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Clavierübung III of J. S. Bach Theology in Notes and Numbers1

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Clavierübung III of J. S. Bach Theology in Notes and Numbers1 Clavierübung III of J. S. Bach 1 Theology in Notes and Numbers , Part 1 Alexander Fiseisky t goes without saying that the primary and Directore Chori Musici in Leipzig. Der Generalbaß ist das vollkommenste works of Johann Sebastian Bach. Albert Fundament der Music welcher [auf einem I task of every performer who wishes Published by the author.] Clavier] mit beyden Händen gespielt wird Schweitzer wrote in his masterful fashion: to convey the meaning of any given mu- “Music is an act of worship with Bach… dergestalt das die lincke Hand die vorge- 20 sical work must fi rst be to understand Bach here follows the example of his schriebenen Noten spielet die rechte aber For him, art was religion...” The ortho- the original intention of the composer. predecessor at St. Thomas Church, Jo- Con- und Dissonantien darzu greift damit dox Lutheran Bach, who was born and And when the works in question are hann Kuhnau (1660–1722), and modest- dieses eine wohlklingende Harmonie gebe raised in Eisenach, Luther’s own town, those of Johann Sebastian Bach, where ly calls his work Clavierübung [Keyboard zur Ehre Gottes und zulässiger Ergötzung where the façade of the main church of the invisible thread that should link us Exercise].2 He thereby encourages us, des Gemüths und soll wie aller Music, also St. George was decorated with the Protes- to the era in which he lived seems to be through diligent practice (Übung in Ger- auch des General Basses Finis und End tant motto “A mighty fortress is our God,” Uhrsache anders nicht, als nur zu Gottes irretrievably broken, the task takes on man), to understanding his purpose in Ehre und Recreation des Gemüths seyn. Wo transcended in his music the boundaries Herculean proportions. The aim of this writing this work. dieses ists keine eigentliche Music sondern of confession and creed. “In the last re- analysis is to attempt a correct reading of Let us accept this invitation. ein Teufl isches Geplerr und Geleyr.13 sort, however, Bach’s real religion was not the Clavierübung III—one of the most The fi rst question, even after a cursory [The thorough-bass is the most perfect orthodox Lutheranism, but mysticism. In enigmatic works in the whole literature look at Bach’s work, is probably “What foundation of music. It is played with both his innermost essence he belongs to the of the organ. does it represent in this compositional hands on a keyboard instrument in such history of German mysticism.”21 This work, which was composed at the form? Are we to understand it as a uni- a way that the left hand plays the written This mystical sensitivity to the pres- high point of the composer’s creativity fi ed dramatic whole or as a collection of notes, while the right hand strikes conso- ence of God and the desire to give wit- nances and dissonances, so that this results (1739), impresses us by its dimensions diverse pieces for the keyboard?” in full-sounding Harmonie to the Honor ness to Him through music, coupled alone. It is part of a cycle of works, com- Characteristically, the usual concert of God and the permissible delight of the with his dazzling talent, enabled Bach in prising the Six Partitas (Part 1, composed practice suggests that the Clavierübung soul. The ultimate end or fi nal goal of all his later works to develop an astonishing in 1731, BWV 825–830), the French III is not seen as an integral work: virtu- music, including the thorough-bass, shall artistic fusion, the likes of which had not Ouverture and the Italian Concerto (Part ally nobody plays the whole composition be nothing but for the Honor of God and been seen in the world’s cultural history. 2, composed in 1735, BWV 831, BWV in its published form.3 But the question the renewal of the soul. Where these fac- In 1747 Bach was admitted to the So- 971), as well as the Goldberg Variations nevertheless remains: Is there really no tors are not taken in consideration, there is cietät der musikalischen Wissenschaften no true music, rather, devilish bawling and (Part 4, composed in 1742, BWV 988). suggestion of an overall dramatic struc- 14 [Society of the Musical Sciences], which And the Clavierübung III itself is also a ture within the work? droning. ] his one-time pupil, the philosopher and cyclical work—it consists of 21 chorale An analysis would help us to answer music author Lorenz Christoph Mizler preludes and four duets framed by a pre- this question. But before we tackle it, When Bach at the age of 23 left Mühl- von Koloff (1711–1778), had founded.22 lude and a fugue in E-fl at major. we should—even very generally—look hausen, he declared that the Endzweck Mizler, a friend of Bach’s, was strongly Bach certainly accorded the Cla- at some characteristics of the musical [ultimate aim] of his creative work would infl uenced by Pythagorism and the ra- vierübung III particular importance. It aesthetics and Bach’s particular compo- be the regulirte kirchen music zu Gottes tional philosophy of both G. W. Leib- is no coincidence that this was the fi rst sitional style during the period when he Ehren [regulated church music to the nitz (1646–1716) and Christian Wolff work for organ that he had published was working on the Clavierübung III. glory of God].15 (1679–1754). He saw music as a math- in Leipzig. What was Bach’s purpose in One can further assess the musical ematical science.23 writing this work, and what means did he The theological and philosophical and aesthetic views of the composer The very fact that Bach accepted choose to fulfi l it? basis of the work of J. S. Bach with the help of his annotations in the Mizler’s invitation to join the Societät Bach’s personal philosophy was heav- margins of a Bible that was published by der musikalischen Wissenschaften is in The history of the composition. ily infl uenced by the philosophical ideas Abraham Calov (1681–1682) in Witten- itself signifi cant. The composer obvious- The intentions and aims of the and the personality of Martin Luther berg.16 These marginalia are quite valu- ly sympathized with Pythagoras’s ideas composer (1483–1546). Books written by Luther able—they allow us to catch a glimpse concerning the universe and its perfect The Clavierübung III was written to accounted for a quarter of all the books of the personal views of their writer and harmony: a harmony that, according to coincide with the 200th anniversary of in Bach’s private library. According to the open up his world for us. the teachings of the ancient philosopher Luther’s visit to Leipzig and the festal personal inventory that was made after Already in Exodus, Chapter 15, where and mathematician, was expressed in Whitsun service in St. Thomas Church his death, Bach owned two complete the prophetess Miriam sings of the numbers,24 and shared the convictions of on the 25th of May 1539, which effec- editions of the works of Martin Luther wonderful deeds of God, we can read his progenies. tively marked the offi cial recognition of in Latin and German, as well as works in Bach’s own hand: “N.B. Erstes Vor- J. S. Bach became the fourteenth the Reformation in Leipzig. The Cla- of his successors: Abraham Calov, Martin spiel auf 2 Chören zur Ehre Gottes zu member of the Society after G. F. Tele- vierübung III consists essentially of ar- Chemnitz, Johannes Olearius, and oth- musiciren.” [N.B.: First prelude for two mann (6) and G. F. Handel (11), togeth- rangements of chorales from the Protes- ers.4 The title page of an earlier version choirs to be sung to the glory of God.] er with other well-known scholars and tant church service, and in its structure of the Clavier-Büchlein für Anna Magda- As a comment on First Chronicles 29, v. philosophers. Following the established it is reminiscent of Luther’s Catechism, lena Bach5 bears a note giving the title of 2117 we fi nd the following statement by tradition, upon joining the Society he which consists of two parts: the Greater the work as Anti-Calvinismus by August the composer: contributed a mite of his own. In addi- Catechism deals with the principles of Pfeiffer, written in Bach’s own hand. tion to the Canonic variations on “Vom faith, while the Lesser Catechism is di- It is well known that Luther was a Ein herrlicher Beweiß, daß neben an- Himmel hoch, da komm’ ich her” (BWV rected more towards children and the well-educated musician.6 In contrast to dern Anstalten des Gottesdienstes, be- 769), the composer also donated a por- less-educated part of the population. the majority of the reformers in the 16th sonders auch die Musica von Gottes Geist trait of himself to the Society, which had durch David mit angeordnet worden. Correspondingly, each chorale melo- century, Luther considered music to be [Splendid proof that, besides other ar- been painted in 1746 by Elias Gottlob dy—with the exception of Allein Gott in a form of divine revelation. In the fore- rangements for worship, music too was Hausmann. A microanalysis of the music der Höh’ sei Ehr’ [Glory be to God alone word to Georg Rhau’s anthology Sym- instituted through David by the Spirit of manuscript that appears in this painting 7 on high]—is presented in two versions: phoniae iucundae he wrote: “In summa: God.]18 has been made by Friedrich Smend.
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