Bach’s method of fingering
The new kind of fingering was made the more necessary by the use of all the keys equally; for hitherto only a few keys had been used. The hand and arm were to be held horizontally, the wrist straight; the fingers bent in the natural position assumed by the hand when about to grasp any object. Each finger had to fall without disturbing the others; and Bach devoted an immense amount of labour to make his fingers independent and equal in strength. He could perform trills with all fingers equally well, and could play melodies at the same time with the other fingers. After a finger had held down a note as long as was necessary it was drawn towards the inner part of the hand on leaving the key. The wrist and elbows were kept perfectly quiet. The method was the same for both organ and harpsichord. The keys were not struck but pressed down. Bach raised his fingers so little that their movement was hardly noticeable. They were, however, still passed over one another, as well as the thumb, and in order not to break the legato effect, the finger passed over was drawn back before leaving the key. This method was particularly applicable to the clavichord, one of Bach’s favourite instruments.
He liked the upper row of keys to be shallower than the lower, so that he could slip down from one to the other without change of finger.
Other Fingering Methods
But others were at work on the same ground. Couperin, organist of St Gervais at Paris, published in 1717 his “L’art de toucher le clavecin.” J. G. Walther used the thumb, and has left some organ chorales with this indicated.
Heinichen and Handel also used the thumbs, and bent their fingers over the notes, so that they struck the right ones unconsciously.
Two short pieces with Bach’s fingering in his own hand have come down to us — the rules laid down by his son C. P. Emanuel differ from them considerably — thus Emanuel limits the crossing to the thumb; Sebastian prescribes crossing of fingers as well.
Sebastian, in fact, retained all that was advantageous in the old system and engrafted on it the use of the thumb, etc. His son, who was the forerunner of modern piano-playing, simplifies his father’s rules. His compositions were of a far less complicated nature than those of his father, and he therefore was able to use simpler fingering.
The hammer-like stroke required for the modern piano effectually banished the crossing of fingers over one another, by which pressure only, not a blow, could be obtained. The loss of Bach’s complete method of fingering (which is not adapted for the piano) causes his compositions to be more difficult to the modern player than they were to him, but this does not hold good of the organ, the nature of which remains the same as in his time.
He played equally in all keys, and for this purpose had his instruments tuned in equal temperament, as is universally the case at present. Experiments had been made in this method of tuning by Werkmeister, who died in 1706, and, later, by J. G. Neidhardt.
Equal temperament
The early experiments in tempering must have led to curious results — thus the major-thirds were flattened; and yet only when three major-thirds are sharpened (CE, E G-sharp, G-sharp (A-flat) C) do they reach a purely tuned octave. Bach mastered the problem for himself. He tuned his own harpsichord and clavichord, making the major-thirds rather sharp; and he must have flattened the fifths as we do. His son Emanuel speaks of his testing the fifths by tuning their octave below, and making this a fourth below the starting point. What he did was the result of practical experiment, for he would have nothing to do with mathematical theory. He always quilled his harpsichord himself; and he made a point of practising the clavichord, since the expression possible on this instrument made the ear keener and more sensitive to the possibility of effect on the more inexpressive harpsichord.
Spitta considers that Bach’s genius in a way foresaw the advent of a more perfect instrument than either the clavichord or harpsichord — an instrument which should combine the expression of the first with the power of the latter, and at the same time approach the organ in possibilities of legato and sustained sounds. Such an instrument is the modern pianoforte.
The Lute-harpsichord
In 1740 Bach planned a lute-harpsichord, and got Zacharias Hildebrand, an organ-builder, to make it under his direction. It had gut strings, two to each key, and a set of octave metal strings. It had also cloth dampers, which made the instrument sound something like a real lute; and when these were raised, it sounded like a theorbo — it was in size shorter than an ordinary harpsichord (Adlung Mus. Mech. II., p. 139).
Although Bach was concertmeister, or leader of the orchestra at Cöthen, it is not to be supposed that he had any extraordinary facility on the violin. Quantz, in “Versuch einer Anweisung, etc.,” rightly considers that for such a post, at any rate in those days, it was more necessary that the holder should be a good all-round musician with sufficient facility to execute the ordinary orchestral music, than that he should be a “virtuoso” — and not every virtuoso makes a good leader.
Knowledge of stringed instruments
His knowledge of the construction of stringed instruments was sufficient for him to invent a new one while he was at Cöthen, in order to meet the demands made on the performer by his own music. This instrument, which he called the viola pomposa, was something between the viola and violoncello. It was played like a violin, and had five strings tuned to the four strings of the violoncello, with the addition of E above the first string. This additional string makes the performance of his sonatas for violoncello comparatively easy. Thus in the sixth violoncello sonata, which is expressly written for five strings, in the third bar of the saraband the chords
are comparatively easy with the additional string; and in the gavotte
the first chord would be played with two open strings, which is impossible with a four-stringed instrument. He also altered the tuning of his violoncello, as in the fifth sonata, where he lowers the first string to G78 and obtains the chords
etc.
Practical Knowledge
It seems impossible that he could have himself performed his violin and violoncello sonatas; they tax the highest efforts of the best performers of the present day; but his knowledge of stringed instruments and their possibilities is shown by these compositions to have been as profound as his knowledge of the organ. No mere theoretical knowledge could have sufficed to enable him to write these things; he must have had a wider practical knowledge than any but the best virtuosi, and to this he united his enormous genius for composition.
It appears natural that the German violinists, with their feeling for full harmony, should have cultivated the art of double-stopping on stringed instruments, rather than that of pure melody and tone. It is said that Bruhns the organist, Buxtehude’s pupil, while playing in three and four parts on his violin, would sometimes sit before an organ, and add a bass on the pedals.79
Chapter XIII
The Organs in Leipsic Churches — Bach’s Method of Accompanying — The Pitch of Organs.
Thomas Church Organ
There were two organs in the Thomas Church, the larger of which dated from 1525. In 1721 it was enlarged by Scheibe, a builder of whom Bach had a very good opinion. In 1730 it was again improved, by giving the choir organ a keyboard of its own, instead of its being acted on by the great key-board as was formerly the case.
The organ contained: —
Great
1. Principal (open diapason), 16 ft.
2. Principal (open diapason), 8 ft.
3. Quintadena, 16 ft.
4. Octave (our principal), 4 ft.
5. Quinta, 3 ft.
6. Superoctava (our fifteenth), 2 ft.
7. Spiel-Pfeiffe, 8 ft.
8. Sesquialtera gedoppelt,
9. Mixture, 6, 8 and 10 ranks.
Brustwerk80
1. Grobgedackt, 8 ft.
2. Principal (open diapason), 4 ft.
3. Nachthorn, 4 ft.
4. Nasal, 3 ft.
5. Gemshorn, 2 ft.
6. Cymbal, 2 ranks.
/> 7. Sesquialtera,
8. Regal, 8 ft.
9. Geigenregal, 4 ft.
Rückpositiv81
1. Principal, 8 ft.
2. Quintadena 8 ft.
3. Lieblich Gedacktes, 8 ft.
4. Klein Gedacktes, 4 ft.
5. Traversa, 4 ft.
6. Violino, 2 ft.
7. Raschquint gedoppelt,
8. Mixtur, 4 ranks.
9. Sesquialtera,
10. Spitzflöt, 4 ft.
11. Schallflöt, 1 ft.
12. Krumbhorn, 16 ft.
13. Trommet, 8 ft.
Pedal
1. Sub-bass von Metall, 16 ft.
2. Posaune Bass, 16 ft.
3. Trommeten Bass, 8 ft.
4. Schalmeyen Bass, 4 ft.
5. Cornet, 3 ft.
There were also Tremulant, Vogelgesang, Zimbelstern-Ventils and ten bellows. The organ loft has been twice enlarged, first in 1802, and afterwards in 1823. It now accommodates the whole of the large double chorus and double orchestra employed in performance of the Passion music on Good Friday.
The smaller organ was built in 1489. In Bach’s time it stood in a gallery opposite the large organ. It was of very little use, and in 1740 was sold to St John’s Hospital. It had three manuals, pedal, and twenty-one stops, and was only employed on high festivals. As it was at a considerable distance from the other organ, difficulty was felt in keeping the two choirs together. This gallery remained, and was used for musical purposes, till 1886.
The organ of the Nicolai Church was built in 1598, repaired in 1692, and in 1725 was thoroughly renewed by Scheibe at a cost of 600 thalers.
Leipsic University Organ
The organ at the University Church was the best in Leipsic at that time. It consisted of: —
Great
1. Principal (open diapason), 16 ft.
2. Quintatön, 16 ft.
3. Principal (open diapason), 8 ft.
4. Schalmei, 8 ft.
5. German Flute, 8 ft.
6. Gemshorn, 8 ft.
7. Octave, 4 ft.
8. Quinte, 3 ft.
9. Quintnasat, 3 ft.
10. Octavina, 2 ft.
11. Waldflöte, 2 ft.
12. Mixture, 5 and 6 ranks.
13. Cornet, 3 ranks.
14. Zink, 2 ranks.
Brustwerk
1. Principal, 8 ft.
2. Gamba, 8 ft.
3. Grobgedackt, 8 ft.
4. Octave, 4 ft.
5. Rohrflöte, 4 ft.
6. Octave (fifteenth), 2 ft.
7. Nasat, 2 ft.
8. Sedesima, 1 ft.
9. Schweizer Pfeife, 1 ft.
10. Largo (No. of feet not stated).
11. Mixture, 3 ranks.
12. Clear Cymbal, 2 ranks.
Third Manual
1. Lieblich Gedackt, 8 ft.
2. Quintatön, 8 ft.
3. Flûte douce, 4 ft.
4. Quinta Decima, 4 ft.
5. Decima Nona, 3 ft.
6. Hohlflöte, 2 ft.
7. Viola, 2 ft.
8. Vigesima Nona, 1½ ft.
9. Weitpfeife, 1 ft.
10. Mixtur, 3 ranks.
11. Helle Cymbal, 2 ft.
12. Sertin (perhaps serpent), 8 ft.
Pedal
1. Principal, 16 ft.
2. Quintatön, 16 ft.
3. Octave, 8 ft.
4. Octave, 4 ft.
5. Quinte, 3 ft.
6. Mixtur, 5 and 6 ranks
7. Quinten-bass, 6 ft.
8. Jubal, 8 ft.
9. Nachthorn, 4 ft.
10. Octave, 2 ft.
11. 2nd Principal, 16 ft.
12. Sub-bass, 16 ft.
13. Posaune, 16 ft.
14. Trompete, 8 ft.
15. Hohlflöte, 1 ft.
16. Mixtur, 4 ranks.
The organ had been tried by Bach on its completion in 1716, who wrote a very elaborate report.82 It may be of interest to quote some of Bach’s remarks, 1. He says that the space occupied is too confined to admit of easy access to some of the parts, in case of repairs being required. This was, however, not the fault of the builder Scheibe, as he was not allowed the space he asked for.
2. The wind must be made to come more equally, so as to avoid heavy rushes of wind.
3. The parts quite fulfil the description in all respects; and the contract, with the exception of the Schallmey and Cornet, which were changed by order of the college for a 2 ft. Octave (15th) and 2 ft. Hohlflöte, is completed.
4. The defects of intonation must be done away with; and the lowest pipes of the Posaune and Bass Trumpet made to speak less roughly and harshly. The instrument to be frequently and thoroughly tuned in good weather.
5. The keys have too great a fall, but this cannot be helped, owing to the narrowness of the structure.
6. Finally, the window behind the organ should be built up as far as the top of the organ, or covered with an iron plate, to prevent damage by weather.
The above list of 54 stops is given by Spitta, who quotes from the “Acta” of the university; but a MS. chronicle of Leipsic, discovered after 1880, of which the references to musical matters are quoted in the “Musikalisches Centralblatt” for 1884, has the following entry:—”1716, June. This summer the beautiful Pauliner organ, which consists of 67 stops, was finished.” A complete list of the stops follows, but is not given in the “Musikalisches Centralblatt.”
During the concerted music, the organist had to accompany from figured bass, and the voice part was rarely given him, as the cantor would not trouble to write it out, though Bach, with his characteristic thoroughness did so in many cases.
Bach’s method of playing from figured bass
There exists a specimen of Bach’s method of playing from figured bass in a MS. accompaniment to a violin sonata of Albinoni, by H. N. Gerber, a pupil of Bach.83 It contains a few autograph corrections by Bach himself, and it may be taken, therefore, as an example of the manner which Bach approved of. It is described by Spitta as of no melodic character, as being in four parts throughout, and as not adhering strictly to the harmonies given by Albinoni where an improvement was possible. The adornment of a figured bass accompaniment by a melody in the right hand was only possible to the greatest artists, such as Bach himself; and it soon went out of fashion.
During the seventeenth century it was the custom for performers to elaborate the melody written by a composer, and naturally Bach’s were treated in this way. But it was complained that he left little for the performer to add, for he “indicated all the manieren, the small ornaments, and everything else that is understood by ‘Method’ in playing, by actual notes,” and the performer could therefore not impress his own individuality on the piece.84 Bach was particular to show exactly what he required; and it is evident that there was at this time a school of musicians rising, who objected to superfluous ornaments on the part of the performer. J. S. Petri objects to extemporised shakes and right hand melodies. Scheibe objects to contrapuntal accompaniment. Kirnberger says that the accompanist should aim at simplicity, and only add such ornaments as were absolutely necessary.
If the pedal was employed, the left hand helped with the harmonies. But if the bass moved rapidly the pedals only played short notes to mark the essential harmonic progressions; or the bass was even omitted, as the other instruments played it. For accompanying the solo voices in arias and recitatives the Gedact 8 feet was usually used alone, and was sometimes therefore called the “Musik gedact”: it is the same as the English stopped diapason. The chords in a recitative were not held long, even if the bass notes were. They were played arpeggio, as on a harpsichord. But Petri considers that if there is a very soft stopped flute, the chords may be held in the tenor register and the changes of harmony indicated by a short pedal note.
Organ-playing
Staccato playing was universal on the organ, but Bach and his pupils insisted on a legato style, and gradually eliminated the stacca
to, though in accompanying they still kept to it. The tradition of Bach’s style of accompaniment was carried on by Kittel a pupil of Bach, who spread the knowledge of it through Thuringia, and one of Kittel’s pupils, M. G. Fischer of Erfurt, continued it. He died in 1829, and was heard by Grell of Berlin (b. 1800, d. 1886), who described the performance to Spitta. He played the bass with considerable power, and accompanied it by short chords in the right hand on another manual, thus agreeing with Petri’s direction that the organist is to accompany in as short a style as possible, and to withdraw the fingers after striking the chord.
But this was by no means Bach’s only method of accompanying, for he demands in the majority of cases a legato accompaniment, and sometimes a “melodic” manner. In his Matthew Passion and some of his cantatas the organist is to play short chords in recitativo secco.
He considered the Gedact peculiarly adapted for purposes of accompaniment; and in many passages he dispensed with part or the whole of the bass instruments.
In order not to drown the voices, or make the organ too prominent, no reeds or mixtures were allowed to be used in accompanying. They were reserved for solo organ work, in which Bach made use of astonishing combinations of stops. Orchestral effects were produced by the contrasts of tone-colour in the different groups of instruments, string, brass, reeds and flutes. To these the organ, making use of diapason work only, formed a background, and it was not allowed to predominate over them.
The number of performers in a cantata
Bach, in 1730, fixed the number of voices requisite for the performance of a cantata at twelve, and of instrumentalists, excluding the organist, at eighteen. His sympathies were so much more with instrumental than vocal music, that he treated the voice merely as an instrument capable of expressing words. The influence of Handel’s works, in which the voice parts were of more importance than those of the instruments, brought about the change of arrangements by which the singers outnumbered the instrumentalists.
Delphi Masterworks of Johann Sebastian Bach Page 72
