[154] Certain organists abused this powerful combination; Adlung says, "There are many who, in playing the chorale or music in general, know only the noise of the plein-jeu. One may be content to continually wear the same clothes, but an organist who produces the same sounds every day will render himself insupportable by his monotony. In the chorale, in the last verse, one may play a little louder, to remind the minister to prepare for the resumption of his duties; especially in towns where it is no longer customary (as is still the honored usage in some villages) to rap with a bâton for this purpose, as though one by force would arouse him from slumber." Anleitung zur musikalischen Gelahrtheit, 1758.
[155] Premier livre d'orgue, 1665.
[156] Livre d'orgue, 1688.
[157] "Reed-stops are often Fool-stops; but if they be clear and bright, they are refreshing to heart and soul."
[158] Sechs Choräle von verschiedener Art auf einer Orgel mit 2 Clavieren und Pedal vorzuspielen, verfertiget von Johann Sebastian Bach, königl. Pohln. und Churf. Sächs. Hoff-Compositeur, Capellm. und Direct. Chor. Mus. Lips. In Verlegung Joh. Georg Schüblers zu Zella am Thüringer Wald.
These chorales are taken from the cantatas composed at Leipzig. They are, however, only transcriptions; it is interesting in registrating them to know their orchestration. In the chorale Ach bleib' bei uns! (B.-G. xxv, P. vi, 2) the melody is sung by the soprano, accompanied by a violoncello piccolo, the continuo sustaining the harmony. In Meine Seele erhebt den Herrn (Magnificat, P. vii, 42), the continuo is played by the pedal, the parts entrusted to the left hand corresponding to the duet between tenor and alto, while the chorale (dextra forte) is executed in the score by the first and second oboes and the trumpet.
[159] Musica mechanica organoedi (Langensalza, 1762).
[160] Der vollkommene Kapellmeister, part ii, chap. xxv.
[161] It appears that this carillon was not constructed; it is possible, however, that Bach had it in mind when writing the chorale. Moreover, it was to be found in other organs.
[162] Livre d'orgue contenant une messe et quatre hymnes pour les principales festes de l'année. Par Nicolas de Grigny, organiste de l'église-cathédrale de Reims. À Paris, chez Christophe Ballard, seul imprimeur du Roy pour la Musique. Rue Saint-Jean de Beauvais, au Mont-Parnasse. 1701. Avec Privilège de Sa Majesté.