As the culmination of the age of polyphony, Johann Sebastian Bach’s masterworks are, for the most part, too complex and subtle for popular appeal. But from his vast and incomparable output of concertos, sonatas, suites, masses, passions, cantatas, and various compositions for the organ and for the piano, it is possible to lift a few random items of such melodic charm and simple emotional appeal that they can be profitably exploited for wide consumption. In these less complicated works, Bach’s consummate skill at counterpoint, and his equally formidable gift at homophonic writing, are always in evidence.

The Air is one of Bach’s most famous melodies, a soulful religious song for strings. It can be found as the second movement of his Suite No. 3 in D major for orchestra, but is often performed apart from the rest of the work. August Wilhelmj transcribed this music for violin and piano, calling it the Air on the G String. This transcription has been severely criticized as a mutilation of the original; Sir Donald Francis Tovey described it as a “devastating derangement.” Nevertheless, it has retained its popularity in violin literature, just as the original has remained a favorite in orchestral music.

Come Sweet Death (Komm, suesser Tod) is a moving chorale for voice and accompaniment: a simple and eloquent resignation to death. It does not come from any of Bach’s larger works but can be found in Schemelli’s collection (1736). It has become extremely popular in orchestral transcriptions by Leopold Stokowski and Reginald Stewart, but is also sometimes heard in arrangements for various solo instruments and piano, as well as for the organ.

Jesu, Joy of Man’s Desiring (Jesu bleibt meine Freude) is probably Bach’s best known and most frequently performed chorale: a stately melody introduced by, then set against, a gracefully flowing accompaniment. This composition comes from the church cantata No. 147, Herz und Mund und Tat und Leben. Various transcriptions have popularized this composition, notably that for piano by Myra Hess, for organ by E. Power Biggs, and for orchestra by Lucien Caillet.

The Prelude in E major is a vigorous and spirited piece of music whose rhythmic momentum does not relax from the first bar to the last. It appears as the first movement of the Partita No. 3 in E major for solo violin. It is perhaps even better known in transcription than in the original version, notably in those for violin and piano by Robert Schumann and Fritz Kreisler, for solo piano by Rachmaninoff, and for orchestra by Stokowski, Riccardo Pick-Mangiagalli, Sir Henry J. Wood, and Lucien Caillet.

The Siciliano is a beautiful, stately song—the first movement of the Sonata No. 4 in C minor for violin and accompaniment. Stokowski has made a fine transcription for orchestra.

The Wise Virgins is a ballet-suite comprising six compositions by Bach drawn from his literature for the church and transcribed for orchestra by the eminent British composer, Sir William Walton. It was used for a ballet produced at Sadler’s Wells in 1940. Frederick Ashton’s choreography drew its material from the parable of the Wise and Foolish Virgins in the 25th chapter of the Gospel According to St. Matthew; but this parable is seen through the eyes of the Italian Renaissance painters. “Ashton,” wrote Arnold Haskell, “has provided the perfect meeting place for music and painting. The inspiration was pictorial ... it is equally musical. The movement and unfolding of the narrative follow directly from the Bach music so brilliantly arranged and orchestrated by William Walton.”

All six movements of the suite are so lyrical and emotional that their impact on listeners is immediate. The first movement, “What God Hath Done Is Rightly Done” comes from the opening chorus of a cantata of the same name, No. 99 (Was Gott tut das ist wohlgetan). A lively melody is first shared by strings and woodwind and then given fanciful embellishments. A strong chorale melody for the brass is then given prominent treatment. The second movement, “Lord, Hear My Longing” is a chorale from the Passion According to St. Matthew which is here given the treatment of an organ chorale-prelude with a tenderly expressive chorale melody in woodwind amplified by strings. The third movement, “See What His Love Can Do” is an expansive melody for strings and woodwind against a flowing accompaniment; this music is derived from Cantata No. 85, Ich bin ein guter Hirt. This is followed by “Ah, How Ephemeral,” a dramatic page for full orchestra highlighting a chorale for brass taken from Cantata No. 26, Ach, wie fluechtig. The fifth section is the most famous. It is “Sheep May Safely Graze” (“Schafe koennen sicher weiden”) from the secular Cantata No. 208, Was mir behagt. An introductory recitative for solo violin leads to a swaying melody for the woodwind. The lower strings then present a pastoral song which soon receives beautiful filigree work from other parts of the orchestra. The swaying subject for woodwind closes the piece. Sir John Barbirolli also made an effective orchestral transcription of this composition, while Percy Grainger arranged it for solo piano, and Mary Howe for two solo pianos. The finale of the suite is “Praise Be to God,” which is also the finale of Cantata No. 129, Gelobet sei der Herr, mein Gott. This is vigorous music that is an outpouring of pure joy.

Michael Balfe

Michael William Balfe was born in Dublin, Ireland on May 15, 1808. The son of a dancing master, Michael was only six when he played the violin for his father’s classes. In 1823, Balfe came to London where he studied the violin and composition with private teachers and earned his living as violinist and singer. Additional study took place in Italy in 1825, including singing with Bordogni. Between 1828 and 1833 he appeared as principal baritone of the Italian Opera and several other French theaters in Paris. In 1835, he initiated an even more successful career as composer of English operas, with The Siege of Rochelle, produced that year in London. He continued writing numerous operas, producing his masterwork, The Bohemian Girl, in 1843. Between 1846 and 1856 Balfe traveled to different parts of Europe to attend performances of his operas. In 1864 he left London to retire to his estate in Rowney Abbey where he died on October 20, 1870.