III. Compositions For The Organ

The pedal is the distinctive feature of the Organ which places it above all other instruments, and gives it its magnificence, sonority, and majesty. Deprive it of the pedal and you take from it the solemn and imposing tones which are its distinctive utterance, reducing it to the level of a “positiv,” or Chamber-organ, an instrument relatively insignificant.

But an Organ equipped with a pedal must be able to employ it in its full compass,[285] and both composer and organist must know the proper use of it. No one excelled Bach in this knowledge. Not only is his rich harmony and melody singularly adapted to the instrument, but he gave the pedal a part of its own, even in his early compositions. Yet it was only gradually that he mastered its technique; for his Organ masterpieces belong to the period in which those for the Clavier began to be classics. His early and immature Organ works are widely dispersed; for as soon as a composer begins to be distinguished everybody is anxious to possess a specimen of his art. Public curiosity, however, generally dies down long before a composer comes to maturity, [pg 134] particularly if his work is over the heads of the public. And this seems to have been Bach's fortune. Consequently his mature Organ works are less familiar than his early efforts. The latter, however, cannot possibly be admitted to a “correct and critical” edition of his works, and I mention here only those whose merit is as incontestable as that of the Clavier works enumerated in the preceding paragraphs.

Bach's finest Organ music falls into three groups:

	1. The Great Preludes and Fugues, with obbligato pedal. Their number cannot be stated, but I believe it not to exceed a dozen.[286] At least, after prolonged search I have not been able to collect more than that number.[287] To these I must add a very clever and original Passacaglia, which, [pg 135] however, seems suitable rather for a two-manual Clavicembalo and pedal than for the Organ.[288]
	2. Preludes on Choral Melodies. It was at Arnstadt that Bach began to compose Variations on Choral melodies, under the title Partite diverse.[289] Most of them can be played on the manuals alone. Those which I include here are an exception and require the obbligato pedal. Their number may amount to one hundred. I myself possess above seventy, and more survive elsewhere.[290] No other Choral Preludes approach them in religious feeling, dignity, and sublimity of expression. I cannot notice them individually; they are too numerous. Besides the larger, there is a great number of shorter and easier ones, particularly useful for young players. MSS. of them exist in considerable number.[291]
	3. Six Sonatas, or Trios, for two manuals and an obbligato pedal.[292] Bach wrote them for his eldest son, Wilhelm Friedemann, whom they helped to become the great performer he was when I knew him. It is impossible to overpraise their beauty. Bach composed them when he was in the full vigour of his powers, and they may be considered his chef d'oeuvre in this form.[293] He also wrote other Organ Sonatas, the MSS. of which are in various collections. They are fine compositions, though they do not equal the Six in merit.[294]

1. The Great Preludes and Fugues, with obbligato pedal. Their number cannot be stated, but I believe it not to exceed a dozen.[286] At least, after prolonged search I have not been able to collect more than that number.[287] To these I must add a very clever and original Passacaglia, which, [pg 135] however, seems suitable rather for a two-manual Clavicembalo and pedal than for the Organ.[288]

2. Preludes on Choral Melodies. It was at Arnstadt that Bach began to compose Variations on Choral melodies, under the title Partite diverse.[289] Most of them can be played on the manuals alone. Those which I include here are an exception and require the obbligato pedal. Their number may amount to one hundred. I myself possess above seventy, and more survive elsewhere.[290] No other Choral Preludes approach them in religious feeling, dignity, and sublimity of expression. I cannot notice them individually; they are too numerous. Besides the larger, there is a great number of shorter and easier ones, particularly useful for young players. MSS. of them exist in considerable number.[291]

3. Six Sonatas, or Trios, for two manuals and an obbligato pedal.[292] Bach wrote them for his eldest son, Wilhelm Friedemann, whom they helped to become the great performer he was when I knew him. It is impossible to overpraise their beauty. Bach composed them when he was in the full vigour of his powers, and they may be considered his chef d'oeuvre in this form.[293] He also wrote other Organ Sonatas, the MSS. of which are in various collections. They are fine compositions, though they do not equal the Six in merit.[294]