Avsnitt
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The subject of the last several episodes has been Bach’s canonic variations on a Christmas tune by Martin Luther himself. A major inquiry into this work is its existence in two versions: engraved and handwritten. The published version (for reasons explained in the episode) doesn’t fully solve the canonic lines, as seen here:
Notice how the notes of the bottom line don’t continue after the fifth note!
See two other canons, each with the comes omitted:
Variatio 2 omits the follower after only three notes, while the last image shows the second voice dropping out after two full bars.
Because of such condensed notation, a copy working out the solutions would be necessary for anyone wishing to play the work; Bach himself made one— and couldn’t stop himself from making very minor changes. Those intriguing revisions are the subject of this episode.
P.S. In the episode I mention that for time’s sake, I cut three revisions from our comparative study of the canon at the 7th. For reference, they are found below. The staves show the pedals and left hand, engraving copy on top, followed by the handwritten copy:
Bar 7:
Bar 13:
Bar 22:
P.P.S. I received a notification that the featured recording of Stravinsky conducting his own arrangement is banned in certain countries in which I have listeners. Pardon me if the sound drops out at the end of the episode! If this happens, you’ll have to look the piece up on your own: it can be found searching Stravinsky’s music under the title “Choral-Variationen” (or “Chorale Variations” in other languages) with either W83, K087, or BH-2629 as the catalogue number.
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Let’s delve into a third variation from Bach’s 1747 masterpiece, “Some canonic variations on the Christmas song, ‘From Heaven Above’ for the organ with two keyboards and pedal, by J.S. Bach.”
Two versions of this piece exist: the ‘fair copy’ and the ‘publication’ (Stichfassung), which present the variations in a different order. In this episode, we follow the publication, where the canon at the 7th appears as the third variation.
The previous two variations featured canons between right and left hands, while the pedals carried the slow moving chorale melody. This variation introduces something new: a canon between the pedals and left hand. On that page that looks like this:
Above those two lines, the right hand plays a quick-flowing accompaniment marked cantabile, but the chorale melody is missing…
Note the rest up top, and the downward-facing stems on all the notes. This implies a second voice is coming: the Christmas melody sung in half notes.
Together, the two voices of the right hand, combined with the canon between the pedals and the left hand, create a four-voice texture— the previous variations were in three voices. As we’ve seen in his other late canonic works, Bach will gradually increase the complexity of the canonic treatment toward the finale.
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Saknas det avsnitt?
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I never knew the authentic version of the world’s most famous canon, having only known arrangements which conceal the fact that the music is indeed a canon in three voices. Here is what the ‘real’ canon looks like:
It continues for over 50 bars as a three voice canon at the unison. In my brief survey of this piece, I found one theory that suggests the 9-year-old J.S. Bach was in attendance at the first performance in history.
While the canonic treatment is clever and not worthy of our loathing— we blame its ill fate on others— Bach’s contributions to the genre outshine this example. We continue with Bach’s canonic art in the next episodes.
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Continuing our mini-series exploring Bach’s canonic variations on the Christmas song, ‘Vom Himmel hoch da komm ich her’ BWV 769, we listen to the second canon: a canon at the perfect fifth.
Here is what the initial shape looks like in the right hand:
So the same shape must be imitated down the perfect fifth. It appears like this in the left hand:
I briefly mention the difference between ‘tonal’ and ‘real’ answers. Although the majority of the imitating line appears a perfect fifth below the leader, several accidentals are changed to keep the overall tonality. Hence Bach here gives us a ‘real answer.’ (I.e. where the F# and G# appear in the left hand, find the corresponding notes in the right hand, note the resulting intervals are diminished fifths, not perfect.)
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The first variation in these late variations for organ, is a canon at the octave. The two hands, each on a separate keyboard, play the same shape, one octave apart, while the feet provide the chorale melody. It looks like this:
Those are the first three measures of 18 measures. That’s right: the shape is imitated note for note for 18 bars! If you’re having trouble seeing that the two upper lines are in fact the same melody, one octave apart, try this image:
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In this first of several related episodes, we will learn about Bach’s late contrapuntal masterpiece, the Canonic Variations on Vom Himmel hoch da komm' ich her, BWV 769.
The variations— although certainly not as familiar— should be considered alongside Bach’s other late achievements, the Goldberg Variations, The Art of Fugue, and A Musical Offering. They employ many similar ideas and highlight the composers uncanny ability to ‘squeeze water from a stone,’ making elaborate pieces with minimal material.
This first episode discusses the origins of the chorale melody and for what purpose Bach used this piece.
Drop me a note to tell me if you like this shorter episode length. Are you the type of listener who loves the hour long podcast? Or did this fit into your schedule better?
I mention the title page:
And the Wikipedia link to the chorale melody: https://en.wikipedia.org/wiki/Vom_Himmel_hoch,_da_komm_ich_her
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Since I was a child I’ve known the story of Bach pulling out a blade. What really happened? In this short episode, I read the contemporary reports from the Arnstadt Consistory Court, where this famous fisticuffs was first recorded.
About halfway through the episode (14 minutes), I’ve given you some “chill” chorales, played over a drone. One of my listeners mentioned they wanted some Bach for doing yoga/meditation, so this is what I came up with. If you like the way it sounds, I’ll put a full hour-long track on Spotify for all my Bach enthusiast yogis.
Meanwhile, stay tuned for some cool episodes coming up during the holiday season.
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Last week I posted this piece on YouTube:
The most intriguing part of studying this piece was the overwhelming amount of differences between the three earliest sources of this work. Here is a list of the sources I reference in the episode , the copyists, and when they were made:
The ‘Andreas Bach Book’ (D-LE III.8.4) J. Christoph Bach; copyist, between 1705-1714
P 801 J. Tobias Krebs; copyist, between 1710-1717
P 804 J. Peter Kellner; copyist, before 1725
In the episode I simply refer to these as Andreas Bach, Krebs, and Kellner.
You will hear a great amount of textual variation between these sources. Part of any performer’s job of playing music from Bach’s era includes combing through sources, determining how and why certain discrepancies appear. In the Aria Variata, however, the discrepancies are inconsistent— and perplexing.
My current understanding of source tradition hasn’t led me to any conclusion, but were I bold enough to take a stab, I’d guess Andreas Bach is the most accurate source, Kellner made a very sloppy copy from which Krebs copied. Kellner’s copy is full of corrections, but these were probably entered at a later date, and Krebs didn’t get the memo. A taste of what this looks like:
That is Kellner’s copy. Notice the ornaments. Compare to Krebs:
Both have an E-flat in on the downbeat of the third bar (all three sources in this episode use soprano clef on top). Now here is Andreas Bach:
D-sharp in bar three! Also, the ornamentation is fuller.
There are many other details in the episode, so please, enjoy! Here are more images to stimulate your fancy:
Krebs’ wavy hand.
Kellner making mistakes, corrected by— whom? Kellner himself?
The baffling passage in variation 4 in Andreas Bach. Notice what look like erasures on some of the notes.
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Yes, that recording at the end is none other than Jascha Heifetz with Primrose and Piatigorksy, who apparently recorded three of the sinfonias. The wonderful pianist with that golden sound playing before the string trio arrangement is (I think!) Marcelle Meyer recorded sometime around 1948.
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Today’s episode focuses on the ‘black pearl’ of the inventions and sinfonias. The f minor sinfonia is highly complex piece of passion music embedded within a seemingly innocent collection of music intended for the beginner. Here, rather than the more typical obligato upper voices with the bass occasionally joining in with a theme here and there, the f minor sinfonia relies on convertible counterpoint where all three voices are judged— and juggled— equally. Bach shows us this technique using different themes:
A lament bass:
Musical crosses:
And a wildly avant-garde motif, which I refer to as the wailing motif:
Writing certainly exists on these three motifs seen as “God the Father, God the Son, and God the Holy Spirit.” Not for any particular reason, I refrain from making such an analogy in this episode.
As mentioned in the episode, Bach changed some of the enharmonics when transfering the piece from the Notebook for W.F. Bach into the Aufrichtige Anleitung. Here are some examples:
The E-double-flat (middle voice) in the notebook for his son:
is later changed to a D natural:
The B-double-flat in the top voice in the previous examples remain, but Bach will change the spelling in the bass voice of the same note (again, in the notebook:)
to an A natural:
There are a few other similar changes throughout.
Thanks for listening! Have you told your high-school band teacher you’re super into Bach?
N.B. My substack is about 1 year old, and in that time I released some 27 episodes and three essays. Should you decide to become a paid subscriber, that’s less than 3 dollars an episode (paying per year: about $3.70 paying per month.) Your contribution ensures the existence of this podcast. I really couldn’t— and wouldn’t be able to— continue devoting the time without your support. Thank you.
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Becoming familiar with Bach’s music is a never-ending process. First, there is the initial reading, which alone can occupy many happy years. What’s remarkable is that with each further reading, you’re astonished by the details you missed before—quite honestly amazed. You ask yourself: Where—or even who—was I during those earlier readings? You begin to measure your growth as a musician against the depth with which you can now understand the pieces.
One fugue, which I initially read with little interest, is the one featured in this episode: BWV 537. Suddenly, I’m struck by its raw power and its structural reliance on a chromatic line. Now that it has revealed itself to me, it will forever remain a favorite. I hope to share with you a glimpse of this experience in today’s episode.
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In this episode, we’ll explore Bach’s constant involvement with weddings. Weddings and funerals occupied a weekly place in Bach’s life in Leipzig and we’ll shed light on the various ways in which he was involved musically.
[I forgot to credit the last recording in this episode to Rudolph Lutz and the J.S. Bach foundation.]
Here are (some of) the beautiful parts which make up the chorales, BWVs 250-252. They are beautiful examples of Bach’s handwriting ca. 1730. Note that all three chorales are on the same page.
Soprano:
Alto:
Tenor:
Bass:
And the second horn part I fondly discuss in this episode:
All the parts are viewable at:
https://www.bach-digital.de/receive/BachDigitalSource_source_00002475
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A brief(er) episode for you today: Bach’s first published opus was his six partitas for keyboard. In some of the sources within Bach’s circle, copies retained as a ‘Handexemplar’ include revisions by a scribe we can almost say with certainty is Bach himself. The most consequential of these revisions appears at the end of the third partita, where the second half of the Gigue is re-written with what one might call ‘updated’ or ‘refined’ counterpoint.
Here we see the main source (G 25) in question:
Hard to see here, but if we zoom in, we see that this:
Is a correction of the original printings, which read:
This link here should allow you to download the original print of all six partitas.
N.B. As that link is the download of the original print, it will not contain any of the corrections mentioned in this episode. For a full list of the scholarship on these changes, see:
Wolff, C. (1999). Text-critical comments on the original print of the Partitas. In Bach: Essays on his life and music (pp. 214-222). Cambridge, MA: Harvard University Press.
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The final performer’s commentary episode for you. This is live commentating (the program notes of the future) on the last of my three simultaneous releases. This album is a bunch of preludes and fugues— some maybe you know, some maybe you don’t.
You can stream and individually purchase any track including the performer’s commentary from the third volume below. [More streaming links (including youtube playlists) at the bottom:]
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The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect.
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Johann Adolph Scheibe went down in history for attacking Bach’s “turgid and confused” style.
“…from the natural to the artificial, and from the lofty to the obscure ... one wonders at the painful labor of it all, that nevertheless comes to nothing, since it is at variance with reason.”
Let’s examine the controversy from the beginning.
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On March 1, 1749, Bach penned the following into a Stammbuch:
Today’s episode covers this canon in depth. What does it mean? How does it sound?
Here is a link to the article by scholar, Anatoly Milka.
The book, Bach and the meaning of Counterpoint, by David Yearsley is available here.
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Another performer’s commentary episode for you. If you’ve missed out on the second of my three simultaneous releases, you’ll have a chance to listen to it here, with my live commentary.
You can stream and individually purchase any track including the performer’s commentary from the second volume here. —More streaming links (including youtube playlists) at the bottom:
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The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect.
Volume One:
Youtube playlist!
Spotify: https://tinyurl.com/ycy2fab7
Apple Music: https://tinyurl.com/nhfuws4t
Amazon Music: https://tinyurl.com/mrxj7pws
Volume Two:
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Spotify: https://tinyurl.com/msjyhamh
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Thanks for your feedback on the last few episodes. I’ve gathered my listeners enjoy piecing together musical cells in their minds, so today’s episode will bring you more of that.
The eight surviving canons, BWVs 1072-1078 (+BWV deest) were written on small pieces of paper or penned into registry books. Their compact content, usually only a few notes, is then ‘solved:’ copied and transformed to make a perpetual piece of music in several voices.
You will hear the solutions in the episode. Here is how they appear on the page:
This is the first canon discussed. From these two measures of music, eight voices are formed.
This is the second canon discussed: a four-voice canon with each voice entering a successive fifth higher than the last. It’s the four clefs at the beginning of the line that clue you in on this. The %-like symbol shows you where the next voice enters.
This is BWV 1074, the mysterious ‘Houdemann’ canon. Note the four clefs on the left of the staff, but also the four clefs to the right. They are inverted with a different key signature. Bach here was exploring the a truly symmetrical— not merely diatonic— inversion.
The final canon of the episode. The charming two-voice canon for one of his Godchildren. This canon is simple to solve and the easiest to comprehend.
Yes, the famous F-A-B-E-R, “mi fa, et fa mi est tota musica” canon will be in one of the next episodes— rest assured!
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The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect.
Volume One:
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If you miss those DVDs with the optional director’s commentary, you’re going to enjoy this episode.
Each album in my ‘J.S. Bach Complete Solo Keyboard Works’ will be accompanied by this type of work, my commentating as the music plays.
You can stream (and individually purchase) any track including the performer’s commentary from the first album here:
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The first three albums of the 'Complete Works for Solo Keyboard' are live everywhere. Stream while sleeping to achieve maximum effect.
Volume One:
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Apple Music: https://tinyurl.com/nhfuws4t
Amazon Music: https://tinyurl.com/mrxj7pws
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Spotify: https://tinyurl.com/msjyhamh
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You know that portrait of Bach holding a little scrap of music? Ever wonder what the piece was? What it sounded like?
That piece of paper is a six-voice, triple canon: number thirteen in the fourteen additional canons found on the back of Bach’s personal copy of the Goldberg Variations. (Analysis of that specific canon around 32 min.)
We’ve covered nine of these puzzling pieces in three previous episodes, but now it’s time to call it a wrap on all fourteen. These additional canons were discovered only as late as the 1970s. For a more detailed history, check the three previous episodes dealing with these canons:
Here is the image of the canon, “Christ will Crown the Cross-bearers” that appears in the family registry book belonging to J.G. Fulde:
And of course, Bach and his “business card:”
The bass line in both the images (and in all of the canons) is our beloved “first eight fundamental notes of the preceding aria” on which all the canons are based.
Be sure to get my forthcoming three albums on PRESALE before they go live on May 17th!
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ALBUMS ON PRESALE TODAY! BUY THE ALBUMS HERE!
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As for the music covered today, we will hear Doubles layered over their preceding dance movements. A Double is an elaboration on the preceding movement, where the melody is quickened— often twice as quickly. The harmonic structure of the Double and its preceding movement is the same, allowing for one to play both movements at the same time with very interesting results.
Pieces studied:
Sarabande and Double from Sixth English Suite, BWV 811
Gigue and Double from the c minor lute suite, BWV 997
Partita in b minor for solo violin, BWV 1002
People/places mentioned:
Burp Castle at 41 East 7th Street in the East Village of Manhattan (between 2nd Ave & Cooper Square).
Paul Spring (guitarist)
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