The Choral-vorspiel
Bach took the melody of “Ein feste Burg” for one of his finest choral-vorspiele (Peters, 245, No. 22). This is a particularly interesting composition, since it is the only chorale in which we obtain any clue to Bach’s methods of registering. In Walther’s MS. are given a few indications “a 3 clav.” for three manuals. The left hand is to begin with the fagott, sixteen feet, and the right hand on the choir with the “sesquialtera.” The piece was doubtless intended for the organ at Mühlhausen which was renovated and enlarged under Bach’s directions, and which had three manuals, containing on one a sixteen feet “fagott,” and on another a combination producing a “good sesquialtera tone.” It is one of the larger choral-vorspiele, containing fifty-eight bars.
It is worth while noticing how Bach, in this, and all other choral-vorspiele, does not adhere literally to the notes of the melody, but introduces ornamental passages, or lengthens and shortens notes to serve his purpose, or introduces the subject in augmentation and diminution. This was the regular custom amongst German organists. The choral-vorspiel is, in its simplest form, merely intended to prepare the congregation for the melody that is to be sung, but instead of a mere bald playing through of the tune, as is usual in English churches, the organist was expected to use his art in elaborating it.
‘Surprising Variations’
Bach, in his younger days, was accused of over-elaborating, not only the vorspiele, but the accompaniment. It was a fault of youth, and hardly called for the official censure that the Council at Arnstadt thought fit to administer. He was practically his own teacher. If he had been under the guidance of an older and more experienced organist, he would undoubtedly have curbed his zeal for “surprising variations.”
At that time he seems to have lost sight of the fact that he was expected to accompany the congregation. He forgot all about them, and gave free rein to his imagination so that the “congregation were confounded.” And well they might be, by the following example of his accompaniment.
“Wer nur den lieben Gott lässt walten.”
From the Leipziger Gesangbuch. As sung.
Wer nur den lieben Gott lässt walten
und hoffet auf ihn allezeit.