Johann Sebastian Bach: his work and influence on the music of Germany, 1685-1750, Vol. 2 9780486274133

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without intermission. In the score, however, at bar 86 in the bass line, there is this direction: Organo solo, and again at bar 97, Bassont e Violont. ‘The chorus is cast in the form

of the French overture; this passage corresponds to the stereotyped trio passages which are of a softer character, and in the real overtures are given to the two oboes and bassoon, and which are contrasted with the pompous and complete effect of the full orchestra. In order to make the contrast really effective, Bach makes the bass of the orchestra

cease, and the organ play alone. He must have deemed it sufficient to inform the instrumentalists of his intentions by word of mouth at the rehearsal. We know, moreover, that he considered the Gedackt as peculiarly adapted for purposes of accompanying, from what he himself says in the specification of the repairs for the Muhlhdusen organ.2* We may #21 B.-G., V.,! p. 352 ff. B.-G., X., p. 72 ff. P. Vol. ror, 2144.

22 B.-G., V.,? p. XVI. 223 B.-G., V.,! p. 307 ff. P. 1289. 24 Vide Vol. I., p. 356.

USE OF STOPS ON THE ORGAN. 303 therefore conclude with certainty that in similar passages he frequently dispensed with a part of the instrumental basses, and, especially in arias, employed the whole of them only for the ritornels ; that the recztativo secco was usually accompanied

in a short style by his direction, and that, as a rule, the Gedackt was used for recitatives and arias. We cannot, however, venture to deduce a rule which shall hold good

for all cases, but must rather conclude that Bach, disregarding the practice of others, kept himself perfectly free in all matters of art; thus, in accordance with the character of the piece he would alternate short chords with sostenuto in recitatives, or the Gedackt with some other stop of especial fitness for accompaniment, and in other ways deviate from what was generally accepted, to the advantage of the particular instance. Such deviations were the result of his nature, the time, and the subject. Schroter and Petri lay down the law that in accompanying church music no use whatever must be made of reeds or

mixtures.“ By this they only mean to lay stress upon the fact that the organ ought never to drown the voices and

instruments. Besides this, the task of the organ was not only to support and hold together the whole body of sound,

but also to give it unity of colour. In a certain sense it occupied, with regard to the other instruments, a position similar to that taken in the modern orchestra by the string

quartet. Just as the wind instruments group themselves round this as a centre, so all the instruments grouped themselves round the organ. ‘The relations were different however in this way, that the organ remained always in the background, its effect being merely that of power, and that on this background the other instruments were seen,

not so much as solo instruments, but rather as choric groups. One of these groups was the quartet of strings, another the oboes and bassoon, a third the cornet and

- trombones, and a fourth the trumpets (or sometimes horns) 225 Schroter p. 187 ff, where precise directions are given as to the management of the stops in the different parts of a cantata, and also as to the various characteristics of such parts. Petri, p. 169.

304 JOHANN SEBASTIAN BACH. and the drums. The flutes occupied a less independent place in Bach’s orchestra, but in the seventeenth century they formed a group by themselves. Any individualisation of separate instruments such as is exhibited in the orchestra

of Haydn was by this means excluded; the effects were produced rather by means of the juxtaposition and contrast

of the great masses of sound, a method which perfectly corresponded to the character of the fundamental instrument, the organ. The sense of style in Bach’s church music

results partly from his having left these relations of the groups one to another, which had become fixed in the seventeenth century, unaltered both in outline and detail. In this, as in other respects, he had stronger sympathy with

a bygone time than his contemporaries, who were more sensitively alive to the approaching development of concert music, and to whom, for that very reason, these traditional

requirements were antipathetic; in their church cantatas we hardly ever entirely lose the feeling of a deep artistic anomaly. Besides this, to return to the comparison between the organ and the string quartet, an essential difference lies

in the relation of the two bodies of sound to the voices. In a combination of voices with instruments, the natural condition is that the former rule and the latter serve; so that the former fix the character of the piece while the latter only give support and adornment. Now the vocal music of the sixteenth century had attained greatness, not-

withstanding that each part was often sung by a single voice. These insignificant choruses had remained, with few exceptions, in universal use throughout the seventeenth century, and far on into the eighteenth, while on the other

hand the treatment of the instruments continued steadily

to increase in fulness and variety of colour; so that in

‘Bach’s time even what we should call an orchestra of weak strength outnumbered the singers by more than a third. In the Neue Kirche under Gerlach there were only four singers

to ten instrumentalists.” Bach himself, in the memorial of August 23, 1730, fixed the number of singers at twelve 226 Vide App. A., No. 14.

PROPORTIONS OF THE ORCHESTRA. 305

and that of the instrumentalists, besides the organist, at eighteen—in the ratio, therefore, of two to three, so the vocal parts certainly did not preponderate; thus the natural proportion was exactly reversed in consequence of an individual development. Handel and Bach, the two culminating centres of music at that time, sought, each in his own way, to rectify this state of things. The choir with which Handel periormed his oratorios in England was indeed numerically

smaller than the orchestra, but 1t consisted of singers of much greater technical ability than those of the German church choirs, and consequently the tone was much fuller ;

besides, Handel made a much more limited use of the organ. The characteristic feature of giving the vocal parts more importance than the instruments is very prominent with him, and pervades his music so strongly that, in the performances of his oratorios within a few years of his death,

it was settled in England that the voices were to outnumber the orchestra. In Germany the change did not come so soon. In the festival performance of the Messiah, got up by Johann Adam Hiller in the Domkirche of Berlin, on May Ig, 1786, the old proportions were adhered to; there were 118 vocalists, and 186 instrumentalists.27/

This change, which was gradual in Germany, is to be ascribed to the influence of England. But it was only suited to the oratorio proper, not to German, or, which is the same thing here, to Bach’s church music. In the case of most of Handel’s oratorios, although the chorus is seldom

or never to be regarded as representing persons in the drama, yet, for the proper understanding of the artistic idea

in its entirety, the consciousness that it is constituted of human voices is of the greatest importance. In Bach the 227 Hiller, Account of the performance of Handel’s Messiah in the Domkirche

in Berlin, cn May 19, 1780, 4. The orchestra, strengthened by Hiller by the addition of flutes, oboes, bassoons, horns, and trombones, consisted of thirtyeight first, and thirty-nine second violins, eighteen violas, twenty-three violoncellos, fifteen double-basses, ten bassoons, twelve oboes, twelve flutes, eight horns, six trumpets, two trombones, drums, organ, and harpsichord. The choir, which comprised all the singers of the schools of Berlin and Potsdam, and all the opera singers, male and female, numbered thirty-seven sopranos, twenty-four altos, twenty-six tenors, and thirty-one basses.

306 JOHANN SEBASTIAN BACH. use of the voice is of a much more abstract character; it is regarded rather as an instrument having the property of uttering words and sentences with and on the notes it gives forth. Handel’s oratorio style tended towards laying a stronger and more decisive emphasis on the vocal factor, while Bach’s chorus admits of strengthening additions only within narrowly-defined limits, and, from the first, never bore

an indirect ratio to the instruments. For the practical side of German music, it has been a fatal error, although easily accounted for by historical fact, to reckon the oratorio

as a branch of church music on the one hand, and on the other to regard church music from the point of view of the oratorio. This is one of the principal causes of the hybrid state of the German oratorio in the latter half of the erghteenth century; outward circumstances, it is true, contributed to this result, but so deeply imbued were the German composers with this amalgamation that, even after

the practice of performing oratorios in the concert room had become usual, its influence long remained evident. In. Bach’s church music the ruling or dominant factor is

not the chorus or the voices—if there be any such factor,

it can only be said to be the organ; or, to put it more decisively, the body of sound used in performing Bach’s church music is regarded as a vast organ of which the stops are more refined and flexible and have the individuality of speech. Still, this organ is not to be conceived of as a dead mechanical instrument, but as the conveyer and the symbol of the devotional sentiment of the church, which 1s what it had indeed become in the course of the seventeenth century,

and by the aid of Bach himself. While assigning it this place in his church music, he succeeded in effacing, so far as he was concerned, the disproportion which existed between

vocal and instrumental music, and in combining them to form a third power higher than either; he could do it only

in this manner in his position and sphere. Handel and Bach, the fundamental sources of whose genius were in part

the same, had arrived at directly opposite results in this as in many other problems in art. This is obvious from a study of their works even without regard to comparison

THE ORGAN IN CHURCH MUSIC. 307

or analogy. It is, however, always interesting to have evidence that Bach was conscious of the individuality

of his work. In the latter half of the century, as the influence of the Protestant church decreased, the spiritual

meaning of Bach’s church music became less understood. : Kirnberger watched with anger the gradual and increasing

disuse of the organ in church music, while a secular and theatrical style was demanded on all sides which lowered

this whole branch of art. In his opposition to these tendencies he was joined by the school of Bach and many other musicians, who devoted themselves to the music of the better times that had gone by. Rolle, whom we have frequently mentioned, has formularised and handed down

to posterity the verdict of these men. He says: ‘In theatrical performances, in serious operas, and particularly

in operettas, snd also in concert rooms where solo

cantatas, great dramatic vocal pieces, and so forth are performed, we are accustomed to distinguish the voices in concerted pieces in the plainest manner possible, as they are not checked, obscured, and disturbed by any organ or

other powerful accompaniment. We are misled by this into demanding the like delicacy of sensuous pleasure even in church music. Many practical musicians, however, judge quite differently. They say we must never mistake the right and true form of church music. We must treat that splendid instrument, the organ, rather as the ruling power than as passive or as a mere accompaniment,

and this more especially in choruses, even though the ornamental details of both vocalists and instrumentalists may thereby be lost. We indeed desire good and beautiful

melodies, which each separate part can and must have, but above all we require noble, complete, and splendid harmony.”’*6 228 Rolle, Neue Wahrnehmungen zur Aufnahm und weiteren Ausstreitung der

Musik. Berlin, 1784. This book was severely criticised and soon forgotten. The style and arrangement are no doubt confused, but the work is notwithstanding full of practical observations and useful facts. The author, who was Cantor at the Jerusalem and New Church at Berlin, was a son of Christian F. Rolle (mentioned in Vol. I., p. 520), and familiar with Bach’s school of music. The passage here quoted expressly refers to Bach’s pupils, for the heading in

308 JOHANN SEBASTIAN BACH. The vocal part of the church music was performed by boys

and men. In Thuringia and other districts of central Germany the church choirs were strengthened by so-called ‘‘ Adjuvanten,’ or assistants—z.e., amateurs from the neighbourhood, who voluntarily took part in the performances. In Leipzig this custom seems not to have obtained to the same

extent; we find it once mentioned that in Kuhnau’s time an ‘“‘advocate in law” had frequently accompanied the church music on the organ. The Collegia Musica, under the direction of Schott, Bach, and Gorner, consisted almost exclusively of students, who certainly must have taken part in the church music. The solos for soprano and alto were given, as a rule, to the boys of the Thomasschule choir. In the case of pieces composed by Bach himself, their perform-

ance was no easy task, forin his arias, as is well known, great demands are generally made on flexibility of voice, and the art of taking breath; a boy’s voice rarely iasts long enough for him to acquire a thorough technical education. His singers are said, indeed, often to have complained of the difficulty of

this music.”

Still, it may be pointed out that a certain skill in technique was at that time more common than at present;

it was in the air, so to speak, so that it would be more easily acquired. During all that period‘the Italian art of song was in full bloom and was known and admired throughout Germany. Little as the German school-choirs were capable of turning this art to account in its entirety, yet a certain superficial brilliancy found its way among

them, and with some degree of success. To this, for example, is to be ascribed the study of the shake, which was enforced with great gravity and zeal in the school singing

lessons. Wolfgang Caspar Printz, Cantor of Sorau, in his Gesangschule which appeared so early as 1678,” gives the table of contents mentions Agricola, Graun, Hasse, Kirnberger, &c., and some of those who are related to the families of Bach and Rolle, as being ‘‘ famous muSicians, as distinguished in church music as in theatrical music.” 229 Forkel, p. 36.

280 Musica modulatoria voealis, oder manierliche und zierliche Sing-Kunst, 1678. Hecalls the shake ‘‘ Tremolo,” while he gives the name Trillo or Trilletto to the tremolo proper, which he also treats of (p. 57 f).

VOCAL TECHNIQUE IN GERMANY. 309

instructions as to the shake, and the same was done one hundred years later by Petri, who, like Printz, was a school

Cantor,*! and by Hiller, one of Bach’s successors in the Thomasschule.#* Both direct the study of the shake to be begun early and to be diligently practised every day. It is clear, from Bach’s compositions, that he demanded and expected from his singers facility in executing shakes.

The German style of vocalisation at this period was a mixture of roughness and over-refinement, which a great

musician such as Bach could only make available for

his ideal by merging it in the style of instrumental art, which then was at an incomparably higher grade

of development. In these days even, a boy’s voice seems to us to be utterly inadequate to the task of giving expression to the abundance of feeling contained in the arias of Bach; their depth and passion seem to demand before all else, and as an indispensable condition, a high degree of maturity of artistic feeling. Since it was impossible for Bach to reckon upon this condition being fulfilled,” the

conclusion is unavoidable that it was not his intention to bring this feature of passionate depth prominently forward. Indeed, throughout his music the subjective emotions are rather suggested than fully developed; and this is the true explanation of the phenomenon that Bach’s music has begun

to be so deeply felt since Beethoven’s time, for during this period men’s feelings have been particularly open to such emotions. In Bach’s own time an aria of his com-

position was, as it were, a lake frozen over; the boy’s voice glided over the surface, careless as to the depths which lay below. Moreover, the suppression of all personal feeling was required by the very nature of church music; nor is this true only in the case of the soprano and alto voices,

but for Bach’s music as a whole; it is the deepest law of its individuality. Boys’ voices were at least capable of *31 Loc. cit., p. 203. 232 Anweisung zum musikalische- richtigen Gesange, Leipzig, 1774, p. 38. 233 «The more refined and expressive kind of singing is not to be expected of choir boys.”’” Forkel in his admirable dissertation on Church music, (Allgemeine Geschichte der Musik, Vol. H.. p. 37.)

310 JOHANN SEBASTIAN BACH. fulfilling the requirements of this law. Wecannot, however, venture to assert that the performance of the solos was as

yet always assigned to boys alone, for the art of falsetto singing by men was still diligently cultivated. This art, the practice of which has now so completely disappeared™* that even the rudiments of its technique seem to have become a secret, was quite an ordinary thing in Bach’s time at Leipzig.

In the musical societies, where cantatas were performed every year with the full number of parts, men alone were the

performers ; the names of the students to whom the fourpart singing was generally entrusted, under Hoffmann’s direction, have been given. And later, Gerlach had only

four students at his disposal for the concerted music in the Neue Kirche; and the choristers of the Nikolai Kirche, when they had to sing in four-parts, must have been capable of doing it by themselves. By means of the falsetto a tenor voice was changéd into a soprano anda bass into an alto.

It is expressly stated that this style of vocalisation was employed not alone in choruses, but also with a particular effect in arias, and that a falsetto soprano could sing up to the astounding height of e/// and f///,”® In speaking of customs in singing, the way of performing

the recitative must not be forgotten. The singers of the present day are accustomed to deliver Bach’s recitatives as they are written, and this they do with a view of giving them a solemn character, distinct from anything theatrical.

It is a question, however, whether our present practice

has not come to be directly opposite to that of the

earlier time. The free alteration of separate notes and intervals in phrases of recitative was seldom if ever employed

in theatrical recitative in Bach’s time; it occurred more frequently in chamber music, but almost constantly in church recitative.° The reason was that the rule at that 234 [In Germany, at least. Tr.] 235 Kuhnau, Der Musicalische Qvack-Salber, p. 336: ** When he played the clavier, and let his alto falsetto be heard (his proper voice was a bass) in some

favourite arias, the girl was quite captivated.” Petri, p. 205 f, gives full directions as to the cultivation of the falsetto. 436 Tosi- Agricola, p. 150 ff.

SACRED RECITATIVE. 311 time universally followed was to treat church recitative in a melodious rather than in a declamatory manner,”! whereas in opera it was to be exactly the reverse. These alterations, however, serve for the most part the purpose of increasing the melodious flow of the phrases. As to the cases in which they are to be introduced as a regular practice, we are given exact directions by Telemann and Agricola. Telemann, in the preface to a collection of his own cantatas which appeared in 1725, illustrates these uses by examples.”® On the one hand, they refer to the downward skip of a fourth, especially common in final

I. 2. 3. 4. + ig EE Se ee eee, spe Ff I. 2. 3. 4.

cadences. ° Phrases like these —

Sea ee ee eee ae ae ieee pe | So according to him, should always be sung thus :—

¥ == See ae |e eee ee eee a eee | On the other hand, they treat of the employment of the socalled accent—.¢., appoggiatura, or prelatory note, consisting

of the next note above or below the principal one. To make this clear, Telemann gives a recitative from one of the cantatas which occur in the work, both in the usual notation and according to the actual performance :—

writes, qe —— —-—— ritten Be s— oe 25 Be - glick - te Stun - den, da Mo- ses

Performed. 7 ersorme SS|pee—5——_ ee —s— F 237 Scheibe, Critischer Musikus, p. 163. 238 Georg Philipp Telemann, ‘‘ Haimonischer GOttes-Dienst, oder geistliche

CANTATEN zum allgemeinen Gebrauche, &c.”’ Service of Harmony, o1 sacred cantatas for general use, which are intended for the furtherance of devotion, as well private and in the house as public in the church, on the ordinary Epistles for Sundays and Holy Days throughout the year, &c. Folio. The preface is dated ‘‘ Hamburg den 19. Decembr, 1725.”

312 JOHANN SEBASTIAN BACH.

SS i SARL ATE SNE A > OR NN >

—4 7? 9 pe a 2 ee or _Tjp it 2 46—_ pF a a DON =e pre — ‘—e 6 St =e uns nicht mehr so scharf, wie vor- mals, draut! Ja se - gen-vol -le

—{ I —— Sa Ne sp Pe ee =eS a aeet ay pe Sg tee “_

ee fe er Ee =