The Organ Music of J. S. Bach (2nd Edition) by Peter Williams

By Peter Williams

Taking account of Bach scholarship of the earlier twenty-five years, the 1st volumes of Peter Williams's vintage learn of Bach's organ works are totally revised. This paintings is a piece-by-piece observation in this ever-popular repertoire, demonstrating the music's precise characteristics and the way we'd listen and play it this day. The e-book follows the order of the Bach catalog (BWV): starting with the sonatas, by way of the "free works" and the chorales, and finishing with the uncertain works, together with the "newly found chorales" of 1985.

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By Peter Williams

Taking account of Bach scholarship of the earlier twenty-five years, the 1st volumes of Peter Williams's vintage learn of Bach's organ works are totally revised. This paintings is a piece-by-piece observation in this ever-popular repertoire, demonstrating the music's precise characteristics and the way we'd listen and play it this day. The e-book follows the order of the Bach catalog (BWV): starting with the sonatas, by way of the "free works" and the chorales, and finishing with the uncertain works, together with the "newly found chorales" of 1985.

Show description

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Example text

41, 84), the last movement need not have been composed for the Weimar organ – arguments from compass are inconclusive – or intended by the composer to be part of the G major Praeludium. The last hangs on the reliability of P 288 and has no other support. The first movement is a scored-up version of the parts for oboe d’amore, tenor viol and continuo of the Sinfonia in E minor opening Part II of Cantata 76 (1723), though whether it derives from this directly or from a transcription already made is uncertain.

The cut-up lines allow for changes of manual, though it is no more than an interesting conjecture that the fugue was planned for ‘the four manuals of the great Hamburg organs’ (Klotz 1975 p. 391). The exuberant spaciousness of it all should not disguise its many ingenuities. After the first section, it is never clear whether the opening phrase of the subject is going to herald a simple entry (b. 96), an episode (b. 77, bb. ), or another voice (bb. 90–1), or be merely delayed (bb. 53–4). The charming play with the trillo figure in bb.

A Stockholm MS (J. C. Vogler – KB p. 53), LM 4718 (J. G. Walther, from Vogler), P 286 (J. P. Kellner); this movement associated by Walther, Vogler and Kellner with the Prelude and Fugue in C major, BWV 545. Headed in P 271 ‘Sonata 5. ’; first movement ‘Allegro’, second ‘Largo’, third ‘Allegro’. The C major Sonata may have had its outer movements composed when the set of Six Sonatas was compiled, while the middle movement seems to be an earlier work, to judge by copies made by Weimar organists (Walther, Krebs, Vogler).

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