To the three fugues which we have mentioned must undoubtedly be added two others, from a chronological point of view, belonging to preludes of a later date; they are the fugues of the Toccata in F major,[99] and of a prelude in C minor.[100] There is truly a remarkable analogy between these five fugues, both in the character of their themes—no longer agitated in movement, but approaching in a slight degree the melodious seriousness of the chorale—and in their treatment. In each of them the interest increases with the development, and the introduction of an accessory subject toward the middle portion (afterwards related to the principal theme), either as a countersubject or for the purpose of preparing the reëntrance of the principal theme, is common to them all.
The Toccata[101] in the Dorian mode and the accompanying fugue are perhaps contemporary; this imposing composition still partakes of that character of studied virtuosity which Bach was destined completely to abandon in his later years.
III
After resigning his post at the palace in Weimar, Bach never again occupied an official position as organist. Not that he renounced the instrument which he so loved to play, but he was no longer obliged to fulfil the requirements of regular service; his earlier compositions he could gather together and correct at his ease, and finally bring out no new ones that were not thoroughly in accordance with his ideals.
The number of these new organ compositions also diminished in an extraordinary degree; for from all the thirty-three years embraced in this last period, but about twenty works exist for our study.
Although Bach no longer bore the title of organist while at Cöthen, it must not be inferred that access to the organs of the town was denied him; for instance, to the instrument in the St. Agnuskirche, the pedal of which was unusually extended in compass. We learn, in fact, from a work of C.F. Hartmann's,[102] published at the beginning of this century, that the pedal of this organ was two and a half octaves in range, extending up to f'♯[103] inclusive, while the organs of that period usually possessed but two octaves in the pedal, from C to c', with sometimes c'♯ and d' in addition.
This instrument, although of modest dimensions, responded to the touch with remarkable precision and promptness. And we have good reason for believing that Bach had it in mind when he wrote the Toccata in F major;[104] this piece has always been played, traditionally, at a very rapid tempo; and one encounters at various points high f's and e's in the pedal part. If Bach, who was continually seeking new instruments or improvements hitherto ignored, had not had at his disposition a pedalier upon which he could play this pedal part, he undoubtedly would have so written it as to make it generally practicable for performance. It seems evident, on the contrary, that he composed this work only in order to take advantage of a resource which he had not encountered before; thus the date of this Toccata appears to be between the years 1717 and 1723, the period of Bach's residence in Cöthen.
While remarkably brilliant, this work bears the stamp of a certain dryness; it is somewhat too much of a "show-piece,"[105] perhaps the best one of this type which Bach wrote; quite different, in so far, from the fugue in A major joined to the prelude in the same key.[106]
This fugue (also from the Cöthen period, as well as the prelude, to judge them by the pedal, which extends to e') occupies an entirely individual position among the works of Bach—one which is shared by no other work. One would say that in writing this fugue he had relaxed from the severity which the grandeur of the instrument inspired in him, lending to the work the intimate charm of a somewhat effeminate grace of movement.
The elusive rhythm of the subject, and even the theme in its entirety (though a different way), bear a strange resemblance to this fugue subject: