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Funkcja Liturgiczna Orgelbüchlein Johanna Sebastiana Bacha

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Funkcja Liturgiczna Orgelbüchlein Johanna Sebastiana Bacha Tomasz Górny Uniwersytet Warszawski Jacques van Oortmerssen In memoriam FUNKCJA LITURGICZNA ORGELBÜCHLEIN JOHANNA SEBASTIANA BACHA. WPROWADZENIE DLA ORGANISTÓW 1 1. Habent sua fata libelli, czyli karta tytułowa Autograf cyklu kompozycji organowych Johanna Sebastiana Bacha pt. Orgelbüchlein jest obec- nie przechowywany w Berlinie (Staatsbibliothek zu Berlin Preußischer Kulturbesitz) pod sygna- Bach digital (www.bach-digital. turą Mus. ms. Bach P 283, a dzięki internetowemu portalowi 2 de) można bez ograniczeń przeglądać wysokiej jakości fotokopie manuskryptu . Karta tytuło- wa (ilustracja nr 1) zawiera wiele ważnych informacji, dlatego na początku zajmiemy się ana- lizą jej zawartości. Ex collectione G. Pölchau W lewym górnym rogu widnieje (zapisana ołówkiem) sygnatura biblioteczna: P 283, zaś po przeciwnej stronie znajduje się inskrypcja („z kolekcji G. Pölchaua”), chau’a przypominająca3 o tym, że manuskrypt był w posiadaniu znanego kolekcjonera Georga Pöl- . Poniżej czytamy: 1 Orgelbüchlein - Artykuł jest pokłosiem projektu „Związki retoryki i muzyki w cyklu Johanna Sebastiana Bacha”, zrealizowanego przez autora w Konserwatorium w Amsterdamie we współpracy z Jacquesem van Oortmers senem. Przedsięwzięcie zostało dofinansowaneOrgelbüchlein przez Ministerstwo w naszym Nauki kraju (cykli Szkolnictwa jest powszechnie Wyższego wykorzysty- w ramach konkursu „Mobilność Plus” (numer projektu: 1090/MOB/2013/0). - Mimo ogromnej popularności Bachowskiego wany w procesie edukacji organistów, w trakcie liturgii, a czasem również podczas koncertów) nie dysponuje- my ani polskojęzyczną monografią, ani nawet skromniejszymi rozważaniami o charakterze przyczynkarskim,- które prezentowałyby najnowszą wiedzę naukową, dotyczącą tego zbioru chorałów organowych. Zaintereso- wani studenci mogą korzystać jedynie z odpowiednich rozdziałów ogólnych rozpraw na temat życia i twórczo ści Johanna Sebastiana Bacha oraz z tekstów o charakterze popularnonaukowym – te ostatnie zawierają jed- nak sporo nieaktualnych już dzisiaj informacji (np. dotyczących potencjalnego okresu powstania kompozycji).- Artykuł niniejszy pomyślany jest jako próba częściowego przynajmniej zapełnienia wspomnianej luki w pol- skim piśmiennictwie muzykologicznym. Z jednej strony jest to więc tekst napisany w sposób przystępny, ponie waż stanowi li tylko wprowadzenie, z drugiej jednak – zawiera on stosunkowoOrgelbüchlein liczne odniesieniaBWV 599–644. bibliograficz Faksimile der2ne, ponieważautographen stawia Partitur sobie za cel zaznajomienie czytelnika z aktualną literaturą przedmiotu. Ukazało się również drukowane wydanie faksymilowe: J. S. Bach, Neue Bach-Ausgabe Neue Ausgabe3 Sämtlicher Werke, red. H.-H. Löhlein, KasselKritischer 2010 Bericht: (pierwsza Orgelbüchlein, edycja pochodzi Sechs Chorälez roku 1981). von verschiedener Art Historia(Schübler-Choräle), manuskryptu Orgelpartiten została opisana w komentarzu krytycznym do : J. S. Bach, Johann Christoph, Serie IV, Friedrich Band 1, Bach und die Teilung des väterlichen Erbes , red. H.-H. Löhlein, Leipzig 1987 (w skrócie NBA, IV/1, KB), s. 45–46. Zob. też P. Wollny, , „Bach Jahrbuch” 2001, s. 55–70 (szczególnie strony 66–68). 99 Orgel-Büchlein (mit 48 ausgeführten Chorälen) Worinne einem anfahenden Organisten Anleitung gegeben wird, auff allerhand bey auch sich im Pedal studio zu habi- Arth einen Choral durchzuführen, an- litiren, indem in solchen darinne gantz obligat tractiret wird. befindlichen Choralen das Pedal Dem Höchsten Gott allein’ zu Ehren, Dem Nechsten, draus sich zu belehren. Autore Joanne Sebast. Bach S.P.R Anhaltini- p.t. Capellae Magistri 4 Cotheniensis Książeczka organowa (z 48 zrealizowanymi chorałami) W której początkującemu organiście udziela się wskazówek, jak na rozmaite sposoby opracowywać chorał i jed- nocześnie w nauce gry na pedale się dosko- nalić, przez to, iż takie tu odnajdzie chorały, w których pedał jest traktowany całkowicie obligato. Bogu Najwyższemu jedynie na chwałę, Bliźniemu zaś, aby mógł czerpać stąd pożytek Autor Jan Sebast. Bach natenczas Kapelmistrz Anhalt-Köthen Łaskawie Panującego5 Księcia 4 Pełna wersja ostatnich czterech wersów powinna najprawdopodobniej brzmieć: „Joanne Sebast. Bach / p[ro] t[empore] Capellae Magistri /gantz S[erenissimi] P[rincipis] R[egnantis] Anhaltini-ganz / Cotheniensis”. Zapis wyrazów (z jednym wyjątkiem) oraz rozwinięcieBach: The Orgelbüchlein skrótów podaję za NBA, IV/1, KB, s. 20. Do przywołanego źródła wkradł- się drobny błąd, otóż wyraz z autografu został zapisany jako . Poprawna wersja znajduje się m.in. plenow książce titulo Russella Stinsona , New York – Oxford 1999, s. 29 (pierwsze wydanie pocho- dzi z roku 1996). Stinson podaje też (choć Theze znakiem New Bach zapytania) Reader: a innelife of rozwinięcie Johann Sebastian skrótu Bach „p.t.”, in mianowicie letters and documents , czyli: „z pełnym tytułem”, „z zachowaniem właściwych tytułów”. Wersję taką można również odna leźć w innych źródłach, np. w opracowaniu 5 , red. H. T. David, A. Mendel, Ch. Wolff, New York – London 1998, s. 80–81, nr 69. Wszystkie przekłady, o ile nie zaznaczono inaczej, zostały dokonane przez autora artykułu. 100 101 Ilustracja 1. Johann Sebastian Bach, Orgelbüchlein, karta tytułowa autografu. Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Mus. ms. Bach P 283 mit 48 ausgeführten Chorälen Rzut oka na autograf wystarczy, aby zauważyć, że wpis w nawiasie: został skreślony inną ręką i z użyciem innego atramentu niż pozostałe linie rozbudo- Friedricha Bacha Christ ist er- wanego tytułu. Peter6 Wollny podaje, że była to ręka syna lipskiego kantora – Johanna Christopha standen . Liczba 48 pojawia się najpewniej dlatego, że trzy wersy chorału BWV 627 policzone zostały jako osobne kompozycje. Obecnie mówi się o 46 chorałach przez Bacha) utwór O Traurigkeit, o Herzeleid (BWV 599–644), niemniej do zbioru należy również niedokończony (zaledwie rozpoczęty , który został oznaczony w aneksie do katalogu Schmiedera (Anhang) sygnaturą BWV Anh. 200. 6 P. Wollny, dz. cyt., s. 66–67. Wcześniej sądzono, że wpisu dokonał Carl Philipp Emanuel Bach (zob. NBA IV/1, KB, s. 21). 101 2. Datowanie Orgelbüchlein. Lektura karty tytułowej nasuwa pewne wnioski dotyczące okoliczności powstania Czytamy tam m.in. o tym, że zbiór został skomponowany przez nadwornego kompozytora do Bach-Ausgabe księcia Anhalt-Köthen,7 toteż, idąc tym śladem, Wilhelm Rust w komentarzu krytycznym stwierdził, iż cykl powstał w czasie, gdy Bach pełnił służbę na dworze w Köthen, czyli w latach 1717–1723. Wniosek wydaje się oczywisty, jednak szczegółowe Orgelbüchlein badania grafologiczne i porównawcze wykazały, że nie jest on prawdziwy. Georg von Dadelsen8 dowiódł, że większość kompozycji z powstała już w okresie weimarskim , o czym świadczy wiele faktów zewnętrznych, np. istnienie odpisów chorałów sporządzonych bezpośrednio z autografu przez weimarskich uczniów Bacha oraz przez tamtejszego organistę Orgel- miejskiego, kuzyna i przyjaciela Bacha – Johanna Gottfrieda Walthera. Dadelsen skrupulatnie büchlein Nun komm, der Heiden przeanalizował dukt pisma oraz inne dane (zauważył m.in., że papier wykorzystany do Heiland Tritt auf die Glaubensbahn ma takie same znaki wodne, co datowane na rok 1714 kantaty 9 BWV 61 oraz BWV 152 ) i stwierdził na tej podstawie, że Bach rozpoczął prace nad cyklem w roku 1714 lub nawet nieco wcześniej. Jednocześnie uczo- Helft mir Gotts Güte preisen ny ten podtrzymał ukształtowane uprzednio przekonanie o powstawaniu cyklu w różnych okre- O Traurigkeit, o Herzeleid sach i – w oparciu o analizę grafologiczną – wykazał, że chorały BWV 613 oraz niedokończony BWV Anh. 200 należy datować na okres, gdy kompozytor przebywał w Lipsku (lata 1723–1750). lein oraz Russel Stinson11 W oparciu o ustalenia Dadelsena szczegółową chronologię zaproponowali Heinz-Harald Löh- 10 ) . Ostatni z wymienionych badaczy, bazując m.in. na analizie stylistycz-12 nej, wprowadził podział na trzy fazy: wczesną (ok. 1708–1712), środkową (ok. 1712–1716 oraz późnąVorwort (ok. 1716–1717).Joh. Seb. Bach’s Chronologię Orgelwerke tę Stinson uzupełnił powszechnie akceptowanym 7 W. Rust, , w: Orgelbüchlein , Bach Ausgabe: t. 25/2, Leipzig 1878, s. V–XXIV [na okładce 8tomu widnieje data 1875, jednak przedmowa RustaJoh. jest Seb. podpisana: Bach „im August 1878”]. Już Spitta sugerował, że powstało głównie w Weimarze, a kartę tytułową dodano w Köthen do istniejącego wcześniej manuskryptu (Ph. Spitta, , Leipzig 1916, t. 1, s. 818–821Beiträge [pierwsze zur Chrono- wy- logiedanie der książki Werke ukazało Johann sięSebastian w dwóch Bachs tomach w latach 1873–1880]), jednakZur to Entstehung Dadelsen despodbudował Bachschen tę Orgel tezę- büchleinsmocnymi dowodamiFestschrift i jednocześnie Friedrich Blume. zweryfikował Zum 70. Geburtstag datowanie Spitty. Zob. G. von Dadelsen, Beiträge zur Chronologie, Trossingen der Werke 1958, Johanns. 79–80; Sebastian tenże, Bachs 9 , w: , red.Neue A. AusgabeA. Abert, W.Sämtlicher Pfannkuch, Werke Kassel 1963, s. 74–79. Katalog G. von der Dadelsen, Wasserzeichen in Bachs Originalhandschriften , dz. cyt., s. 79. Warto jednak dodać, że sam papier pochodził z Arnstadt. Zob. J. S. Bach, , Serie IX, Band 1: , red. W. Weiss we współpracy z Y. Kobayashi, Leipzig 11 101985, s. 89, nr Bach:117. The Orgelbüchlein Chronology and Style in the Early Works: A BackgroundNBA, IV/1, forKB, the s. 85–95. Orgel-Büchlein Bach: essays on his life and music R. Stinson, , dz. cyt., s. 12–25. Zob. też Ch. Wolff, Zur Problematik der Chronologie und Stilentwicklung des Bachschen Frühwerkes,, w: tegoż, insbesondere zur musikalischen
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