THE CHORALE PRELUDES (VORSPIELE)—TRIOS—FANTASIAS—FUGUES

We have seen to what an early period of Bach's life his first free compositions revert; perhaps of still earlier origin are the works which the Chorales inspired in him.

Liturgical in character, and thus all the more closely identified with the popular sources from which he sometimes drew his own inspirations in order to idealize them mystically in a sort of "procession en Dieu," the chorale is the soul of Lutheran religious music. Far more; this universal prayer, the spiritualized communion of the faithful (their sole participation, really, in a dogma freely interpreted), passed from the inner temple to the outer court, like the reading of Holy Writ; the Bible was the book of the family, the volume of chorales its musical breviary.

The very first arrangements of chorales made by Bach convey a little of that intimate charm, of that impression of "home" and its domestic circle, where in the evening the hymns are sung between the reading of two chapters from the Evangelists; it would seem as though the young man, an orphan, in imparting to them their expression of quiet sympathy, desired that they should take the place of those same intimate pleasures which had been denied him.

In fact, the "Partite," these two sets of variations upon "Christ, der Du bist der helle Tag" and "Gott, Du frommer Gott,"[125] lend themselves but poorly to the somewhat formal solemnity of a public service.

The influence of the style of G. Böhm, which betrays itself from one end to the other of these compositions, and their resemblance to clavecin pieces, would seem to indicate that they belong to the Lüneburg period, when Bach had but rarely, at best, an organ at his disposal. Here we find heavy, solid chords, undoubtedly intended to augment the tone of the weak instrument, as the profuse ornaments were to prolong it. They are written without pedal, or, at most, in one variation, for the pedal of a clavecin; for the pedal part of this last variation of Christ, der Du bist der helle Tag cannot be played upon the organ as it is written; the whole design of the sixteenth-notes in the left hand would be covered up. On the contrary, entrusted to the basses of the clavecin, which do not prolong the tone, they merely serve to accentuate the rhythm.

The chorale Christ lag in Todesbanden[126] is analogous in character, and doubtless belongs to the same period.[127]

Among the chorales of the earlier years should be included a prelude in G major upon Wie schön leuchtet der Morgenstern.[128] This work dates, perhaps, from Arnstadt; three other chorales, published by Commer,[129] and similar to those of Christopher Bach, are of still earlier origin.

Aside from these chorales, which are separate, and a few others equally isolated, of which we shall speak in their proper place, the greater part of the Bach chorales have been brought together in various collections, although some have been published separately.

I

In chronological order, the first of these collections is the Orgelbüchlein.[130]

Because this collection was made at Cöthen, it must not be supposed that the chorales which it comprises were composed only during the period of Bach's service to Prince Leopold of Anhalt; Bach rather made a practical arrangement of them, whereby they might serve as a useful work for his pupils.

It comprises forty-five chorales, of which a goodly portion undoubtedly belong to the years in Weimar—perhaps to a still earlier period.

These chorales are generally written after the models furnished by Pachelbel; but where Pachelbel is merely calmly devout, or placidly harmonious, Bach, with a more exalted piety and distinctly more poetic, lends to them whatever of mystic character he could derive from the text of the hymns; in addition, he imbues them with all the picturesqueness suggested by the sense of the words.

And what variety in the choice of means to be employed! Sometimes there are progressions which fairly chill us, simply the result of a note purposely prolonged, or a succession of chords strikingly disjointed, which seem to clash with incompatible harmonies, as at the close of Alle Menschen müssen sterben; or a false relation seems fraught with fatality, as well as with complete desolation, as in O Mensch, bewein' dein' Sünde gross. At other times will be found motives whose symbolic character is not the result of chance; for example, all the irreparability of the primeval fall of man[131] is symbolized by diminished sevenths, pitching obliquely downwards, as if in a veritable vertigo; or the gliding of scales in opposite directions depicts the balancing of a flying object hovering in space—skimming over the earth, and already out of range, while, in the repetitions, the flapping of wings emphasizes the rhythm.

Certain rhythms also assist Bach in his task; to express the fulness of joy in the chorale In Dir ist Freude, Bach constructed his prelude upon a chaconne movement, a carillon theme, repeated unceasingly by the bass; the sole subject perceptible, of which the other parts are but an indistinct reflection; even the melody of the chorale is lost sight of in the vibrations of the bass, but, nevertheless, it presents itself in the voices, which repeat it in fragments, sometimes with elaboration, like the hum of a great people celebrating a festival, who emerge in vast throngs from the church whence the final reverberations of the organ still voice its rhythm,[132] and who betake themselves, thenceforth busy with their pleasures, to the sunny square now invaded by the sound of the bells ringing their full peals.

Certain chorales are expressive enough to pass as paraphrases; Bach did not err in judgment, and reserved for them a discreet accompaniment, which is sustained very softly, asserting itself only to provide for the melody a "breathing space," as it were, after which it may reappear with increased breadth.

This is exemplified in Herzlich thut mich verlangen, a favorite chorale with Bach, with its gloomily suspensive ending, expressive of desire or of doubt in its employment of the Phrygian mode, which supports the harmonies, delicately ambiguous in the irresolution of a petition.

This mystical fervor, intensified by Bach, was foreign to the conception of the composer of this melody; Hans Leo Hassler, as he wrote it, saw in it nothing of a chorale, still less of a hymn, but designed it simply for the words of a five-part madrigal:[133] Mein G'müth ist mir verwirret, a poem dedicated to a certain "Maria," the initial letters of the five verses forming the acrostic of her name.

Meanwhile, the producers of religious songs soon laid hold of this one; to this secular music was adapted, in 1613, the translation made by Paul Gerhardt of the Salve caput cruentatum,[134] written by St. Bernard; it thus became the hymn of Holy Week. During the century, certain publishers (Rhamba-Görlitz) still further distorted its meaning; it was henceforth heard at funerals, expressing the longing to leave the earth, whereas formerly it had served to salute the bloodstained face of the Saviour, while, in the by-ways, amorous lute-players languished to its tones in "courtly diminutions."

But had not Luther said, "Why should the Devil have all the best tunes?"

The canon form inspired Bach to compose some curious arrangements of chorales. He commanded so many artifices, could devise such ingenious counterpoints with which to create interest, to overcome the rigidity of scholastic practices, and in addition could clothe the composition in so rich an "orchestration," that it becomes a pleasure to play something so erudite, so natural does it sound to the ear. This double interest offered to the mind and to the ear is exemplified in a canon upon Hilf Gott, dass mir gelinge, where, interlacing itself amid the imitations in the fifth, a sustained movement in triplets runs through the entire compass of the keyboard. In In Dulci Jubilo, similar triplets, liquidly intangible, imperceptibly disintegrate the rhythm, soften its somewhat harsh character. This chorale recalls Bach's stay in Cöthen by the unusual compass of its pedal part, which extends upward to F sharp; so, for the same reason, does the chorale Gottes Sohn ist kommen, also written in canon.

Of the other chorales in the Orgelbüchlein, a small number, it is true, recall chorales by the organists of the North German school; as examples of this style we would cite Wenn wir in höchsten Nöthen sein and Wer nur den lieben Gott lässt walten, both, in the ornamentation of their melodies, characteristic of the Reinkens and Buxtehudes.

Finally, we would call attention, in Ich ruf' zu Dir, Herr Jesu Christ, to a form of writing truly instrumental, at the same time as analogous to the style of the Adagio (in A minor) of the Toccata in C major, as the repetitions of notes are characteristic of G. Böhm.[135]

II

The chorales of the Orgelbüchlein were compiled by Bach for purposes of instruction, as we have seen. It is not known whether it was his intention to publish them, or the eighteen Choralvorspiele[136]—sixteen autographs and two copies in Altnikol's hand—the MSS. of which are preserved in Berlin. In any case, these latter would have been rather for personal use than to serve as exercises for his pupils.

In this collection a form of chorale arrangement is found which we did not encounter in the Orgelbüchlein, the trio.[137] From a subject taken from a chorale melody, Bach forms a figure, which he develops in three parts in the style of the sonatas for two manuals and pedal; fragments of the cantus firmus recur in these arabesques, sometimes repeated upon one after another of the manual keyboards, as an echo; or perhaps the pedal finally lays hold of them, entirely reconstructing the chorale—a stately cadence. What Bach calls a "Fantasia"[138] is of analogous character; the difference being, that the parts are more numerous, and no longer confined to a strictly continuous design.

A fusion of Pachelbel's style with that of the organists of the North, although modified, furnishes a new type: the melody is figured, it is true, but very discreetly; and the phrases of which it is composed are treated separately, each being preceded by a counterpoint derived from itself. The chorale An Wasserflüssen Babylons[139] (super flumina Babylonis), for example, is thus written. The cantus firmus is sustained by the tenor, almost without elaboration, supported by rich polyphonic imitations of these various motives.

In the same style of composition, born of a poetic imagination, is the chorale-prelude Schmücke dich, O liebe Seele.

"Schmücke dich, O liebe Seele!" Adorn thyself, O dear soul; be full of virtue, to please God; yet, however pure, may thy virtue be natural and effortless! Be full of grace, and may thy virtue be a very beautiful thing; doubtless thou hast never sinned, and thus there is no question of repentance ... that would evoke some feeling of sadness, and no sadness whatsoever can exist here; thou art already very noble, and thou must become still more noble; already very limpid, thou must become still more limpid; although far from the earth, arise now towards the heavens.... Sublime as thou art, thou must become divine. Let thy virtue be a very beautiful thing!

"Schmücke dich, o liebe Seele!" Adorn thyself, O dear soul! And Johann Sebastian treats a single line of the very calm and too austere chorale. Its robes of sackcloth being somewhat too severe, he bedecks it with simple and suave ornaments, like lilies which would live on a plain and naked altar. So might a learned and holy priest speak those words which at once charm and sanctify; and his hands do not remain crossed upon his breast, but his gesture mounts upwards towards God, scarcely saddened by a separation which soon will cease ... virtue is a joyful thing!

"Schmücke dich, o liebe Seele!" Adorn thyself, O dear soul. And now, suddenly, upon a distant manual, the calm and less severe chorale is heard. Do those voices mount towards God, or do they call from heaven? Is it a prayer which rises, or the dew of a grace which softly falls like the rain? And the suave ornaments of a simple melody thus live like lilies, and breathe no sadness. For virtue is beautiful and joyous.... "Schmücke dich, o liebe Seele!" Adorn thyself, O dear soul!

Bach wrote this chorale on a Sunday, as a pious man conceives in his heart a beautiful and childlike prayer, for the heavens are very pure on that day, and one's soul is wholly sincere.[140]

At the end of this volume are the variations in canon form upon the Christmas hymn Vom Himmel hoch da komm' ich her.[141] The combinations in which Bach involves this chorale melody, already often treated by him, might well dismay a contrapuntist; we wish to note here only that original melodic richness, often touching, under which is concealed such arduous labor leading to inconceivable results. Fatigued in following their intricacy, powerless to unravel the inextricable network, the mind clings to these threads, though still indefinite—music now superhuman in the swishing of invisible wings as they fold, or rustle like silk in their contact;—or gliding, rather, without conjuring up any special sound, but leaving to the fancy the whole halo of harmonies; or like an echo, as if fragments caught here and there repeated the song which spirit-voices pray—the white souls of the pure in heart—these voices in peaceful chords, strangely sustained, or so gently persistent that the saints must hear them, in ecstasies which one feels as in a dream; the song which the stars revealed, murmured to the Child, who was lulled by the incommensurable rhythm of the universal concert emanating from God.[142]

III

The Third Part of the Clavierübung contains twenty-one arrangements of chorales.[143] The "Hymns of the Catechism" and the Creed furnish twelve of them, each melody treated twice, with or without pedal. These chorales may be cited as examples of certain well-defined types; it is unnecessary to identify each one of them separately, rather will we leave to the reader the task of such a classification. Some of them, however, are deserving of special mention; the Vater unser im Himmelreich (treated in canon), for its extended proportions, for the fulness of its harmony; the Aus tiefer Noth (de Profundis) in six parts, with double pedal, noteworthy in that it appears to have been written for two pedal-keyboards of different intensity, the melody dominating by its power, crying out amidst the symbolical chaos of this gigantic polyphony.

We shall not again touch on that faculty which Bach possessed of translating into music the words of the chorales, whether in their most obscure meaning, or in their most obviously picturesque significance. Ein' feste Burg ist unser Gott, "A mighty fortress is our God," sings Luther, and Bach emphasizes the suggestion of impregnability by supporting the melody upon the deepest basses of the organ; but this firmness reveals itself only after the repulse of an attack, after the warring of the counterpoints below the ramparts.

It is the same procedure as in the Reformation Cantata Und wenn die Welt voll Teufel wär', "And were the world of devils full," as Luther's song runs; "on a sudden, figures of infernal aspect, issuing from unknown depths, rush to the assault upon the noble melody of the chorale."[144]

But such agencies partake rather of an instrumental style, interesting in an organ prelude, where they are more in place; in the cantata these counterpoints are entrusted to a bass voice; while putting the singer out of breath, they impress upon the audience a sort of wearisome anxiety; "without doubt," says Hanslick, "Bach obeys a fine symbolic instinct in entrusting the calm and steadfast melody of the chorale to one voice, while the other, in elaborate design, creeps about it; but not everything of symbolic significance must, for that reason, be beautiful in itself."

It is known that the last work of Bach was a chorale-prelude upon the melody of Wenn wir in höchsten Nöthen sein, or Vor deinen Thron trete ich,[145] which he dictated upon his deathbed to his son-in-law, Altnikol. This composition was added to the plates of Die Kunst der Fuge (the Art of Fugue), unfortunately lost, which Bach had had prepared at the time.

"To replace the unfinished portion of the last fugue, the work has for a supplement a four-part chorale, Wenn wir in höchsten Nöthen sein, which Bach dedicated some days before his death to his son-in-law, Altnikol. I will not dwell on the art which he displays here, for the profound science of music had been so mastered by the author that he could exercise it even in illness; but the expression of pious resignation and devotion with which it overflows has touched me deeply every time I have played it; and I cannot say which I would rather do without, this chorale, or the ending of the fugue."[146]

The text of this chorale was, moreover, singularly appropriate to Bach's condition when he composed it, viewed as a lament amid the terrors of death, or as a declaration of readiness to appear before the throne of that God whose aid he invoked at the head of his compositions.[147]

This chorale has been called the "Swan-song."

In completing this study we must mention the chorale-accompaniments which Bach wrote to sustain the singing of the congregation, which are found in a manuscript of Kittel (P. v, Appendix, Nos. 1, 3, 6, 7, and last) and in a copy by Forkel (P. vi, 26).

They are quite different from those which he wrote in 1706, upon his return from Lübeck, and which so scandalized the parish, confusing the congregation by their ornamentation.