94201 bach clavier bl2 by Klassiek.nl

Johann Sebastian Bach 1685–1750 Dritter Theil der

Clavier–Übung Compact Disc 1 1 Praeludium pro Organo pleno 2 Kyrie, Gott Vater in Ewigkeit Canto fermo in Soprano a 2 Clav. et Ped. 3 Christe Aller Welt Trost Canto fermo in Tenore a 2 Clav. et Pedal 4 Kyrie Gott heiliger Geist à 5 Canto fermo in Basso Cum Organo pleno 5 Kyrie Gott Vater in Ewigkeit alio modo manualiter 6 Christe aller Welt Trost 7 Kyrie Gott heiliger Geist 8 Allein Gott in der Höh sey Ehr à 3 Canto fermo in Alto 9 Allein Gott in der Höh sey Ehr a 2 Clav. et Pedal 10 Allein Gott in der Höh sey Ehr. manualiter 11 Dies sind die heilgen zehen Geboth a 2 Clav. et Ped. Canto fermo in Canone 12 Fugetta super Dies sind die heiligen zehen Geboth. manualiter 13 Wir gläuben all an einen Gott in Organo pleno con Pedale

51’40 BWV552/I* BWV669*

10’38 4’01

BWV670*

5’05

BWV671*

5’55

BWV672**

1’35

BWV673** BWV674** BWV675**

1’35 1’55 3’14

BWV676*** BWV677** BWV678*

5’39 1’14 5’11

BWV679*

2’03

BWV680***

3’36

Compact Disc 2 1 Fugetta super Wir glauben all an einen Gott manualit. 2 Vater unser im Himmelreich à 2 Clav. et Pedal è Canto fermo in Canone 3 Vater unser im Himmelreich alio modo manualiter 4 Christ unser Herr zum Iordan kam a 2 Clav. è Canto fermo in Pedal 5 Christ unser Herr zum Jordan kam alio modo manualiter 6 Aus tiefer Not schrei ich zu dir a 6 in Organo pleno con Pedale doppio 7 Aus tiefer Not schrei ich zu dir a 4 alio modo manualiter 8 Iesus Christus unser Heyland, der von uns den Zorn Gottes wand a 2 Clav. E Canto fermo in Pedal 9 Fuga super Iesus Christus unser Heijland a 4 manualiter 10 Duetto I 11 Duetto II 12 Duetto III 13 Duetto IV 14 Fuga à 5 con Pedale pro Organo pleno

65’32 BWV681**

1’51

BWV682*

7’57

BWV683***

1’52

BWV684*

5’08

BWV685*

1’57

BWV686*

7’40

BWV687**

6’21

BWV688*

4’54

BWV689***

6’29

BWV802* BWV803* BWV804*** BWV805* BWV552/II*

2’39 3’53 3’09 3’21 8’20

Matteo Messori *Christoph Treutmann organ, 1737, in the Abbey Church in Grauhof/Goslar **Johann Scheibe organ, 1746, in the Parish Church of Zschortau/Leipzig ***Heinrich Gottfried Trost organ, 1724–30 in the Town Church of Waltershausen

Third Part of the Clavierübung Johann Sebastian Bach’s Third Part of the Clavierübung was published in Nuremberg and Leipzig in 1739, most probably at Michaelmas (29 September). Its full title runs: Dritter Theil der Clavier Übung bestehend in verschiedenen Vorspielen über die Catechismus und andere Gesaenge, vor die Orgel: Denen Liebhabern, und besonders denen Kennern von dergleichen Arbeit, zur Gemüths Ergezung verfertiget von Johann Sebastian Bach, Koenigl. Pohlnischen, und Churfürstl. Saechs. HoffCompositeur, Capellmeister, und Directore Chori Musici in Leipzig. In Verlegung des Authoris

(Third Part of the Clavierübung consisting of various preludes on the Catechism and other hymns, for the organ: for lovers and especially for connoisseurs of suchlike works, to refresh their spirits, provided by Johann Sebastian Bach, Royal Polish Court Composer and to the Elector of Saxony, and Director Chori Musici in Leipzig. Published by the Author.) The Third Part of the Clavierübung is not only the first collection of organ music published by Bach, but it is at the same time his most voluminous and most important collection of compositions for this instrument. It is noteworthy that the collection appeared in a year of celebrations marking the bicentenary of the Reformation – Luther’s sermon at Leipzig’s Church of St Thomas took place on 25 May 1539.

The term ‘Übung’ must not be understood in its present-day meaning of ‘preliminary exercise’ or ‘etude’. Instead, what is meant is the ‘exercise’ of the art of music (as in the ‘exercise’ of authority), and also a spiritual exercitium designed to clarify the background to the musical composition. In 1731 Bach had published the Partitas BWV825-830 as Clavir Ubung … OPUS I, followed in 1735 by his Zweyter Theil der Clavier Übung, consisting of the ‘Concerto nach Italiaenischen Gusto’ and the ‘Overture nach Französischer Art’ (BWV971 and 831). Interestingly, Part I is written for a single-keyboard instrument, while Part II requires a double keyboard. For Part III of Bach’s Clavierübung, an instrument with three keyboards (i.e. with pedals) is needed, so this order clearly works up to a climax.1 Whereas the earlier Parts of 1731 and 1735 are entirely made up of harpsichord works, Bach now introduces the organ as a Clavier instrument (i.e. instrument with keyboards) in the series. Furthermore, this is the only Part of the series including text-based works. This means that one must surely inquire into the spiritual background to the Third Part of the Clavierübung as it emerges from the texts and takes shape in the chorale arrangements. Indeed the fact that the Clavierübung Part III was exceptionally intended not only for ‘lovers’ but also, more specifically, for ‘connoisseurs of suchlike works’ (see above) points to the higher demands it makes. In spite of its length, the title gives no precise information about the contents of the collection, nor about its instrumental and liturgical purposes. Furthermore, neither the Prelude and Fugue in E flat major BWV552 nor the four Duets BWV802-805 (i.e., the non-chorale based works of the collection) are mentioned at all. This lack of clarity on the title page must certainly be taken as a warning against common misnomers for the Third Part of the Clavierübung: examples being ‘Organ Mass’, ‘Protestant Mass’, ‘German Mass’ and ‘Organ Catechism’, all used in literature. Ever since c1930, this work has been said to be an ‘Organ Mass’. This can be proved wrong for many reasons: first, the collection features more than a Missa (brevis) – i.e., more than just a Kyrie and Gloria; a complete Organ Mass should also contain a Agnus Dei; second, there is no suggestion of an Organ Mass in the sense of the French ‘Messe pour l’Orgue’, and, finally, it cannot be demonstrated that the Duets BWV802-805 could be part of such a Mass, as, for instance, musica sub communione (music for Communion), as is also suggested in literature. It is not possible here to undertake a detailed examination of the brilliant structure of this wonderful microcosm. This can be found in my monograph of 1999.2 The existence of a plan underlying the work as a whole is, however, difficult to overlook even at a cursory glance. The contents of the collection are these:

Praeludium Kyrie, Gott Vater in Ewigkeit Christe, aller Welt Trost Kyrie, Gott heiliger Geist Cum Organo pleno Kyrie, Gott Vater in Ewigkeit Christe, aller Welt Trost Kyrie, Gott heiliger Geist Allein Gott in der Höh sei Ehr Allein Gott in der Höh sei Ehr Allein Gott in der Höh sei Ehr Diess sind die heil’gen zehen Gebot Diess sind die heil’gen zehen Gebot Wir glauben all an einen Gott Wir glauben all an einen Gott Vater unser im Himmelreich Vater unser im Himmelreich Christ, unser Herr, zum Jordan kam Christ, unser Herr, zum Jordan kam Aus tiefer Not schrei’ ich zu dir Aus tiefer Not schrei’ ich zu dir Jesus Christus, unser Heiland Jesus Christus, unser Heiland Duetto I Duetto II Duetto III Duetto IV Fuga BWV552/2

pro Organo pleno C.F. in Soprano C.F. in Tenore C.F. in Basso

BWV552/1 BWV669 BWV670 BWV671

3/4 manualiter 6/8 manualiter 9/8 manualiter Trio in F major manualiter Trio in G major Trio in A major manualiter C.F. in Canone manualiter in Organo pleno manualiter C.F. in Canone manualiter C.F. in Pedal manualiter in Organo pleno manualiter C.F. in Pedal manualiter 3/8 E minor 2/4 F major 12/8 G major 2/2 A minor pro Organo pleno

BWV672 BWV673 BWV674 BWV675 BWV676 BWV677 BWV678 BWV679 BWV680 BWV681 BWV682 BWV683 BWV684 BWV685 BWV686 BWV687 BWV688 BWV689 BWV802 BWV803 BWV804 BWV805

The collection appears to be in three sections. First, there are nine arrangements of Mass chants (Kyrie and German Gloria), forming together a Lutheran Mass (or Missa brevis). Second, there is a group of twelve arrangements of Catechism songs. The six chapters of the Lutheran Catechism of Bach’s time and the corresponding compositions are: Law Faith Prayer Baptism Confession Lord’s Supper

BWV678 BWV680 BWV682 BWV684 BWV686 BWV688

/ / / / / /

679 681 683 685 687 689

For each of the hymns, a pedaliter and a manualiter arrangement was provided. The third group consists of four Duets: free, two-part pieces not related to any chorale. The collection as a whole is framed by the Prelude and Fugue in E flat major. From the above overview of the contents of the Clavierübung, it is clear, in the first place, that the Mass chorales, the Catechism chorales and the Duets, are consistently grouped within the overall structure. The German Kyrie and Gloria chorales are contrasted: the pedaliter Kyrie settings maintain a stylistically retrospective vocal polyphony (the cantus firmus proceeds successively from the soprano to the tenor to the bass in the three settings), while the Gloria is presented in concertato trio movements (in order of ascending keys: F-G-A). The six Catechism chorales can be divided – as far as the pedaliter settings are concerned (each always followed by a manualiter setting) – into two groups, each consisting of three pieces with an organo pleno movement invariably in the middle (BWV680 and 686). Two settings of canonic cantus firmus design (BWV678 and 682) entwine around the first plenum piece, whilst the second group is framed by two chorales with the cantus firmus in the Pedal (in tenor position) and virtuoso interweaving of the upper voices (BWV684 and 688). The Duets are arranged in order of ascending keys, namely, E minor – F major – G major – A minor, whereby the pieces in minor keys represent the frame and thus enclose the two Duets written in major keys. If one portrays the contents of the Third Part of the Clavierübung as a circular

structure, it is also noticeable that the four Duets represent the tonal counterpart of the Kyrie settings – in E minor – and the ensuing Gloria movements in F major – G major – A major. In examining the collection from a theological perspective, one sees that the first section shows itself to be connected with the church service: it is a (complete) Lutheran Mass (or, from a general point of view, a Missa brevis). The second section, a Catechismus sonorus, directs attention both to the church and the domestic circle, because, in Bach’s time, catechetical instruction took place not only in church (for youth and adults) but also in the home. Besides, one can point to the tradition of the so-called ‘Katechismusbeten’ (Catechism prayer services) in Leipzig, as well as to the many Catechism instruction services during certain fixed periods of the church year. If one considers the subdivisions of the Third Part of the Clavierübung and, more especially, if one considers how its first section stands in connection with the church and its second with church and home, one would logically expect an association with the domestic circle for the third section. Several additional pieces of evidence support this supposition. Firstly, in this collection Bach not only included pedaliter as well as manualiter pieces which are tied to a cantus firmus, but he also represented both categories by works without a cantus firmus: in other words, the four (manualiter) Duets counterbalance the (pedaliter) E flat major Prelude and Fugue. While these paired movements of the Prelude and Fugue were undoubtedly written for church use, the four Duets might equally have been intended for music-making in the home. Secondly, the musical idiom of the Duets implies, above all, a keyboard instrument with strings rather than pipes – even if they also sound well when played on an organ. This therefore suggests domestic music, similar in character to Bach’s Inventions BWV772-786. Thirdly, Bach’s nephew, private secretary and Hauslehrer Johann Elias Bach (1705-1755) broached the subject of the collection in a letter dated 10 January 1739: So ist es auch an dem, daß mein Herr Vetter einige Clavier Sachen, die hauptsächlich vor die Herrn Organisten gehören u. überaus gut componirt sind, heraus wird geben […] (Thus it happens that my honoured Cousin will bring out some Clavier pieces which are mostly for organists and are exceedingly well composed…) The words ‘Clavier Sachen’ (Clavier pieces) and ‘hauptsächlich’ (mostly) are crucial here. They appear to indicate that not all the pieces are exclusively meant for the organ. The Duets in particular are hereby brought into question, and it is worth recalling that the title page with the indication ‘vor

die Orgel’ mentions only the chorale preludes. Finally, recent research has shown that the four Duets seem to characterize very strikingly the ‘four sweet things’ (the Word of God, the Cross, Death and Heaven respectively) mentioned in a book by the 17th-century theologian Heinrich Müller to be found in Bach’s library: Geistliche Erquick=Stunden / Oder dreyhundert Haus= und Tisch=Andachten (Rostock, 1666 and many other editions). Number 194 in this collection of 300 Prayers for Home and Table is called ‘Von vier süssen Dingen’ (On Four Sweet Things). Significantly, the term Duetto is often used by Bach to describe a dialogue between, for example, the human soul and Christ. Here, Bach seems to have used this term for similar reasons, because Müller consistently writes about the love between the human soul and one of the ‘four sweet things’. If Bach’s Duets reflect this Hausund Tisch-Andacht, they are certainly meant for the domestic circle and can thus be considered as a ‘musikalische Hausandacht’ (see Clement, op. cit., chapter IX). The other non-chorale related work of the collection, the Prelude and Fugue in E flat major (with its key signature of 3 flats), can easily be connected with the Holy Trinity. The Prelude has three main motives, each referring to one of the persons of God: the Father, the Son and the Holy Spirit, respectively, Similarly, the three parts of the Fugue refer to the three persons of the Trinity. Interestingly, both in the Prelude and the Fugue, the manualiter sections relate to God the Son. The Trinitarian character of the Fugue is underscored by the total number of entries of its main theme: 27=3x3x3. Furthermore, the Prelude can be divided into 13 sections with an internal relationship of 8:5: the socalled divina proportione according to Luca Pacioli (1445 - c1510). The same is true for the Fugue: its 117 bars can be divided into 8x9 and 5x9 bars. It is striking that this ‘mathematically’ conceived plan of Bach’s Third Part of the Clavierübung shows the sectio divina exactly in its Trinitariandetermined frame pieces (for a detailed discussion, see Clement, op. cit., p. 20-34 and 329-330). Trinitarian associations, brilliant structures and theologically motivated text relationships appear to be chief features of this Third (!) Part of Bach’s Clavierübung, consisting of 27 (!) pieces in total. For instance, the ‘connoisseurs of suchlike work’ will be able to detect stunning examples of magic triangles and other figures, constructed with bar-numbers totals. An easy example of such a figure is the following: Missa 20 42 60 61 66 126 10

Catechismus sonorus 32 75 100 34 60 81 30 91 15

118 24 27

35 102 67

Total: 422 Total: 422 Total: 422

These are the bar totals of the 21 chorales. The numbers in italics are the bar totals of the manualiter Kyrie chorales; the bold numbers are the bar totals of the pedaliter Catechism chorales. They can be arranged in such a way that the summa of each of the seven pieces concerned is every time 422. The bar totals of the Missa chorales can be arranged in the shape of a square. Moreover, the pedaliter Kyrie chorales and the Gloria form a rectangle and the manualiter Kyrie chorales form a line. The bar totals of the Catechismus chorales can be arranged in the shape of a rectangle. Moreover, the pedaliter Catechism chorales form a triangle and the manualiter Catechism chorales form a triangle. Many other examples of Bach’s playing with numbers, and of the structural role (and relationships) of numbers and time signatures could be mentioned. The manualiter Kyrie settings, for instance, are written in 3/4 – 6/8 – 9/8 time respectively; the two settings of the Law in 6/4 – 12/8; and the two settings of the Prayer in 3/4 – 6/8. In fact, a closer study reveals that all the time signatures used in the collection are carefully planned, text-related and in accordance with other features of each composition (see Clement, op. cit., p. 332-334). In the chorale settings, Bach gave the underlying texts musical expression of a kind that will not always be immediately clear to 20th-century listeners. However, some of the references to the chorale texts are fairly easy to recognise. In the first prelude of the Catechism section, Dieß sind die heil’gen zehn Gebot BWV678, Bach writes the Cantus firmus in canone, which is an obvious allusion to, among other things, the Canon, or Law, of God (cf. also Bach’s use of canon in many other compositions, such as his cantata Du sollt Gott, deinen Herren, lieben, BWV77). This is also in accordance with the statement made by Johann Gottfried Walther (1684-1748) that the word ‘canon’ originally refers to a rule or law that should be respected (‘eine regul, oder ein Gesetz, welches man in acht nemen soll’ – Musicalisches LEXICON Oder Musicalische Bibliothec, Leipzig 1732, 132). This is also the reason why Bach used a canon in the pedaliter composition on ‘Vater unser’, BWV682, although this can only be discovered after a closer look: the connoisseur will then discover a reference to strophe 4, in which the Will of God is mentioned several times, in this wonderful composition. Other compositions surely also need closer attention, if we wish to understand Bach’s intentions in a series dedicated to lovers of suchlike works in general, but to connoisseurs in particular. Thus, many ‘lovers’ will not fail (correctly) to suspect that the position of the cantus firmus in the three pedaliter Kyrie BWV669-771 mentioned above refers to God the Father in Heaven (C.F. in soprano), God the Son, the mediator (C.F. in tenor) and God the Holy Spirit, 11

coming down to earth (C.F. in bass) respectively. But only by knowing the contents of the full text (i.e. all the strophes) of each chorale can one interpret the position of the cantus firmus in BWV684 and 688. In both compositions, the middle position of the cantus firmus consistently refers to Christ as mediator, and in both cases, this can be explained from the chorale text only. Knowledge of the full chorale text is also required to understand several features of the ‘Allein Gott’ setting BWV675. The fact that all three Gloria compositions BWV675-677, written in F – G – A (forming a major third), are Trios, seems self-evident. Like no other hymn, the Gloria, the hymnus angelicus of Luke 2,14, has been related to the Trinity. But a closer look reveals more. Strophes 2-4 of this hymn address God the Father (strophe 2), the Son (strophe 3) and the Holy Spirit (strophe 4), but strophe 1 gives praise to the entire Trinity. Again, this is reflected in the corresponding composition, BWV675. Thus, it does not come as a surprise that: BWV675 is headed ‘à 3’ in the original print (this is indeed unique in the entire collection); the time signature of BWV675 is 3/4; the thematic material of BWV675 comprises many triplets, that is, three notes within one figure: a symbol for the Holy Trinity; in the original print, the number 3 is notated again and again at places where triplets appear in BWV675, as a result of which this number is stressed and strongly catches the eye; finally, the cantus firmus of BWV675 is not played on any other manual or ‘in Pedal’, but is played in alto, almost veiled within the three-part texture; consequently, all three voices of this work are of more ore less equal

listening (and music making). The most remarkable fact, however, may be that Bach succeeded in combining these multifarious characteristics with a most beautiful sound indeed. On listening to these compositions, the refreshment of the spirit – or, to put it into Bach’s own words, the Gemüths Ergezung – is also surely involved. C Albert Clement The title page of Bach’s Clavier Ubung bestehend in einer ARIA mit verschiedenen Veraenderungen vors Clavicimbal mit 2 Manualen […] – from the 19th century onward referred to as Bach’s Goldberg Variations BWV988 – simply does not mention a ‘Fourth Part’ in any way. It is a profound mistake of modern literature to regard – or even to refer to – this separate collection, which does not belong to the earlier Clavierübung series, as Bach’s Clavierübung Part IV. Albert Clement, Der dritte Teil der Clavierübung von Johann Sebastian Bach. Musik – Text – Theologie (Middelburg 1999, 450 pp., ISBN 90-805164-1-4).

importance, in accordance with the idea of the Trinity.

The Performer’s Perspective When you hear Bach, you see God germinate. Bach’s work is a generator of divinity. After an oratorio, a cantata or a Passion, God must exist. Otherwise, all of the Kantor’s work would be nothing but a lacerating illusion.... To think that so many theologians and philosophers have wasted nights and days searching for proofs of the existence of God, forgetting the only one... (Emil Cioran, Lacrimi si Sfinti)

The Third Part of the Clavierübung is Bach’s Magnum opus for organ. The way in which he depicted texts by using rhetorical figures, symbols, numbers, ‘magic’ figures, many different styles, ranging from the stylus ecclesiasticus to the style of the new generation, and demonstrating profound knowledge of French, Italian and other non-German music, Bach’s understanding of the theological background and contents of the chorale texts, the structural devices and planning of the whole series, the division of the collection into the three groups (Missa – Catechismus – Hausandacht) within a general framework, and many other features – all of this together testifies Bach’s ars combinatoria in a collection devoted not without reason ‘to the connoisseurs of suchlike work’ in particular. The above features also suggest that Bach’s compositions are much more than just ‘sound’. Knowledge of its non-audible features and backgrounds certainly enhances the experience of

Today, in an age of reproducibility, in an age that has merged science and technê with art and has given birth to the last-born Muse, cinema (perhaps the last Gesamtkunstwerk possible), it is difficult to imagine the impact that music could have had a few centuries ago. In fact the present age experiences the convenience we take for granted when we (often distractedly) enjoy music as a normal condition. Moreover, today – thanks to the possibilities of recording and recreating sound more or less artificially with the help of astounding technology – hearing music is the background to many human activities, whereas a few centuries ago it commanded the more exacting attention of both illustrious patrons and the more ordinary, yet nonetheless rapt, listeners. Thus in 18th-century Saxony, as in the whole of musical Europe, there was certainly no chance of being able to reproduce in one’s own home an opulent Ouverture, perhaps even orchestrated

with the complement of a solemn fanfare of trumpets and timpani, in the international idiom of the French musical taste. Nor was it always easy to find performers in sufficient numbers skilled enough to perform a sonata for violins and continuo in the more bizarre Italian style. But fortunately, in the houses of the central-German bourgeoisie one could often find a harpsichord and someone capable of extracting harmony from this instrument. And this person had to make up for the ‘normal’ impossibility of listening to a favourite piece for a medium-large ensemble, of ‘simply’ reproducing it always in the same way. (Indeed in spite of the experiments already carried out at this date on the building of various sorts of musical automata, many would have probably considered this modern condition – of absolute equality, high fidelity and repeatability of interpretation – as even deficient in variety). Hence the style of the keyboard is often un-keyboardlike. Indeed, ever since the origins of keyboard music the model had always been something ‘else’, since the Clavier was born with the destiny of having to borrow idioms. First such idioms were specifically vocal; later they were instrumental, when it came to imitating the distinctive language of chamber and church instruments, above all the violin, which held sway in the 17th and 18th centuries along with the cello bass. (In organ music such imitation extended even to the quality of the organ stops). Without doubt the unsurpassed master of this intersection of styles on the keyboard was Johann Sebastian Bach. Out of these multifarious influences – his acquaintance of Vivaldian instrumental music (a genuine infatuation), the style of the contemporary two- or three-part violin sonata and concerto, the Italian cantata and opera and the distinctive taste and performance practice of the French harpsichord-lute dance – he successfully drew the utmost benefit and essentially re-invented a compositional style of incomparable scope and singularity for the hands (and feet...) of the keyboard player. So in interpreting his music (for both harpsichord and organ) one can never be ‘just’ a keyboard player. To understand the music and to transmit it properly, one must open oneself to the manners, dynamics and phrasings of the violin when encountering a righthand passage full of imitationes violisticae or cantabile solo passages (in turn indebted to vocal models); just as when facing the purer and more urgent pacing of certain cello- or violone-like phrasing in the pedal or left hand, one must think about imitating the different bow quantities that the different ranges and typical dynamics of such continuo figurations would require. In this way the keyboard could imitate: the preludizing sonorities of the orchestra in an introduction with brass and drums; the chamber-like atmospheres of a three-part Symphonia or duet for violin and cello; a dance in trio seemingly echoing two oboes accompanied by a bassoon; even the strict style (gravis et

ecclesiasticus), this time the typically keyboard-vocal style of the organ- or harpsichord-ricercar or chorale motet; or finally, the utterly intimate atmospheres of the lute’s style brisée. This continual mixing of styles in the superhuman effort of assembling them all and elevating them to the highest level in order to transmit them in an encyclopaedic monument perhaps unequalled in the whole history of Western music – an indefatigable summa of dumbfounding varietas – was begun during the years in Weimar, when Bach measured his skills against the concerto and Italian instrumental music, first Venetian and Bolognese, then against the moving ‘pathos’ of the Neapolitan cantata and opera. In both Weimar and Köthen he exercised his prodigious talent in that Italianization of his style that was to temper the youthful, Gothic-Teutonic ‘angularity’ of his genius and enrich his mastery as a composer for the organ and harpsichord. So it was thus – after years of study of Italian chamber music and a full mastery of the motions of courtly French dance – that he entered the cultured, bourgeois and university atmosphere of Leipzig in the 1720s and 30s. There he harnessed this vast knowledge first to the production of church pieces, then to works for the students’ Collegium Musicum at the Café Zimmermann or for other secular occasions. In the meantime the keyboard production, which was inseparably addressed to teaching and progressive practice in composition, continued to be the constant terrain on which Bach engaged outside his official duties as Cantor and Hofcompositeur. Today, unfortunately, an approach to teaching the keyboard that guides the young to such a broad musical vision is completely unheard of. But without doubt this was the method of teaching the harpsichord and clavichord, then the organ, that Bach imparted to his numerous pupils. His special concern was to teach young keyboard players how to gain mastery (in both performance and composition) in the more expressive stile cantabile, first in two parts, then in three (as clarified in the preface to the Aufrichtige Anleitung). In this case the Italian instrumental violin-cello model is well in evidence even in the naming of the Inventiones and Symphoniae. Unfortunately present-day musicians (and above all those from the ‘sectarian’ world of organists) are still hampered by fossilized schools of interpretation that date back to the neoclassicism of the pioneers of ‘authentic’ interpretation and the rediscoveries of the Orgelbewegung. In spite of their fundamental merits (which are never in question), these movements have standardized the manners of interpretation and organological research into a series of prototypes or stereotypes that do scant justice either to that marvellous varietas typical of the

ancient world or, for that matter, to the incomparable experimentalism that was so long a distinctive trait of the German genius in every field, at least until the tragedy of World War II. Hence in teaching keyboard touch one often insists on articulation almost as if that were the end of performance and not a means for imitating vocal and instrumental phrasings that are surely not limited to the pedagogical rules of ‘strong and weak notes’. Nor, on the subject of instrument building, do we yet have sufficient knowledge of the brilliant diversity displayed in Central Germany by the likes of Trost, Hildebrandt, Cuntius and Casparini (just to mention a few). Pedalboards for the harpsichord or clavichord rich in 16- and 8-foot stops; large harpsichords containing a spectrum of stops from 16 to 2 foot; cornetto stops on the harpsichord and luteharpsichords; oboes da caccia, oboes d’amore, violoncelli piccoli, viola pomposas, violones of the most diverse shapes, hybrid brass instruments of peculiar tone – these are some of the many examples of that central-German constructional inventiveness that was amply matched by the inexhaustible flow of Bachian creativity. Indeed the imitation of orchestral instruments – above all string instruments – and the experimentation with ever-new forms of pipe to produce distinctive sounds is a special trait of Thuringian organ-building (though also partly Saxon and perhaps betraying a strong Slesian influence) at the time of Bach, who had encountered, studied and perfected these sound-worlds in the course of his inspections and his own organ projects. One cannot do full justice to the complex style of the trio-sonata, the basis of so many Bach organ chorales, or to the profundity of sound of his violone-like bass parts on the organ without those stops that then existed in that part of Germany. Moreover the crucial presence (also on the smaller organs) of a 16-foot stop and often even of a 32-foot rank of stopped pedal pipes, shows a marked taste for Gravität, for a richness of the fundamental notes that one can also study if one examines Bach’s orchestration, with its shrewd doublings between the various instruments and the expressive, always individual, combinations in the orchestral scoring of so much of his church and secular vocal-instrumental music. After all, these organs were the foundation of the church orchestra, enabling the continuo to be realized with the help of stops that were sonorous and hence rich in ‘gravitas’ and a concertante use of the pedal. All very different, therefore, from the rather feeble sonority of the omnipresent Truhenorgel and the standard wooden 8-foot stopped pipes almost exclusively favoured these days for the continuo parts of the cantatas, passions or masses! (The need to differentiate the timbre in the realization of a continuo line when two keyboards were unavailable could also explain some ingenious solutions. One example is the fine organ of the

Leipzig Universität-Orgelmacher Johann Scheibe, recorded here. Here the instrument’s sole manual is split into bass and soprano sections and is also, in relation to its size, remarkably rich in both Gravität and 8-foot foundation stops. If we consider these features, the creative and experimental talent of a Trost and the continual research of a Hildebrandt (sustained by the advice and suggestions of Bach himself), we understand how monotonous and lacking in experimental interest Bach must have found the organs of Gottfried Silbermann, the organ builder of the electoral court of Saxony and royal court of Poland. So it is curious indeed that Silbermann should today become the fashionable object of attention from organists and organ builders who detect in the (otherwise elegant) constructional solidity of his organs a model for the sound world best suited to the performance of Bach’s masterpieces…) In the Third Part of the Clavier-Übung, therefore, Bach the ‘Kapellmeister’ returns to the organ after years of copious production in the field of large-scale church and chamber music projects. His approach is not only that of a ‘virtuoso’ of the instrument but also that of a musicus universalis who wishes to leave the eager young organists with a theological-musical summa that is here – more than in his other keyboard works – inseparable from the notion of ‘research’ in the fullest sense of the term: i.e. compositional, performing, timbral, rhetorical, theological and aesthetic research (‘Ricercar’, as Bach put it in his musikalisches Opfer). It was his religious sense that convinced him that the stylistic development of music was governed and fixed by God. The musician’s task was to grasp and discover its most profound links and contexts – ranging from the treasured ‘early music’ of Frescobaldi (whose Fiori Musicali, in turn a summa of the Italian’s compositional art for the organ, inspired many of the choices in Bach’s collection) to the fashionable Galanterien dressed up in liturgical form – and to achieve the unity that underlies that variety. To create a music that is always new, original and hence unique became the life experience of ‘Bach the man’, for it alone could lead him to the truth underlying the created world and help him probe the secrets of musical matter and spirit. In his copy of the Calov Bible, against Chronicles I, 29:21 Bach significantly added the following note: ‘NB a splendid demonstration ... of the fact that music is governed by the divine spirit’; while against Chronicles II, 5:13 he added: ‘NB In religious music, God is always present with his grace’. I would like to conclude here with another dazzling reflection by the young Cioran. This time, we believe, it is one that the Cantor would have himself perhaps shared: ‘Musical meditation should be the prototype of thought in general. What philosopher has ever followed a motive up until its

exhaustion, up until its extreme limit? Only in music is a complete thought given. After having read the most profound philosophers we feel the need to start again from zero. Only music gives us definitive answers.’ C Matteo Messori

Matteo Messori was born in Bologna where he studied Organ and Counterpoint, graduating with top marks and summa cum laude. He studied harpsichord under the harpsichordist, organist, conductor and singer Sergio Vartolo at the Conservatories of Mantua and Venice, graduating again with top marks and summa cum laude. In addition, he studied musicology at the university of his native city, Bologna. He is active as both a harpsichord and organ soloist and conductor in Italy, Europe and America, and also works with various chamber music ensembles. In order to deepen the musical and cultural relationship between the Italian peninsular and the northern musical world between the 16th and 18th century, Messori founded the ensemble Cappella Augustana, which he is conducting in the first complete recording of Heinrich Schütz’ works for Brilliant Classics (Voll. 1-4, 19 CDs). He also directed, for the Swedish label Mvsica Rediviva, the first tribute in sound wholly dedicated to the sacred music by the Kapellmeister in Dresden and organist at the Thomaskirche in Leipzig, Vincenzo Albrici (1631-1690/96). He has recorded J.S. Bach’s Die Kunst der Fuge, Musikalisches Opfer and the Canonische Veränderungen über das Weihnachtslied „Vom Himmel hoch da komm’ich her’for Brilliant Classics. He conducts orchestras and ensemble regularly in Europe and has published in the Bach-Jahrbuch 2010 a study on the 16’ harpsichord with pedal harpsichord built by Zacharias Hildebrandt for the Collegium Musicum in Leipzig. He is a professor at the Bergamo Conservatory. Matteo Messori would like to take the opportunity here to express his heartfelt thanks to all those who helped in the realization of this recording: - Dr. Ernst Otto Arntz (Grauhof), Pastor Gregor Heimrich (Zschortau), Kantor Theophil Heinke (Waltershausen) and their parish communities who permitted the recording sessions on the historic treasured organs. - and finally Ania Kasia for her assistance at every stage of the present endeavour.

Christoph Treutmann organ, 1737, in the Abbey Church in Grauhof/Goslar

STOPLIST: Hauptwerck (C,D- c’’’) Principal 16’ Viola di Gambe 16’ Lieblich Prinicipal 8’ Spitzflöte 8’ Viola di Gambe 8’ Quinta 6’ Octava 4’ Nassat 3’ Rauschpfeiffe 3 f. Mixtur 4-5-6 f. Trommet 16’ Trommet 8’ Oberwerck (C,D- c’’’) Principal 8’ Rohrflöte 8’ Octava 4’ Spitzflöte 4’ Quinta 3’ Superoctava 2’ Sesquialtera 2 f. Mixtur 5 f. Fagott 16’ Vox humana 8’ Hinterwerck (C,D- c’’’) Gedackt 8’ Quintadena 8’ Principal 4’

Flöte Travers 4’ Octava 2’ Waldflöte 2’ Quinta 1 ?’ Scharff 3 f. Hautbois 8’ Pedalwerck (C,D-d’) Principal 16’ Soubbas 16’ Rohrflöte 12’ Octava 8’ Flachflöte 8’ Superoctava 4’ Mixtur 4 f. Groß Posaunen Baß 32’ Posaune 16’ Trommet 8’ Schalmey 4’ Clavier-Glockenspiel Tremulant 2 Zimbelstene Koppel Oberwerck/Hauptwerck Koppel Hinterwerck/Hauptwerck Wind pressure: 72 mm Pitch: 5/8 above 440 at 18°C Tuning: well tempered, after Kellner/Bach Johann Scheibe organ, 1746, in the Parish Church of Zschortau/Leipzig Examined by Johann Sebastian Bach on 7 August 1746

Hauptwerk C-c’’’ Portun-Untersatz 16’ Groß Qvintadena 16’ Principal 8’ Gemshorn 8’ Viol d’ Gambe 8’ Portun 8’ Qvintadena 8’ Unda maris 8’ Octave 4’ Salcional 4’ Röhr-Flöta 4’ Celinder-Qvinta 3’ Super-Octava 2’ Sesqvialtera 2 fach Mixtura 8 fach Fagott 16’ Trompetta 8’ Brustwerk C-c’’’ Gedackt 8’ Nachthorn 8’ Principal 4’ Flöte douce 4’ Nachthorn 4’ Gemshorn 4’ Spitz-Qvinta 3’ Nassad-Qvinta 3’ Octave 2’ Sesqvialtera 2 fach Mixtura 4 fach

Hautbous 8’ Tremulant Oberwerk C-c’’’ Flöte Dupla 8’ Vagarr 8’ Flöte travers 8’ (octavising 4’) Liebl. Principal 4’ Spitzflöte 4’ Gedackt-Qvinta 3’ Wald-Flöte 2’ Hohl-Flöte 8’ Vox Humana 8’ Geigenprincipal 4’ (with own windchest) Pedal C-d’ Groß Principal 16’ Sub-Baß 16’ Violon-Baß 16’ Octaven-Baß 8’ Celinder-Qvinta 6’ Posaunen-Baß 32’ Posaunen-Baß 16’ Trompetten-Baß 8’ Qvintadenen-Baß 16’ (Transmission from HW) Viol d’Gamben-Baß 8’ (Trans) Portun-Baß 8’ (Trans) Super-Octava 4’ (Trans) Röhr-Flöten-Baß 4’ (Trans) Mixtur-Baß 6 fach (Trans)

Tremulant on all manuals 2 Cymbelsterne Koppel OW-HW Koppel BW-HW Koppel HW-Ped Koppel BW-Ped Wind pressure: 69 mm Pitch: 466,8 Hz at 15°C Tuning: well tempered (1/5 pythagorean comma)

Recorded and mixed by Michael Seberich in May 2005 Editing: Corrado Ruzza and Matteo Messori Recording assistant: Anna Katarzyna Zareba Translations: Hugh Ward-Perkins Graphic layout: Fabien Bouchereau The engravings of Bernard Picart depicting the Sacraments and the Catechism of the Lutherans are taken from the third volume of Ceremonies et coutumes religieuses de tous les peuples du monde, Amsterdam 1733 The so-called Weydenhammer Portrait Fragment most likely depicts Bach around 1733 wearing the official uniform as Kapellmeister of Christian, Duke of Sachsen-Querfurt- und-Weissenfels (‘ein Brustbild, Bach im Staatskleide darstellend’)