Bach’s Method of Accompanying when at Arnstadt.
Peters 244, Variante zu No. 52.
Wer nur den lieben Gott lässt walten
und hoffet auf ihn allezeit.
He was in reality not suited to be a mere accompanist—his genius was too great to be tied down to the formal notes sung by the congregation, and a far lesser man would have suited this kind of work better. His choral-vorspiele are masterpieces of organ work; his extemporised or written accompaniments are artistic, but quite impracticable.
But when he harmonises a chorale in vocal parts for his choir to sing with the congregation, his genius shines forth in the most exquisite harmonic combinations possible. Examples abound, and a volume might be written on this subject alone. We can only indicate here a few instances of various treatments of the chorale.
Every one knows the opening double chorus in the Matthew Passion. After an instrumental introduction full of dignity and solemnity, built chiefly on tonic and dominant pedals (E minor), the first chorus sings, “Come ye daughters, weep with me, behold the Lamb as a bridegroom.” The second chorus exclaims, “Whom? How?” while the first continues its course, and a “Soprano ripieno” chorus enters with the chorale—
O thou begotten son of God.
Who on the cross wast slain.