uniting them Theopening resulting pedal collection solo (see is Williams a masterful 2003 showcase p. 125). Luther’swith ornaments advent andtext, the given accompaniment a telling musical based a relevant and (sometimes) dominant affekt. as works that project a Christian Lutheran ofThe compositional C minor version skill, (BWV Bach 549) typically played making here also full portrayal.on a repeated Word rhythmicpainting figure.is evident The insetting the This primary affekt is then projected through worldview through their specifically musical andbears imaginative striking resemblancesuse of the contrapuntal to the C method major ‘falling’moves from motive a two-part at the start,texture harpsichord-like, at the start to the musical material, itself often consisting of beauty. In this they serve as exemplars of the toPrelude illustrate BWV each 531. chorale. The Prelude of BWV 549 opens whichthree- leadsand even onto four-part the initial textures dissonance, later, withand harmonic and motivic workings-out of a single theology of another towering eighteenth-century with an arresting pedal solo, based on a rising continuesthe pedal throughout.enters for aIt reiterationis especially of noticeable the final inventio, or dominant musical figure.18 In the Christian intellect, whose published thought Thesequence collection of suspirans was seemingly figures, begun highlighted in 1713, by in‘Hallelujah’. the pedal. The repeated motif is a suspirans, organ music, this notion is perhaps most useful also combined beauty and belief with an whilstthe characteristic Bach was at ‘intake Weimar, of breath’.and continued The main for used to create a sombre, serious affect. in approaching the chorale preludes – a genre emphasis on the affections of the believer: the threematerial years of beforethe Prelude being buildsinterrupted. on the The pedal’s title BWV 563 Fantasia and Imitatio in B minor that covers many of the organ works – where in American pastor Jonathan Edwards, with whom wasfigures, added with later, an almostwhilst melancholyBach was gravitas working – 2The Gott Fantasia durch deineis written Güte (or)for Gottesmanuals Sohn only, ist Bach has once been compared.19 Edwards atevident Cöthen. in thisIt hasrecording. been conjecturedOf particular that interest the kommenbuilding aBWV 24-bar 600 piece out of light, airy dactyl 16 Robin A. Leaver, Luther’s Liturgical Music: Principles and Implica- The text of BWV 600 is an ‘old Thuringian Advent tions (Grand Rapids: Eerdmans, 2007). placed the affections-of-the-heart at the centre collectionare the block was chords intended heard either around for the half-wayorgan at (long-long-short) figures, in four-parts. Though 17 See Luther’s directions to believers suffering depression: ‘When of his definition of genuine Christian experience, Weimar,mark that or contrastperhaps withfor the the new spun organ counterpoint, in Halle, hymn’the musical (Williams figures 2003 are p.240),standard, about common the coming for the you are sad, therefore, and when melancholy threatens to get the of God’s Son to ‘free and release’ (freie und upper hand, say: “Arise! I must play a song unto the Lord on my regal and thus taught that moving them God-ward asas Bachwell aswas a approachedcertain simplicity for the to appointment the harmony. of time, the work reflects careful craftsmanship. [...].” Then begin striking the keys and singing in accompaniment, as was the primary aim of any means of grace CapellmeisterThe simplicity there carries in 1713.over to the Fugue, with entbinde)Listen for thethe world pedal from coming sin. Thisin near is depicted the end, by David and Elisha did, until your sad thoughts vanish.’ Martin Luther, the chorale set in a canon - the identification Theodore G. Tappert (ed.), Letters of Spiritual Counsel (Louisville: in the church, whether preaching or music. As its long melodious subject, written as though on a low E, as the material becomes freer in Westminster John Knox Press, 2006) p. 97. 19 Richard A. Spurgeon Hall, ‘Bach and Edwards on the Religious Thewith collectiona silent text. as Texturally,we have itthere is markedis an audible by a ofthe the final Son withsection, the world?with the - theharmony soprano expertly voice 18 Laurence Dreyfus, Bach and the Patterns of Invention (Cambridge: Affections’ in Johan Sebastian: A Tercentenary Celebration, ed. Seymour against the pedal 8’, at the octave, which is Harvard University Press, 1996). L. Benstock (Westport: Greenwood Press), pp. 69 – 81. numbersimilarity of with features. Prelude The – comparetexts of thethe manual’schorales handled. In this recording, the Fantasia is given in Luther’s writings are not only that he saw many cases the background text, where clear, examples of Edward’s affection-driven theology areblock given chords primacy when thein Bach’spedal finally musical enters portrayal (after music as inherently theological on a number of often illuminates both the general affekt of a in practice, the organ works of Bach clearly ofa thelengthy texts, manualiter with the affect exposition). of each text Eventually, captured different levels,16 but specifically that he saw given prelude, and the specificity of particular cohere in their common ability to promote both succinctlysemiquaver-driven in usually writing a short breaks space. free into This free is music as having a role in moving the believer’s harmonies and figurations that have been belief and beauty, or perhaps more accurately, achieveddemisemiquavers through for the the finalconcentrated section. use of affections towards God, and thus an ability chosen to illustrate it. belief through beauty. musical motifs, with each chorale setting marked to strengthen the believer’s faith in Christ.17 usuallyBWV 718 by Christ a single lag motif in Todesbanden which both propels the Combining this insight with the commonly- Conclusion – Bach, Beauty and Belief BachBWV 549Orgelbüchlein Prelude and Fugue in C minor settings‘Christ lag forward in Todesbanden’ and carry theis one burden of Luther’s of the observed (though not unchallenged) evidence Although the label of ‘The Complete Organ TheBWV Orgelbüchlein549 has a (‘Littlefascinating Organ provenance;Book’) was emotionalEaster texts import and ofset the to counterpoint. a chorale thatGenerally, was of the Baroque Affektenlehre (or ‘Doctrine of Works of Bach’ for the corpus is a misnomer, intendedScholars bynote Bach that to thecover C theminor entire work church is a theused chorale a number is heard of times in the by soprano Bach. texture.BWV 718 is the Affections’) in Bach’s music, it can be seen there are still many varied ways in which to yearactually as a transpositioncompendium of thechorale Prelude arrangements. and Fugue a chorale fantasia: relatively small-scale in how often Bach’s sacred music (chorale-based view it coherently; theological aesthetics is just However,in D minor only (BWV 46 were549a) completed – an identical out of work the 1length, Nun komm, but ambitious der Heiden and Heiland far-ranging BWV in599 scope or liturgically-intended; often both) makes its one example. Theology and aesthetics combine potentialtransposed 164 up chorales,possibly to for avoid reasons a high unknown. ‘d’ in the Theand openingstyle. The chorale melody of throughout the Orgelbüchlein is stylised is spiritual utility felt through its projection of throughout Bach’s organ music, uniting them Theopening resulting pedal collection solo (see is Williams a masterful 2003 showcase p. 125). Luther’swith ornaments advent andtext, the given accompaniment a telling musical based a relevant and (sometimes) dominant affekt. as works that project a Christian Lutheran ofThe compositional C minor version skill, (BWV Bach 549) typically played making here also full portrayal.on a repeated Word rhythmicpainting figure.is evident The insetting the This primary affekt is then projected through worldview through their specifically musical andbears imaginative striking resemblancesuse of the contrapuntal to the C method major ‘falling’moves from motive a two-part at the start,texture harpsichord-like, at the start to the musical material, itself often consisting of beauty. In this they serve as exemplars of the toPrelude illustrate BWV each 531. chorale. The Prelude of BWV 549 opens whichthree- leadsand even onto four-part the initial textures dissonance, later, withand harmonic and motivic workings-out of a single theology of another towering eighteenth-century with an arresting pedal solo, based on a rising continuesthe pedal throughout.enters for aIt reiterationis especially of noticeable the final inventio, or dominant musical figure.18 In the Christian intellect, whose published thought Thesequence collection of suspirans was seemingly figures, begun highlighted in 1713, by in‘Hallelujah’. the pedal. The repeated motif is a suspirans, organ music, this notion is perhaps most useful also combined beauty and belief with an whilstthe characteristic Bach was at ‘intake Weimar, of breath’.and continued The main for used to create a sombre, serious affect. in approaching the chorale preludes – a genre emphasis on the affections of the believer: the threematerial years of beforethe Prelude being buildsinterrupted. on the The pedal’s title BWV 563 Fantasia and Imitatio in B minor that covers many of the organ works – where in American pastor Jonathan Edwards, with whom wasfigures, added with later, an almostwhilst melancholyBach was gravitas working – 2The Gott Fantasia durch deineis written Güte (or)for Gottesmanuals Sohn only, ist Bach has once been compared.19 Edwards atevident Cöthen. in thisIt hasrecording. been conjecturedOf particular that interest the kommenbuilding aBWV 24-bar 600 piece out of light, airy dactyl 16 Robin A. Leaver, Luther’s Liturgical Music: Principles and Implica- The text of BWV 600 is an ‘old Thuringian Advent tions (Grand Rapids: Eerdmans, 2007). placed the affections-of-the-heart at the centre collectionare the block was chords intended heard either around for the half-wayorgan at (long-long-short) figures, in four-parts. Though 17 See Luther’s directions to believers suffering depression: ‘When of his definition of genuine Christian experience, Weimar,mark that or contrastperhaps withfor the the new spun organ counterpoint, in Halle, hymn’the musical (Williams figures 2003 are p.240),standard, about common the coming for the you are sad, therefore, and when melancholy threatens to get the of God’s Son to ‘free and release’ (freie und upper hand, say: “Arise! I must play a song unto the Lord on my regal and thus taught that moving them God-ward asas Bachwell aswas a approachedcertain simplicity for the to appointment the harmony. of time, the work reflects careful craftsmanship. [...].” Then begin striking the keys and singing in accompaniment, as was the primary aim of any means of grace CapellmeisterThe simplicity there carries in 1713.over to the Fugue, with entbinde)Listen for thethe world pedal from coming sin. Thisin near is depicted the end, by David and Elisha did, until your sad thoughts vanish.’ Martin Luther, the chorale set in a canon - the identification Theodore G. Tappert (ed.), Letters of Spiritual Counsel (Louisville: in the church, whether preaching or music. As its long melodious subject, written as though on a low E, as the material becomes freer in Westminster John Knox Press, 2006) p. 97. 19 Richard A. Spurgeon Hall, ‘Bach and Edwards on the Religious Thewith collectiona silent text. as Texturally,we have itthere is markedis an audible by a ofthe the final Son withsection, the world?with the - theharmony soprano expertly voice 18 Laurence Dreyfus, Bach and the Patterns of Invention (Cambridge: Affections’ in Johan Sebastian: A Tercentenary Celebration, ed. Seymour against the pedal 8’, at the octave, which is Harvard University Press, 1996). L. Benstock (Westport: Greenwood Press), pp. 69 – 81. numbersimilarity of with features. Prelude The – comparetexts of thethe manual’schorales handled. In this recording, the Fantasia is given accompanied by running quavers that provide simple elements through elegant decoration. 8 Vom Himmel hoch, da komm ich her BWV 606 semiquavers, providing a full texture to this a harmonization. Bach includes registration This is a noble setting, with the chorale Christmas chorale, the text emphasising the instructions for the canon (manual - 8’ Principal; 5 Puer natus in Bethlehem BWV 603 embellished above a full 4-part texture. From ‘opening up’ of heaven. Williams highlights the pedal - 8; Trumpet), and there is evidence of This is a setting of the Latin text of a Christmas the opening unison, the pedal part leads the ‘two great ascents’ of the pedal line (Williams clever planning, with a B-A-C-H figure in bar 16, hymn that was associated with Epiphany harmony in quavers beneath running middle 2003 p. 255), nicely capturing the ‘vivid which is also represents the Golden Section (bar (Williams 2003 p. 245). Hear the chorale parts. The text’s joy and gladness (‘ich bring counterpoint to the chorale-melody’, rather than 16 of 35) - as scholars have noted. unfolding slowly at the top of the texture, euch gute neue Mär’) are reflected in the bell- anything strictly symbolic. accompanied by quavers and a wide-ranging like motifs of Bach’s setting. 3 Herr Christ, der ein‘ge Gottes Sohn (or) Herr pedal line, whose opening features a syncopated, 12 Jesu, meine Freude BWV 610 Gott, nun sei gepreiset BWV 601 rhythmic off-beat that can be heard throughout. 9 Vom Himmel kam der Engel Schar BWV 607 This is a melancholy setting, the affect projected The text speaks poetically of the coming of Christ, This ‘response to Christmas seems to be awe or This is a setting of Luther’s last Christmas by chromatic writing in a modal C minor and a him ‘sprouting’ (entsprossen) from the Father’s fear rather than jollity’ (Williams 2003, p. 247). hymn, from 1543 (Williams 2003 p. 251). The ‘Largo’ marking . Two motifs dominate - the heart; a poetic image that is also suggested by text features angels, describing their descent opening anapaest (short-short-long), and the the motivic writing. The recurring motif in this 6 Gelobet seist du, Jesu Christ BWV 604 from heaven to the shepherds, an image pedal four semiquavers-after-a-rest. setting is a suspirans, as in BWV 599, but given The repetition of the motifs in BWV 604 result in perhaps reflected in the abundance of scale The affect of the setting links to its text, a very different character: suggestive of joy. a constant semiquaver motion, spread between figures throughout. These are given plenty of expressing ‘fervent longing’ (Spitta), the 1653 Though a common motif, this ‘must represent a the parts. The chorale melody is in the right rhythmic variety: semiquavers in the tenor line Epiphany text speaking of the believer’s desire conscious attempt to create new language from hand, at the top of the texture. The text is gentle against slower crotchets in the pedals, with the for Christ. it’ (Williams 2003 p. 244). praise to the Incarnate Christ, an affect reflected alto filling in the harmony. in the setting, and set to a plainsong-derived 13 Christum wir sollen loben schon BWV 611 4 Lob sei dem allmächtigen Gott BWV 602 chorale. 10 In dulci jubilo BWV 608 An Adagio setting, BWV 611 is striking as for The text is a hymn of praise to God for sending his BWV 608 is a canon, between the soprano in the first time in the collection the chorale is not Son: an advent hymn published in 1531.There is 7 Der Tag, der ist so freudenreich BWV 605 the right hand, and the pedal. Underneath are at the top of the texture, but in the alto. From sophistication evident in the motivic structure: a The joy inherent in the chorale’s text is the inner parts, in jubilant triplets. Throughout, the initial wide-spacing of the unison Ds, the repeated motif based on a three-note suspirans, reflected in Bach’s setting, especially in the the triplet feel is interrupted by crotchet cross setting is noteworthy for the intricacy of writing with an extra shake. The pedal line decorates a use of the repeating motif, a jaunty off-beat rhythms, highlighting the joy of the text. weaved around the melody. The motifs are built simple scalic descent, which is a feature of the demisemiquaver. The melody is again in the RH, on semiquavers; note the pedal syncopations entire setting, also exemplifying its dominant left unembellished. 11 Lobt Gott, ihr Christen allzugleich BWV 609 throughout; which bleed into the other lines; style, which focuses on the embellishment of The pedal quaver line underpins lively and the suspirans figure, with its initial rest, accompanied by running quavers that provide simple elements through elegant decoration. 8 Vom Himmel hoch, da komm ich her BWV 606 semiquavers, providing a full texture to this a harmonization. Bach includes registration This is a noble setting, with the chorale Christmas chorale, the text emphasising the instructions for the canon (manual - 8’ Principal; 5 Puer natus in Bethlehem BWV 603 embellished above a full 4-part texture. From ‘opening up’ of heaven. Williams highlights the pedal - 8; Trumpet), and there is evidence of This is a setting of the Latin text of a Christmas the opening unison, the pedal part leads the ‘two great ascents’ of the pedal line (Williams clever planning, with a B-A-C-H figure in bar 16, hymn that was associated with Epiphany harmony in quavers beneath running middle 2003 p. 255), nicely capturing the ‘vivid which is also represents the Golden Section (bar (Williams 2003 p. 245). Hear the chorale parts. The text’s joy and gladness (‘ich bring counterpoint to the chorale-melody’, rather than 16 of 35) - as scholars have noted. unfolding slowly at the top of the texture, euch gute neue Mär’) are reflected in the bell- anything strictly symbolic. accompanied by quavers and a wide-ranging like motifs of Bach’s setting. 3 Herr Christ, der ein‘ge Gottes Sohn (or) Herr pedal line, whose opening features a syncopated, 12 Jesu, meine Freude BWV 610 Gott, nun sei gepreiset BWV 601 rhythmic off-beat that can be heard throughout. 9 Vom Himmel kam der Engel Schar BWV 607 This is a melancholy setting, the affect projected The text speaks poetically of the coming of Christ, This ‘response to Christmas seems to be awe or This is a setting of Luther’s last Christmas by chromatic writing in a modal C minor and a him ‘sprouting’ (entsprossen) from the Father’s fear rather than jollity’ (Williams 2003, p. 247). hymn, from 1543 (Williams 2003 p. 251). The ‘Largo’ marking . Two motifs dominate - the heart; a poetic image that is also suggested by text features angels, describing their descent opening anapaest (short-short-long), and the the motivic writing. The recurring motif in this 6 Gelobet seist du, Jesu Christ BWV 604 from heaven to the shepherds, an image pedal four semiquavers-after-a-rest. setting is a suspirans, as in BWV 599, but given The repetition of the motifs in BWV 604 result in perhaps reflected in the abundance of scale The affect of the setting links to its text, a very different character: suggestive of joy. a constant semiquaver motion, spread between figures throughout. These are given plenty of expressing ‘fervent longing’ (Spitta), the 1653 Though a common motif, this ‘must represent a the parts. The chorale melody is in the right rhythmic variety: semiquavers in the tenor line Epiphany text speaking of the believer’s desire conscious attempt to create new language from hand, at the top of the texture. The text is gentle against slower crotchets in the pedals, with the for Christ. it’ (Williams 2003 p. 244). praise to the Incarnate Christ, an affect reflected alto filling in the harmony. in the setting, and set to a plainsong-derived 13 Christum wir sollen loben schon BWV 611 4 Lob sei dem allmächtigen Gott BWV 602 chorale. 10 In dulci jubilo BWV 608 An Adagio setting, BWV 611 is striking as for The text is a hymn of praise to God for sending his BWV 608 is a canon, between the soprano in the first time in the collection the chorale is not Son: an advent hymn published in 1531.There is 7 Der Tag, der ist so freudenreich BWV 605 the right hand, and the pedal. Underneath are at the top of the texture, but in the alto. From sophistication evident in the motivic structure: a The joy inherent in the chorale’s text is the inner parts, in jubilant triplets. Throughout, the initial wide-spacing of the unison Ds, the repeated motif based on a three-note suspirans, reflected in Bach’s setting, especially in the the triplet feel is interrupted by crotchet cross setting is noteworthy for the intricacy of writing with an extra shake. The pedal line decorates a use of the repeating motif, a jaunty off-beat rhythms, highlighting the joy of the text. weaved around the melody. The motifs are built simple scalic descent, which is a feature of the demisemiquaver. The melody is again in the RH, on semiquavers; note the pedal syncopations entire setting, also exemplifying its dominant left unembellished. 11 Lobt Gott, ihr Christen allzugleich BWV 609 throughout; which bleed into the other lines; style, which focuses on the embellishment of The pedal quaver line underpins lively and the suspirans figure, with its initial rest, heard first in the soprano at the start. the text into its twelve bars. The chorale is embellished concentration of ideas and systematic working built on the setting’s chief motif - gently lilting is a hymn for Christmas, written by Luther in the right hand, ornamented, with highly out of the counterpoint. The text is a setting of semiquavers with a pair of demisemiquavers. after a Latin original. Williams catalogues the expressive moments of pathos, and accompanied the Nunc Dimittis, emphasising the peaceful Williams highlights that BWV618 forms a pair history of allegorical interpretation that this by motivically tightly-knit three parts, marked by hope of Christian death. with the following setting, sharing key, theme, setting has invited: for example, the alto cantus chromatic fourths - the interval filled in - usually structure, but contrasting in, for example, representing the baby Jesus in the womb; the implying grief. The pedal and tenor are often in 19 Herr Gott, nun schleuß den Himmel auf BWV affect, time signature, and length. ‘ends of the earth’ (in verse 1 of the hymn) dialogue with each other, sometimes moving in 617 symbolised by bar 5’s four-octave span from contrary motion. The text is about gratitude for The chorale is unusually set in two-parts, both 21 Christe, du Lamm Gottes BWV 619 C-c’’’ (Williams 2003 p. 259). the preservation and protection of another year. in the right hand. Strictly a trio setting, the This is another Agnus Dei setting, in a German The marked affect of grief in this setting has trio texture is nevertheless unique: each line is translation from 1528. Bach’s setting is built 14 Wir Christenleut BWV 612 invited speculation, but there may be a concrete idiosyncratic, with its own character, with no on a simple descending scale in triple metre, This is a lively setting of the Christmas hymn reason - two of Bach’s children, twins, died in interplay between the parts. Against a scalic, echoed at three octaves in succession, and from 1593, a text that emphasises the joy of the 1713, the ‘alte Jahr’ (see Williams 2003 p. 265). triplet accompaniment in the left hand the weaved into intricate canonic writing, ‘a peak in believer through Christ. This joy is given musical pedal is syncopated, producing a line of some the Weimar canonic tradition’ (Williams 2003 p. representation through a dancing triplet metre, 17 In dir ist Freude BWV 615 virtuosity. The text is a prayer for death, for the 274). Like its predecessor in the collection, the the pedal supplying the foundation with steady BWV 615 is characterised by a markedly ‘unlocking’ of heaven. Williams suggests the chorale does not start straight away. quavers, and a repeating motif. different affect from the previous chorale - joy accompaniment is ‘unstoppable’, highlighting - which is sounded out by a dominant pedal many instances in the text of the idea (Williams 22 Christus, der uns selig macht BWV 620 15 Helft mir Gotts Güte preisen BWV 613 motif heard in the first bar. The imitative writing 2003 p. 271). This setting is given a similar texture to BWV 618, BWV 613 is harmonically intricate, underpinned between manuals, in which the chorale’s motifs with the chorale heard in canon at the fifteenth by a quaver pedal line and flowing inner pats. are heard repeatedly like bells, emphasises the 20 O Lamm Gottes, unschuldig BWV 618 between right hand and pedal. In between, as in These imitate each other, originating from the joyful feel, along with the ebullient quavers and The collection now moves on to Easter chorales, BWV 618, two imitative inner parts also sound suspirans figure at the start in the alto part - a scalic writing. and with it comes a new texture: the chorale canonic, though are not. The soprano voice motif that features throughout. The text includes melody heard in the pedal. The text is a setting starts the canon; the pedal follows, meaning references to the passing of time, an idea that is 18 Mit Fried und Freud ich fahr dahin BWV 616 of the Agnus Dei from 1542, sung on Good Friday. that the soprano voice finishes first, three bars perhaps reflected in the constant scalic writing. The parts of this setting ate united by a There is a new complexity here too - the chorale from the end, before joining the motivic working gentle undulating motif of long-short-short in canon at the fifth, and the accompaniment in of the inner parts to finish. The text is another 16 Das alte Jahr vergangen ist BWV 614 (dactyl), and the imitative writing in the first free imitation with itself - at the start it seems Easter chorale for Good Friday, speaking of the This is a densely compact setting, packing much bar exemplifies the whole - a testament to the it could also be in canon at the octave. This is humiliation of Christ, ideas perhaps behind the heard first in the soprano at the start. the text into its twelve bars. The chorale is embellished concentration of ideas and systematic working built on the setting’s chief motif - gently lilting is a hymn for Christmas, written by Luther in the right hand, ornamented, with highly out of the counterpoint. The text is a setting of semiquavers with a pair of demisemiquavers. after a Latin original. Williams catalogues the expressive moments of pathos, and accompanied the Nunc Dimittis, emphasising the peaceful Williams highlights that BWV618 forms a pair history of allegorical interpretation that this by motivically tightly-knit three parts, marked by hope of Christian death. with the following setting, sharing key, theme, setting has invited: for example, the alto cantus chromatic fourths - the interval filled in - usually structure, but contrasting in, for example, representing the baby Jesus in the womb; the implying grief. The pedal and tenor are often in 19 Herr Gott, nun schleuß den Himmel auf BWV affect, time signature, and length. ‘ends of the earth’ (in verse 1 of the hymn) dialogue with each other, sometimes moving in 617 symbolised by bar 5’s four-octave span from contrary motion. The text is about gratitude for The chorale is unusually set in two-parts, both 21 Christe, du Lamm Gottes BWV 619 C-c’’’ (Williams 2003 p. 259). the preservation and protection of another year. in the right hand. Strictly a trio setting, the This is another Agnus Dei setting, in a German The marked affect of grief in this setting has trio texture is nevertheless unique: each line is translation from 1528. Bach’s setting is built 14 Wir Christenleut BWV 612 invited speculation, but there may be a concrete idiosyncratic, with its own character, with no on a simple descending scale in triple metre, This is a lively setting of the Christmas hymn reason - two of Bach’s children, twins, died in interplay between the parts. Against a scalic, echoed at three octaves in succession, and from 1593, a text that emphasises the joy of the 1713, the ‘alte Jahr’ (see Williams 2003 p. 265). triplet accompaniment in the left hand the weaved into intricate canonic writing, ‘a peak in believer through Christ. This joy is given musical pedal is syncopated, producing a line of some the Weimar canonic tradition’ (Williams 2003 p. representation through a dancing triplet metre, 17 In dir ist Freude BWV 615 virtuosity. The text is a prayer for death, for the 274). Like its predecessor in the collection, the the pedal supplying the foundation with steady BWV 615 is characterised by a markedly ‘unlocking’ of heaven. Williams suggests the chorale does not start straight away. quavers, and a repeating motif. different affect from the previous chorale - joy accompaniment is ‘unstoppable’, highlighting - which is sounded out by a dominant pedal many instances in the text of the idea (Williams 22 Christus, der uns selig macht BWV 620 15 Helft mir Gotts Güte preisen BWV 613 motif heard in the first bar. The imitative writing 2003 p. 271). This setting is given a similar texture to BWV 618, BWV 613 is harmonically intricate, underpinned between manuals, in which the chorale’s motifs with the chorale heard in canon at the fifteenth by a quaver pedal line and flowing inner pats. are heard repeatedly like bells, emphasises the 20 O Lamm Gottes, unschuldig BWV 618 between right hand and pedal. In between, as in These imitate each other, originating from the joyful feel, along with the ebullient quavers and The collection now moves on to Easter chorales, BWV 618, two imitative inner parts also sound suspirans figure at the start in the alto part - a scalic writing. and with it comes a new texture: the chorale canonic, though are not. The soprano voice motif that features throughout. The text includes melody heard in the pedal. The text is a setting starts the canon; the pedal follows, meaning references to the passing of time, an idea that is 18 Mit Fried und Freud ich fahr dahin BWV 616 of the Agnus Dei from 1542, sung on Good Friday. that the soprano voice finishes first, three bars perhaps reflected in the constant scalic writing. The parts of this setting ate united by a There is a new complexity here too - the chorale from the end, before joining the motivic working gentle undulating motif of long-short-short in canon at the fifth, and the accompaniment in of the inner parts to finish. The text is another 16 Das alte Jahr vergangen ist BWV 614 (dactyl), and the imitative writing in the first free imitation with itself - at the start it seems Easter chorale for Good Friday, speaking of the This is a densely compact setting, packing much bar exemplifies the whole - a testament to the it could also be in canon at the octave. This is humiliation of Christ, ideas perhaps behind the chromatic and turbulent writing characteristic 25 Wir danken dir, Herr Jesu Christ BWV 623 There are some musical features in this setting ‘Surrexit Christus hodie’. of the setting. This setting is driven by the opening pedal that tie it in to other of Bach’s versions of this motif - a rest followed by two semis, followed by chorale, for example the rising chromatic fourth 31 Erschienen ist der herrliche Tag BWV 629 23 Da Jesus an dem Kreuze stund BWV 621 quavers - which gives a dance-like jollity to the in bar in the second half. In this setting the left hand is permeated with The harmonic working of the chorale is telling affect. As has been pointed out, it is also very the motif short-short-long (anapaest) driving in this setting, with suspensions played off ‘cello-like’ (Wiilliams 2003 p. 282). This motif 28 Jesus Christus, unser Heiland, der den Tod the music forward syncopated pedal notes. It is tempting to see bleeds into the inner voices, with the chorale überwand BWV 626 The chorale can be heard in a canon at the the musical references to the number 7, present above. The chorale is a text of thanks to God for This is set in compound time, and given motifs octave (really two octaves, the fifteenth), though a descending seventh motif in the pedal, the death of Christ, and an affirmation of the that suggest ‘rising’, suitable for Luther’s three- between soprano and pedal. The text (1560) as linking to the number 7 mentioned in the text Lutheran idea of Christ’s imputed righteousness verse Easter hymn from 1524. The dominant again speaks of the joy of the Resurrection, (Christ’s seven words on the cross). However, to the believer. motif is a syncopated quaver rhythm, initially but Bach sets it to a contrasting affect to the this characteristic pedal motif has also been heard in its ‘rising’ form in the pedals. previous setting. This is heard in the contrasting seen as symbolising more generally the death 26 Hilf Gott, dass mir’s gelinge BWV 624 mode - Aeolian on D - which gives a feel of D and ‘sinking’ of Christ. BWV 624 is set in the form of another canon: the 29 Christ ist erstanden BWV 627 minor and creates a sombre mood in contrast chorale is in canon with itself at the fifth, in the BWV 627 is unusual in the collection, given a to the joyful exuberance of the previous chorale. 24 O Mensch, bewein dein Sünde groß BWV 622 right hand. The remaining two voices are in a longer setting that seems to develop its motives, BWV 622 is perhaps the emotional centre trio texture, with single lines, but (like BWV 617) and intentionally spanning three verses of 32 Heut triumphieret Gottes Sohn BWV 630 of the collection. It is based on a text that each has its own unique character. The left hand the chorale. The three accompanying parts This is the final Resurrection setting, more explores feelings of devotion to the crucified contains triplet semiquavers - joyfully singing throughout are highly imitative, and the chorale motivically independent than BWV 629. It is Christ, capturing its theology in detail. This is the ‘word’ (‘Dass ich mag fröhlich heben an von was sung on all days of Easter. punctuated throughout by a triumphant pedal explored in a long, languishing line of melody, deinem Wort zu singen’)? The pedal is marked motif based on a suspirans (four notes: short- underpinned with slowly-unfolding, beautiful by syncopations. The chorale is from 1527, H. 30 Erstanden ist der heilge Christ BWV 628 short-short-long). The apex of this musical harmony. It is also possible to interpret Bach’s Muller’s ‘Ballad of the Passion’. This is set in a bright D major to musical figures symbol of triumph is heard in the final four harmonic writing theologically. Oft-noted are that, as previously, also suggest ‘rising’, from bars, the pedal traversing the three octaves the final bars, with their celebrated C-flat major 27 Christ lag in Todesbanden BWV 625 the initial alto rising scale, echoed in the tenor, from D - D’’ in jubilant quavers, above a ‘clearly chord, with their strong chromatic harmony, BWV 625 marks the start of a series of six and the pedal rising fifth; these permeates articulated ‘Ha-lle-lu-jah’’ in the soprano perhaps in this context symbolising Christ’s Resurrection chorales, this set to an Easter through the setting. Bach’s affect suits the (Williams 2003 p. 294). taking of sin on himself at the Cross. hymn by Luther. The motif heard throughout is mood of the text: a joyful ‘Hallelujah’ to the holy four descending semiquavers that permeate. risen Christ in a 1544 version of the Latin carol chromatic and turbulent writing characteristic 25 Wir danken dir, Herr Jesu Christ BWV 623 There are some musical features in this setting ‘Surrexit Christus hodie’. of the setting. This setting is driven by the opening pedal that tie it in to other of Bach’s versions of this motif - a rest followed by two semis, followed by chorale, for example the rising chromatic fourth 31 Erschienen ist der herrliche Tag BWV 629 23 Da Jesus an dem Kreuze stund BWV 621 quavers - which gives a dance-like jollity to the in bar in the second half. In this setting the left hand is permeated with The harmonic working of the chorale is telling affect. As has been pointed out, it is also very the motif short-short-long (anapaest) driving in this setting, with suspensions played off ‘cello-like’ (Wiilliams 2003 p. 282). This motif 28 Jesus Christus, unser Heiland, der den Tod the music forward syncopated pedal notes. It is tempting to see bleeds into the inner voices, with the chorale überwand BWV 626 The chorale can be heard in a canon at the the musical references to the number 7, present above. The chorale is a text of thanks to God for This is set in compound time, and given motifs octave (really two octaves, the fifteenth), though a descending seventh motif in the pedal, the death of Christ, and an affirmation of the that suggest ‘rising’, suitable for Luther’s three- between soprano and pedal. The text (1560) as linking to the number 7 mentioned in the text Lutheran idea of Christ’s imputed righteousness verse Easter hymn from 1524. The dominant again speaks of the joy of the Resurrection, (Christ’s seven words on the cross). However, to the believer. motif is a syncopated quaver rhythm, initially but Bach sets it to a contrasting affect to the this characteristic pedal motif has also been heard in its ‘rising’ form in the pedals. previous setting. This is heard in the contrasting seen as symbolising more generally the death 26 Hilf Gott, dass mir’s gelinge BWV 624 mode - Aeolian on D - which gives a feel of D and ‘sinking’ of Christ. BWV 624 is set in the form of another canon: the 29 Christ ist erstanden BWV 627 minor and creates a sombre mood in contrast chorale is in canon with itself at the fifth, in the BWV 627 is unusual in the collection, given a to the joyful exuberance of the previous chorale. 24 O Mensch, bewein dein Sünde groß BWV 622 right hand. The remaining two voices are in a longer setting that seems to develop its motives, BWV 622 is perhaps the emotional centre trio texture, with single lines, but (like BWV 617) and intentionally spanning three verses of 32 Heut triumphieret Gottes Sohn BWV 630 of the collection. It is based on a text that each has its own unique character. The left hand the chorale. The three accompanying parts This is the final Resurrection setting, more explores feelings of devotion to the crucified contains triplet semiquavers - joyfully singing throughout are highly imitative, and the chorale motivically independent than BWV 629. It is Christ, capturing its theology in detail. This is the ‘word’ (‘Dass ich mag fröhlich heben an von was sung on all days of Easter. punctuated throughout by a triumphant pedal explored in a long, languishing line of melody, deinem Wort zu singen’)? The pedal is marked motif based on a suspirans (four notes: short- underpinned with slowly-unfolding, beautiful by syncopations. The chorale is from 1527, H. 30 Erstanden ist der heilge Christ BWV 628 short-short-long). The apex of this musical harmony. It is also possible to interpret Bach’s Muller’s ‘Ballad of the Passion’. This is set in a bright D major to musical figures symbol of triumph is heard in the final four harmonic writing theologically. Oft-noted are that, as previously, also suggest ‘rising’, from bars, the pedal traversing the three octaves the final bars, with their celebrated C-flat major 27 Christ lag in Todesbanden BWV 625 the initial alto rising scale, echoed in the tenor, from D - D’’ in jubilant quavers, above a ‘clearly chord, with their strong chromatic harmony, BWV 625 marks the start of a series of six and the pedal rising fifth; these permeates articulated ‘Ha-lle-lu-jah’’ in the soprano perhaps in this context symbolising Christ’s Resurrection chorales, this set to an Easter through the setting. Bach’s affect suits the (Williams 2003 p. 294). taking of sin on himself at the Cross. hymn by Luther. The motif heard throughout is mood of the text: a joyful ‘Hallelujah’ to the holy four descending semiquavers that permeate. risen Christ in a 1544 version of the Latin carol 33 Komm, Gott Schöpfer, heiliger Geist BWV of this chorale, texturally interesting for its in conception to the previous setting - with 631 five-parts that derive from the chorale heard in 38 Vater unser im Himmelreich BWV 636 each line of music individually characterised After the Resurrection comes Pentecost, chorales canon between soprano and alto, at the fifth. BWV 636 is based on the setting of the Lord’s (chorale/running semiquaver inner parts/a that feature the ministry of the Holy Spirit. First The text focuses on the Word of God (like that Prayer, by Luther. The chorale, in the soprano, is ‘leaping’ bass) - intentionally points to the is this chorale, on Luther’s version of ‘Veni of the previous setting), but from the angle of accompanied by a suspirans figure throughout, theological connection between them (Williams Creator Spiritus’, for Whitsunday. It is given Christ rather than the Spirit - the believer sitting weaving around the melody. 2003 p. 306). another unusual setting, in compound time at the ‘dear’ (‘liebster’) Jesus’s feet to hear his (12/8). The pedal is given only short quavers to word. The motives throughout are tightly knit, 39 Durch Adams Fall ist ganz verderbt BWV 41 Ich ruf zu dir, Herr Jesu Christ BWV 639 play, on every third beat, perhaps intended to traceable to the chorale’s stepwise intervals. 637 The text of this chorale cries out to Christ for give a rhythmic portrayal of the ‘third’ person of This is a setting of a text that describes fallen grace. It is given a beautifully characterised the Trinity - the Spirit. 36 Liebster Jesu, wir sind hier BWV 634 humanity. It is given telling musical portrayal, setting, in F minor, similarly conceived to the BWV 634 is a varied version of the BWV 633, heard in the chromatic inflections heard in previous two, with semiquaver inner lines and 34 Herr Jesu Christ, dich zu uns wend BWV 632 with some more flowing development given to the inner harmony; the diminished sevenths a quaver bass. The left hand’s running line This 1648 text is a prayer before the sermon, a the counterpoint of the inner parts and pedal, that literally ‘fall’ in the pedal; the twisting emphasises sighing figures and deftly brings text that was sung weekly, and perhaps penned some of the slower notes turned into quavers, serpent-like running semiquavers throughout out touching harmony to project the gentle by Duke Wilhelm II of Sachsen-Weimar (Williams and the harmony filled out. The melody retains (perhaps deliberate as the text mentions the melancholy of the affect. The setting sounds like 2003 p. 296). It is a prayer for the Holy Spirit its mellifluous serenity, but with a little more serpent of Genesis chapter 3 - ‘die Schlang’). a transcribed string trio, which has led some to lead the congregation into God’s truth. In embellishment. Williams highlights the harmonic instability - to see it as a reworking of a - perhaps lost - Bach’s setting, the chorale is played around and ingenuity - that Bach’s motivic technique cantata movement. a suspirans figure - not dissimilar to the first 37 Dies sind die heilgen zehn Gebot BWV 635 creates, as in the space of six beats and two bars of the Leipzig chorales, BWV 651, another Holy This is the first of the chorales the deal with (13-14) six keys are ‘temporarily established’ 42 In dich hab ich gehoffet, Herr BWV 640 Spirit chorale, ‘Komm Heiliger Geist’. The triadic aspects of Luther’s catechism, this on the (Williams 2003 p. 304-305). The text is a prayer to the Lord for sustenance, shape of the chorale influences the counterpoint Ten Commandments. The repeated notes of emphasising the Lord’s faithfulness. Bach’s and musical figures of both the pedal and the the chorale feature strongly throughout in the 40 Es ist das Heil uns kommen her BWV 638 counterpoint is motivically striking, dominated left hand throughout. accompaniment, and as with other of Bach’s This hymn speaks of the central Reformation by an anapaest rhythm (short-short-long), settings of ‘Ten Commandment’ texts, there doctrine of justification through faith alone. It is which is derived from the chorale. This setting 35 Liebster Jesu, wir sind hier distinctus BWV are references to ‘ten’ in this setting: Williams given a bright D major setting, with the pedal also features another pedal line that stands out 633 describes the ‘ten entries’ of the subject (see active throughout, marked by positive rising from the remaining lines, strongly characterised. BWV 633 is a beautifully serene A major setting Williams 2003 p. 300). scales. It has been pointed out that the similarity 33 Komm, Gott Schöpfer, heiliger Geist BWV of this chorale, texturally interesting for its in conception to the previous setting - with 631 five-parts that derive from the chorale heard in 38 Vater unser im Himmelreich BWV 636 each line of music individually characterised After the Resurrection comes Pentecost, chorales canon between soprano and alto, at the fifth. BWV 636 is based on the setting of the Lord’s (chorale/running semiquaver inner parts/a that feature the ministry of the Holy Spirit. First The text focuses on the Word of God (like that Prayer, by Luther. The chorale, in the soprano, is ‘leaping’ bass) - intentionally points to the is this chorale, on Luther’s version of ‘Veni of the previous setting), but from the angle of accompanied by a suspirans figure throughout, theological connection between them (Williams Creator Spiritus’, for Whitsunday. It is given Christ rather than the Spirit - the believer sitting weaving around the melody. 2003 p. 306). another unusual setting, in compound time at the ‘dear’ (‘liebster’) Jesus’s feet to hear his (12/8). The pedal is given only short quavers to word. The motives throughout are tightly knit, 39 Durch Adams Fall ist ganz verderbt BWV 41 Ich ruf zu dir, Herr Jesu Christ BWV 639 play, on every third beat, perhaps intended to traceable to the chorale’s stepwise intervals. 637 The text of this chorale cries out to Christ for give a rhythmic portrayal of the ‘third’ person of This is a setting of a text that describes fallen grace. It is given a beautifully characterised the Trinity - the Spirit. 36 Liebster Jesu, wir sind hier BWV 634 humanity. It is given telling musical portrayal, setting, in F minor, similarly conceived to the BWV 634 is a varied version of the BWV 633, heard in the chromatic inflections heard in previous two, with semiquaver inner lines and 34 Herr Jesu Christ, dich zu uns wend BWV 632 with some more flowing development given to the inner harmony; the diminished sevenths a quaver bass. The left hand’s running line This 1648 text is a prayer before the sermon, a the counterpoint of the inner parts and pedal, that literally ‘fall’ in the pedal; the twisting emphasises sighing figures and deftly brings text that was sung weekly, and perhaps penned some of the slower notes turned into quavers, serpent-like running semiquavers throughout out touching harmony to project the gentle by Duke Wilhelm II of Sachsen-Weimar (Williams and the harmony filled out. The melody retains (perhaps deliberate as the text mentions the melancholy of the affect. The setting sounds like 2003 p. 296). It is a prayer for the Holy Spirit its mellifluous serenity, but with a little more serpent of Genesis chapter 3 - ‘die Schlang’). a transcribed string trio, which has led some to lead the congregation into God’s truth. In embellishment. Williams highlights the harmonic instability - to see it as a reworking of a - perhaps lost - Bach’s setting, the chorale is played around and ingenuity - that Bach’s motivic technique cantata movement. a suspirans figure - not dissimilar to the first 37 Dies sind die heilgen zehn Gebot BWV 635 creates, as in the space of six beats and two bars of the Leipzig chorales, BWV 651, another Holy This is the first of the chorales the deal with (13-14) six keys are ‘temporarily established’ 42 In dich hab ich gehoffet, Herr BWV 640 Spirit chorale, ‘Komm Heiliger Geist’. The triadic aspects of Luther’s catechism, this on the (Williams 2003 p. 304-305). The text is a prayer to the Lord for sustenance, shape of the chorale influences the counterpoint Ten Commandments. The repeated notes of emphasising the Lord’s faithfulness. Bach’s and musical figures of both the pedal and the the chorale feature strongly throughout in the 40 Es ist das Heil uns kommen her BWV 638 counterpoint is motivically striking, dominated left hand throughout. accompaniment, and as with other of Bach’s This hymn speaks of the central Reformation by an anapaest rhythm (short-short-long), settings of ‘Ten Commandment’ texts, there doctrine of justification through faith alone. It is which is derived from the chorale. This setting 35 Liebster Jesu, wir sind hier distinctus BWV are references to ‘ten’ in this setting: Williams given a bright D major setting, with the pedal also features another pedal line that stands out 633 describes the ‘ten entries’ of the subject (see active throughout, marked by positive rising from the remaining lines, strongly characterised. BWV 633 is a beautifully serene A major setting Williams 2003 p. 300). scales. It has been pointed out that the similarity 43 Wenn wir in höchsten Nöten sein BWV 641 46 Ach wie nichtig, ach wie flüchtig BWV 644 Bibliography Invention (New York: Cambridge University Indianapolis: Indiana University Press, 1991, Stinson, Russell, J.S. Bach’s Great Eighteen BWV 641 carries on the theme from the previous The last setting of the collection is strongly Press, 1996) 2001) Organ Chorales (New York: Oxford University chorale, setting another text that cries out to God characterised - note the leaping pedal octaves Butt, John (ed.), The Cambridge Companion to Gingrich, Linda, ‘Hidden Allegory in J.S Bach’s Press, 2001) for help. This cry is characterised in the right heard throughout (descending) against the Bach (Cambridge: Cambridge University Press, 1724 Trinity Season Chorale Cantatas’ in The Luther, Martin (Theodore G. Tappert (ed.)), hand chorale melody, beautifully embellished, rising scales in the inner parts, heard at the 1997) Choral Journal, Vol. 51, No. 1 (August 2010), Letters of Spiritual Counsel (Louisville: Spurgeon Hall, Richard A., ‘Bach and Edwards with some surprising harmonic shifts above outset. It sets a text from 1652 describing the pp. 6 – 17 Westminster John Knox Press, 2006) on the Religious Affections’ in Johan Sebastian: a continuo-like bass. There is a particularly futility of life, given musical expression here: ‘Bach’s metaphysics of music’ in A Tercentenary Celebration, ed. Seymour L. touching scale in the final bar. Williams posits a link between scale patterns John Butt (ed.), The Cambridge Keller, Hermann, The Organ Works of Bach: A Benstock (Westport: Greenwood Press), pp. 69 and ‘life’s transience’ in Bach’s mind, given Companion to Bach (Cambridge: Contribution to their History, Form, Interpretation Smith, Timothy A., ‘Fugues Without Words: A – 81. 44 Wer nur den lieben Gott lässt walten BWV common usage in Cantata 26 , which is based Cambridge University Press, 1997), and Performance (New York: Peters, 1967) Hearing of Four Fugues from “The Well Tempered 642 on the same chorale (Williams 2003 p. 315). pp. 46 – 59 Clavier” as Passion Music’ in Bach, Vol. 40, No. 2 Williams, Peter, J.S. Bach: A Life in Music This chorale is used extensively by Bach Leahy, Anne, ‘”Vor deinen Thron tret ich”: The (2009), pp. 45 – 66. (Cambridge: Cambridge University Press, 2007) elsewhere, and continues the theme of hoping George Parsons, 2019 ‘’A mind unconscious that it Eschatological Significance of the Chorale in God, ‘associated with the Fifth Sunday after is calculating’? Bach and the Settings of the P271 Manuscript of the Berlin Trinity’ (Williams 2003 p.312). Yet the affect rationalist philosophy of Wolff, Staatsbibliothek’ in Bach, Vol. 37, No. 2 (2006), is different to BWV 641: the motives of the Leibniz and Spinoza’ in John Butt pp. 81 – 118 accompaniment - dactyl (long-short-short) - (ed.), The Cambridge Companion give a solid, weighty, feel to the setting. to Bach (Cambridge: Cambridge Leaver, Robin, Luther’s Liturgical Music: University Press, 1997), pp. 60 – 71 Principles and Implications (Grand Rapids: 45 Alle Menschen müssen sterben BWV 643 Eerdmans, 2007) The final two chorales focus on death. BWV Chafe, Eric, Analysing Bach Cantatas (New 643 is based on a funeral text from 1642, York: Oxford University Press, 2000) ‘Music and Lutheranism’ in ‘All mankind must die’; the affect has been John Butt (ed.), The Cambridge described as ‘rapturous’ (Williams 2003 p. 313). Clement, Albert, ‘On the Inner Correlation Companion to Bach (Cambridge: The motif that runs through the entire chorale of the Six Chorales, BWV 645 – 650 and its Cambridge University Press, 1997) is the suspirans, but deftly worked to bind the Significance’ in Bach, Vol. 34, No. 2 (2003), pp. , pp. 35 – 45 music together. Note the leaping pedal line 1 – 62 throughout. Little, Meredith and Natalie Jenne, Dance Trinity College Chapel, Cambridge Dreyfus, Laurence, Bach and the Patterns of and the Music of J.S. Bach (Bloomington and 43 Wenn wir in höchsten Nöten sein BWV 641 46 Ach wie nichtig, ach wie flüchtig BWV 644 Bibliography Invention (New York: Cambridge University Indianapolis: Indiana University Press, 1991, Stinson, Russell, J.S. Bach’s Great Eighteen BWV 641 carries on the theme from the previous The last setting of the collection is strongly Press, 1996) 2001) Organ Chorales (New York: Oxford University chorale, setting another text that cries out to God characterised - note the leaping pedal octaves Butt, John (ed.), The Cambridge Companion to Gingrich, Linda, ‘Hidden Allegory in J.S Bach’s Press, 2001) for help. This cry is characterised in the right heard throughout (descending) against the Bach (Cambridge: Cambridge University Press, 1724 Trinity Season Chorale Cantatas’ in The Luther, Martin (Theodore G. Tappert (ed.)), hand chorale melody, beautifully embellished, rising scales in the inner parts, heard at the 1997) Choral Journal, Vol. 51, No. 1 (August 2010), Letters of Spiritual Counsel (Louisville: Spurgeon Hall, Richard A., ‘Bach and Edwards with some surprising harmonic shifts above outset. It sets a text from 1652 describing the pp. 6 – 17 Westminster John Knox Press, 2006) on the Religious Affections’ in Johan Sebastian: a continuo-like bass. There is a particularly futility of life, given musical expression here: ‘Bach’s metaphysics of music’ in A Tercentenary Celebration, ed. Seymour L. touching scale in the final bar. Williams posits a link between scale patterns John Butt (ed.), The Cambridge Keller, Hermann, The Organ Works of Bach: A Benstock (Westport: Greenwood Press), pp. 69 and ‘life’s transience’ in Bach’s mind, given Companion to Bach (Cambridge: Contribution to their History, Form, Interpretation Smith, Timothy A., ‘Fugues Without Words: A – 81. 44 Wer nur den lieben Gott lässt walten BWV common usage in Cantata 26 , which is based Cambridge University Press, 1997), and Performance (New York: Peters, 1967) Hearing of Four Fugues from “The Well Tempered 642 on the same chorale (Williams 2003 p. 315). pp. 46 – 59 Clavier” as Passion Music’ in Bach, Vol. 40, No. 2 Williams, Peter, J.S. Bach: A Life in Music This chorale is used extensively by Bach Leahy, Anne, ‘”Vor deinen Thron tret ich”: The (2009), pp. 45 – 66. (Cambridge: Cambridge University Press, 2007) elsewhere, and continues the theme of hoping George Parsons, 2019 ‘’A mind unconscious that it Eschatological Significance of the Chorale in God, ‘associated with the Fifth Sunday after is calculating’? Bach and the Settings of the P271 Manuscript of the Berlin Trinity’ (Williams 2003 p.312). Yet the affect rationalist philosophy of Wolff, Staatsbibliothek’ in Bach, Vol. 37, No. 2 (2006), is different to BWV 641: the motives of the Leibniz and Spinoza’ in John Butt pp. 81 – 118 accompaniment - dactyl (long-short-short) - (ed.), The Cambridge Companion give a solid, weighty, feel to the setting. to Bach (Cambridge: Cambridge Leaver, Robin, Luther’s Liturgical Music: University Press, 1997), pp. 60 – 71 Principles and Implications (Grand Rapids: 45 Alle Menschen müssen sterben BWV 643 Eerdmans, 2007) The final two chorales focus on death. BWV Chafe, Eric, Analysing Bach Cantatas (New 643 is based on a funeral text from 1642, York: Oxford University Press, 2000) ‘Music and Lutheranism’ in ‘All mankind must die’; the affect has been John Butt (ed.), The Cambridge described as ‘rapturous’ (Williams 2003 p. 313). Clement, Albert, ‘On the Inner Correlation Companion to Bach (Cambridge: The motif that runs through the entire chorale of the Six Chorales, BWV 645 – 650 and its Cambridge University Press, 1997) is the suspirans, but deftly worked to bind the Significance’ in Bach, Vol. 34, No. 2 (2003), pp. , pp. 35 – 45 music together. Note the leaping pedal line 1 – 62 throughout. Little, Meredith and Natalie Jenne, Dance Trinity College Chapel, Cambridge Dreyfus, Laurence, Bach and the Patterns of and the Music of J.S. Bach (Bloomington and Bibliography Invention (New York: Cambridge University Indianapolis: Indiana University Press, 1991, Stinson, Russell, J.S. Bach’s Great Eighteen THE ORGAN OF TRINITY COLLEGE CHAPEL Press, 1996) 2001) The Organ Music of J.S. Bach, Organ Chorales (New York: Oxford University Butt, John (ed.), The Cambridge Companion to Gingrich, Linda, ‘Hidden Allegory in J.S Bach’s Second Edition (Cambridge: Press, 2001) The organ of Trinity College Chapel was built by the Swiss firm Metzler Söhne in 1976. The design, by Bach (Cambridge: Cambridge University Press, 1724 Trinity Season Chorale Cantatas’ in The Luther, MartinCambridge (Theodore University G. Tappert Press, 2003) (ed.)), Bernhardt Edskes, incorporated the surviving pipework of the two organs built for Trinity by “Father” 1997) Choral Journal, Vol. 51, No. 1 (August 2010), Letters of Spiritual Counsel (Louisville: Spurgeon Hall, Richard A., ‘Bach and Edwards Bernard Smith in 1694 and 1708. The organ has three manuals and forty-two ranks, of which seven pp. 6 – 17 Westminster John Knox Press, 2006) on the Religious Affections’ in Johan Sebastian: are original. The 8’ Principal on the Rückpositiv is from Smith’s 1694 organ, while the 16’ Principal ‘Bach’s metaphysics of music’ in A Tercentenary Celebration, ed. Seymour L. on the Pedal and the 16’ Principal, 8’ and 4’ Octave, 2’ Quinte, and 2’ Superoctave on the Great are John Butt (ed.), The Cambridge Keller, Hermann, The Organ Works of Bach: A Williams, Peter, ‘A Toccata in D Benstock (Westport: Greenwood Press), pp. 69 from 1708. The Victorian enlargements to both the instrument and its cases have been removed, Companion to Bach (Cambridge: Contribution to their History, Form, Interpretation Smith, TimothyMinor A.,for ‘FuguesOrgan byWithout J.S. Bach?’ Words: in A – 81. and all the pipework is contained within the restored Smith cases, whose carving recalls the school Cambridge University Press, 1997), and Performance (New York: Peters, 1967) Hearing of EarlyFour FuguesMusic, Vol.9,from “The No. 3,Well Wind Tempered Issue of Grinling Gibbons. The cases are likely to have been designed by Smith and executed by him or pp. 46 – 59 Clavier” as (Jul.,Passion 1981), Music’ pp. in 330 Bach – ,337 Vol. 40, No. 2 Williams, Peter, J.S. Bach: A Life in Music one of his team. The salient characteristics of this mechanical-action organ are the meticulous Leahy, Anne, ‘”Vor deinen Thron tret ich”: The (2009), pp. 45 – 66. (Cambridge: Cambridge University Press, 2007) craftsmanship and artistic integrity employed by Metzlers, the durability of the instrument, together ‘’A mind unconscious that it Eschatological Significance of the Chorale Bach Organ Music (London: BBC with its rich but gentle resonance, its aptness for the acoustics of the Chapel, and its exquisite is calculating’? Bach and the Settings of the P271 Manuscript of the Berlin Music Guides, 1972) balance. It is understandably regarded as one of the finest instruments in the United Kingdom. rationalist philosophy of Wolff, Staatsbibliothek’ in Bach, Vol. 37, No. 2 (2006), Leibniz and Spinoza’ in John Butt pp. 81 – 118 Wolff, Christoph, Johann Sebastian Bach: The HAUPTWERK, C-f’’’ RÜCKPOSITIV SCHWELLWERK PEDAL 1• Principal 16 13• Principal 8 23 Viola 8 34• Principal 16 (ed.), The Cambridge Companion Learned Musician (New York: Oxford University Press, 2001) 2• Octave 8 14 Gedackt 8 24 Suavial 8 35 Subbass 16 to Bach (Cambridge: Cambridge Leaver, Robin, Luther’s Liturgical Music: 3 Hohlflöte 8 15 Octave 4 25 Rohrflöte 8 36 Octavbass 8 University Press, 1997), pp. 60 – 71 Principles and Implications (Grand Rapids: 4• Octave 4 16 Rohrflöte 4 26 Principal 4 37 Bourdon 8 Eerdmans, 2007) Yearsley, David, Bach and the Meanings of 5 Spitzflöte 4 17 Octave 2 27 Gedacktflöte 4 38 Octave 4 Count 6• Quinte 2 18 Gemshorn 2 28 Nasard 2 39 Mixtur V Chafe, Eric, Analysing Bach Cantatas (New ⅔ ⅔ 7• Superoctave 2 19 Larigot 1 29 Doublette 2 40 Posaune 16 York: Oxford University Press, 2000) ‘Music and Lutheranism’ in ⅓ 8 Sesquialter III 20 Sesquialter II 30 Terz 1 41 Trompete 8 John Butt (ed.), The Cambridge ⅗ Clement, Albert, ‘On the Inner Correlation Companion to Bach (Cambridge: 9 Cornett IV 21 Scharf III 31 Mixtur IV 42 Trompete 4 10 Mixtur IV-V 22 Dulcian 8 32 Fagott 16 of the Six Chorales, BWV 645 – 650 and its Cambridge University Press, 1997) 11 Trompete 8 Tremulant 33 Trompete 8 Significance’ in Bach, Vol. 34, No. 2 (2003), pp. , pp. 35 – 45 12 Vox Humana 8 Tremulant 1 – 62 Little, Meredith and Natalie Jenne, Dance Trinity College Chapel, Cambridge 45 Rückpositiv/Hauptwerk 46 Schwellwerk/Hauptwerk Dreyfus, Laurence, Bach and the Patterns of and the Music of J.S. Bach (Bloomington and 47 Hauptwerk/Pedal 48 Rückpositiv/Pedal 49 Schwellwerk/Pedal (• Father Smith ranks) Bibliography Invention (New York: Cambridge University Indianapolis: Indiana University Press, 1991, Stinson, Russell, J.S. Bach’s Great Eighteen THE ORGAN OF TRINITY COLLEGE CHAPEL Press, 1996) 2001) The Organ Music of J.S. Bach, Organ Chorales (New York: Oxford University Butt, John (ed.), The Cambridge Companion to Gingrich, Linda, ‘Hidden Allegory in J.S Bach’s Second Edition (Cambridge: Press, 2001) The organ of Trinity College Chapel was built by the Swiss firm Metzler Söhne in 1976. The design, by Bach (Cambridge: Cambridge University Press, 1724 Trinity Season Chorale Cantatas’ in The Luther, MartinCambridge (Theodore University G. Tappert Press, 2003) (ed.)), Bernhardt Edskes, incorporated the surviving pipework of the two organs built for Trinity by “Father” 1997) Choral Journal, Vol. 51, No. 1 (August 2010), Letters of Spiritual Counsel (Louisville: Spurgeon Hall, Richard A., ‘Bach and Edwards Bernard Smith in 1694 and 1708. The organ has three manuals and forty-two ranks, of which seven pp. 6 – 17 Westminster John Knox Press, 2006) on the Religious Affections’ in Johan Sebastian: are original. The 8’ Principal on the Rückpositiv is from Smith’s 1694 organ, while the 16’ Principal ‘Bach’s metaphysics of music’ in A Tercentenary Celebration, ed. Seymour L. on the Pedal and the 16’ Principal, 8’ and 4’ Octave, 2’ Quinte, and 2’ Superoctave on the Great are John Butt (ed.), The Cambridge Keller, Hermann, The Organ Works of Bach: A Williams, Peter, ‘A Toccata in D Benstock (Westport: Greenwood Press), pp. 69 from 1708. The Victorian enlargements to both the instrument and its cases have been removed, Companion to Bach (Cambridge: Contribution to their History, Form, Interpretation Smith, TimothyMinor A.,for ‘FuguesOrgan byWithout J.S. Bach?’ Words: in A – 81. and all the pipework is contained within the restored Smith cases, whose carving recalls the school Cambridge University Press, 1997), and Performance (New York: Peters, 1967) Hearing of EarlyFour FuguesMusic, Vol.9,from “The No. 3,Well Wind Tempered Issue of Grinling Gibbons. The cases are likely to have been designed by Smith and executed by him or pp. 46 – 59 Clavier” as (Jul.,Passion 1981), Music’ pp. in 330 Bach – ,337 Vol. 40, No. 2 Williams, Peter, J.S. Bach: A Life in Music one of his team. The salient characteristics of this mechanical-action organ are the meticulous Leahy, Anne, ‘”Vor deinen Thron tret ich”: The (2009), pp. 45 – 66. (Cambridge: Cambridge University Press, 2007) craftsmanship and artistic integrity employed by Metzlers, the durability of the instrument, together ‘’A mind unconscious that it Eschatological Significance of the Chorale Bach Organ Music (London: BBC with its rich but gentle resonance, its aptness for the acoustics of the Chapel, and its exquisite is calculating’? Bach and the Settings of the P271 Manuscript of the Berlin Music Guides, 1972) balance. It is understandably regarded as one of the finest instruments in the United Kingdom. rationalist philosophy of Wolff, Staatsbibliothek’ in Bach, Vol. 37, No. 2 (2006), Leibniz and Spinoza’ in John Butt pp. 81 – 118 Wolff, Christoph, Johann Sebastian Bach: The HAUPTWERK, C-f’’’ RÜCKPOSITIV SCHWELLWERK PEDAL 1• Principal 16 13• Principal 8 23 Viola 8 34• Principal 16 (ed.), The Cambridge Companion Learned Musician (New York: Oxford University Press, 2001) 2• Octave 8 14 Gedackt 8 24 Suavial 8 35 Subbass 16 to Bach (Cambridge: Cambridge Leaver, Robin, Luther’s Liturgical Music: 3 Hohlflöte 8 15 Octave 4 25 Rohrflöte 8 36 Octavbass 8 University Press, 1997), pp. 60 – 71 Principles and Implications (Grand Rapids: 4• Octave 4 16 Rohrflöte 4 26 Principal 4 37 Bourdon 8 Eerdmans, 2007) Yearsley, David, Bach and the Meanings of 5 Spitzflöte 4 17 Octave 2 27 Gedacktflöte 4 38 Octave 4 Count 6• Quinte 2 18 Gemshorn 2 28 Nasard 2 39 Mixtur V Chafe, Eric, Analysing Bach Cantatas (New ⅔ ⅔ 7• Superoctave 2 19 Larigot 1 29 Doublette 2 40 Posaune 16 York: Oxford University Press, 2000) ‘Music and Lutheranism’ in ⅓ 8 Sesquialter III 20 Sesquialter II 30 Terz 1 41 Trompete 8 John Butt (ed.), The Cambridge ⅗ Clement, Albert, ‘On the Inner Correlation Companion to Bach (Cambridge: 9 Cornett IV 21 Scharf III 31 Mixtur IV 42 Trompete 4 10 Mixtur IV-V 22 Dulcian 8 32 Fagott 16 of the Six Chorales, BWV 645 – 650 and its Cambridge University Press, 1997) 11 Trompete 8 Tremulant 33 Trompete 8 Significance’ in Bach, Vol. 34, No. 2 (2003), pp. , pp. 35 – 45 12 Vox Humana 8 Tremulant 1 – 62 Little, Meredith and Natalie Jenne, Dance Trinity College Chapel, Cambridge 45 Rückpositiv/Hauptwerk 46 Schwellwerk/Hauptwerk Dreyfus, Laurence, Bach and the Patterns of and the Music of J.S. Bach (Bloomington and 47 Hauptwerk/Pedal 48 Rückpositiv/Pedal 49 Schwellwerk/Pedal (• Father Smith ranks) DAVID GOODE

David Goode is Organist at Eton College, Of his Bach CD for Signum in 2013 The Times combining this post with a flourishing said: ‘One of Britain’s finest organists puts the performing career. 1714 organ in Freiberg Cathedral through its paces ... An exemplary introduction’. 7 CDs of A music scholar at Eton, and then organ scholar a complete survey of Reger’s organ music have at King’s College, Cambridge, he studied now also appeared, to warm reviews. He has organ with David Sanger and in Amsterdam forged a strong relationship with Jacques van Oortmerssen. From 1996- 2001 he was Sub-Organist at Christ Church, over the years on Radio 3 with the BBC National Oxford; following prizes at the 1997 St. Alban’s Orchestra of Wales and the BBC Singers, and Competition, and the 1998 Calgary Competition, has played numerous contemporary works, he concentrated on a freelance career between including Francis Pott’s Christus (‘a stupendous 2001 and 2003. In 2003 he moved for 2 years to achievement’ The Times), and Peter Maxwell Los Angeles as Organist-in-Residence at First Davies’ Solstice of Light. Producer – Matthew O’Donovan Congregational Church, home to the world’s Recording Engineer – Mike Hatch Recorded in the Chapel of Trinity College,College Cambridge,Cambridge, largest church organ. He has also developed a profile as a composer: Recording Assistant – Michael Gerrard a set of anthems has been published, together fromon 7th7th &to 8th9th AprilApril 20162016 byby kindkind permissionpermission ofof thethe MasterMaster and and Fellows Fellows of of Trinity Trinity College, College, with with generous generous Editor – Tom Mungall In 1999 he made the first of numerous with recordings by the choir of King’s College, assistanceassistance fromfrom thethe ChapelChapel andand MusicMusic Departments.Departments. Executive Assistant – Kerry Baker appearances at the Proms, and in 2002 he made Cambridge; and his Blitz Requiem was Cover Photo – © Joanna Harries his recital debuts at the RFH and at Symphony performed in September 2013 by the Bach Choir at St Paul’s Cathedral, and broadcast on Hall, Birmingham, subsequently playing all over ℗ 2019 The copyright in this recording is owned by Signum Records Ltd. Europe, the US, Australia and the Far East. He Classic FM. He played at the AGO Convention © 2019 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright plays at the AGO National Convention in June in June 2016, and was a juror at the 2017 St. and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic 2016. He also has an established partnership Alban’s International Competition. Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. with the trumpeter Alison Balsom: in March 2014 they played for the reopening concert of Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex UB6 7JD, UK Tel: +44 (0) 20 8997 4000 E-mail: [email protected] the RFH organ. www.signumrecords.com DAVID GOODE

David Goode is Organist at Eton College, Of his Bach CD for Signum in 2013 The Times combining this post with a flourishing said: ‘One of Britain’s finest organists puts the performing career. 1714 organ in Freiberg Cathedral through its paces ... An exemplary introduction’. 7 CDs of A music scholar at Eton, and then organ scholar a complete survey of Reger’s organ music have at King’s College, Cambridge, he studied now also appeared, to warm reviews. He has organ with David Sanger and in Amsterdam forged a strong relationship with Jacques van Oortmerssen. From 1996- 2001 he was Sub-Organist at Christ Church, over the years on Radio 3 with the BBC National Oxford; following prizes at the 1997 St. Alban’s Orchestra of Wales and the BBC Singers, and Competition, and the 1998 Calgary Competition, has played numerous contemporary works, he concentrated on a freelance career between including Francis Pott’s Christus (‘a stupendous 2001 and 2003. In 2003 he moved for 2 years to achievement’ The Times), and Peter Maxwell Los Angeles as Organist-in-Residence at First Davies’ Solstice of Light. Producer – Matthew O’Donovan Congregational Church, home to the world’s Recording Engineer – Mike Hatch Recorded in the Chapel of Trinity College,College Cambridge,Cambridge, largest church organ. He has also developed a profile as a composer: Recording Assistant – Michael Gerrard a set of anthems has been published, together fromon 7th7th &to 8th9th AprilApril 20162016 byby kindkind permissionpermission ofof thethe MasterMaster and and Fellows Fellows of of Trinity Trinity College, College, with with generous generous Editor – Tom Mungall In 1999 he made the first of numerous with recordings by the choir of King’s College, assistanceassistance fromfrom thethe ChapelChapel andand MusicMusic Departments.Departments. Executive Assistant – Kerry Baker appearances at the Proms, and in 2002 he made Cambridge; and his Blitz Requiem was Cover Photo – © Joanna Harries his recital debuts at the RFH and at Symphony performed in September 2013 by the Bach Choir at St Paul’s Cathedral, and broadcast on Hall, Birmingham, subsequently playing all over ℗ 2019 The copyright in this recording is owned by Signum Records Ltd. Europe, the US, Australia and the Far East. He Classic FM. He played at the AGO Convention © 2019 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright plays at the AGO National Convention in June in June 2016, and was a juror at the 2017 St. and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic 2016. He also has an established partnership Alban’s International Competition. Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. with the trumpeter Alison Balsom: in March 2014 they played for the reopening concert of Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex UB6 7JD, UK Tel: +44 (0) 20 8997 4000 E-mail: [email protected] the RFH organ. www.signumrecords.com THE ORGAN OF TRINITY COLLEGE CHAPEL The Organ Music of J.S. Bach, Second Edition (Cambridge: The organ of Trinity College Chapel was built by the Swiss firm Metzler Söhne in 1976. The design, by Cambridge University Press, 2003) Bernhardt Edskes, incorporated the surviving pipework of the two organs built for Trinity by “Father” Bernard Smith in 1694 and 1708. The organ has three manuals and forty-two ranks, of which seven are original. The 8’ Principal on the Rückpositiv is from Smith’s 1694 organ, while the 16’ Principal on the Pedal and the 16’ Principal, 8’ and 4’ Octave, 2’ Quinte, and 2’ Superoctave on the Great are Williams, Peter, ‘A Toccata in D from 1708. The Victorian enlargements to both the instrument and its cases have been removed, Minor for Organ by J.S. Bach?’ in and all the pipework is contained within the restored Smith cases, whose carving recalls the school Early Music, Vol.9, No. 3, Wind Issue of Grinling Gibbons. The cases are likely to have been designed by Smith and executed by him or (Jul., 1981), pp. 330 – 337 one of his team. The salient characteristics of this mechanical-action organ are the meticulous craftsmanship and artistic integrity employed by Metzlers, the durability of the instrument, together Bach Organ Music (London: BBC with its rich but gentle resonance, its aptness for the acoustics of the Chapel, and its exquisite Music Guides, 1972) balance. It is understandably regarded as one of the finest instruments in the United Kingdom.

Wolff, Christoph, Johann Sebastian Bach: The HAUPTWERK, C-f’’’ RÜCKPOSITIV SCHWELLWERK PEDAL Learned Musician (New York: Oxford University 1• Principal 16 13• Principal 8 23 Viola 8 34• Principal 16 Press, 2001) 2• Octave 8 14 Gedackt 8 24 Suavial 8 35 Subbass 16 3 Hohlflöte 8 15 Octave 4 25 Rohrflöte 8 36 Octavbass 8 4• Octave 4 16 Rohrflöte 4 26 Principal 4 37 Bourdon 8 Yearsley, David, Bach and the Meanings of 5 Spitzflöte 4 17 Octave 2 27 Gedacktflöte 4 38 Octave 4 Count 6• Quinte 2 18 Gemshorn 2 28 Nasard 2 39 Mixtur V ⅔ ⅔ 7• Superoctave 2 19 Larigot 1 29 Doublette 2 40 Posaune 16 ⅓ 8 Sesquialter III 20 Sesquialter II 30 Terz 1 41 Trompete 8 ⅗ 9 Cornett IV 21 Scharf III 31 Mixtur IV 42 Trompete 4 10 Mixtur IV-V 22 Dulcian 8 32 Fagott 16 11 Trompete 8 Tremulant 33 Trompete 8 12 Vox Humana 8 Tremulant

45 Rückpositiv/Hauptwerk 46 Schwellwerk/Hauptwerk 47 Hauptwerk/Pedal 48 Rückpositiv/Pedal 49 Schwellwerk/Pedal (• Father Smith ranks)