CHAPTER VI. BACH THE COMPOSER (continued)
Bach's treatment of harmony and modulation powerfully influenced his melody. The strands of his harmony are really concurrent melodies. They flow easily and expressively, never engross the hearer's attention, but divide his interest, as now one now the other becomes prominent. Even when they are noticeable they seem obscured by the melodic parts that accompany them—I say “seem obscured,” for if the hearer is sufficiently instructed to distinguish the several melodies in the ensemble he will discover them to be more clearly defined by their accompaniment.
The combination of several melodic lines obliges the composer to use devices which are unnecessary in homophonic music. A single melody can develop as it pleases. But when two or more are combined each must be so delicately and cleverly fashioned that it can be interwoven with the others in this direction and in that. And here we detect one at least of the reasons why Bach's melodies are so strangely original, and his tunes so clearly distinguishable from those of other [pg 81] composers. Provided that novelty does not degenerate into eccentricity or extravagance, and that clearness and facility of expression march with agreeableness, a composer's meritoriousness is proclaimed in his originality.[150] The one drawback is that the ordinary hearer cannot appreciate melodic beauties which are patent only to the expert.
But Bach's melodies are not invariably so handicapped. They are always original, it is true. But in his free compositions the melodies are so natural and spontaneous that, while they sound differently from those of other composers, their naturalness, and the sincerity of feeling that inspires them, make them intelligible to every listener. Most of the Preludes in the Well-tempered Clavier as well as a number of movements in the Suites are of this character.
Bach's melody, then, bears the unmistakable stamp of originality. And so does his passage work, as it is called. Such novelty, originality, and brilliancy are not found in any other composer. Examples are to be found in all Bach's Clavier works. But the most striking and original are in [pg 82] the Great Variations,[151] in the first Part of the Clavierübung,[152] in the English Suites,[153] and the Chromatic Fantasia.[154] In the last particularly Bach's fertility impresses us. The greater part of its passage work is in the form of harmonic arpeggios whose richness and originality match the chords they represent.
In order to realise the care and skill Bach expended on his melody and harmony, and how he put the very best of his genius into his work, I need only instance his efforts to construct a composition incapable of being harmonised with another melodic part. In his day it was regarded as imperative to perfect the harmonic structure of part-writing. Consequently the composer was careful to complete his chords and leave no door open for another part. So far the rule had been followed more or less closely in music for two, three, and four parts, and Bach observed it in such cases. But he applied it also to compositions consisting of a single part, and to a deliberate experiment in this form we owe the six Violin and the six Violoncello Solo Suites,[155] [pg 83] which have no accompaniment and do not require one. So remarkable is Bach's skill that the solo instrument actually produces all the notes required for complete harmony, rendering a second part unnecessary and even impossible.
Bach's melody never palls on us, because of the presence in it of those qualities to which I have referred. It remains “ever fair and young,” like Nature herself. In his earlier works, in which we find him still in bondage to the prevailing mode, there is a good deal that to-day seems antiquated. But when, as in his later works, he draws his melody from the living wells of inspiration and cuts himself adrift from convention, all is as fresh and new as if it had been written yesterday. Of how many compositions of that period can the same be said? Even the works of ingenious composers like Reinhard Keiser[156] and Handel have become old-fashioned sooner than we or their composers might have supposed. Like other caterers for the public, they were obliged to pander to its taste, and such music endures no longer than the standard which produced it. Nothing is more inconstant and fickle than popular caprice and, in general, what is called fashion. It must be admitted, however, that Handel's Fugues are not yet out of date, [pg 84] though there are probably few of his Arias that we now find agreeable.[157]
Bach's melody and harmony are rendered still more distinctive by their inexhaustible rhythmic variety. Hitherto we have discussed his music merely subjectively as harmony and melody. But to display vivacity and variety music needs to be uttered with rhythmic point and vigour. More than those of any other period composers of Bach's time found no difficulty in this, for they acquired facility in the management of rhythm in the “Suite,” which held the place of our “Sonata.” Between the initial Prelude and closing Gigue the Suite includes a number of characteristic French dance measures, whose rhythm is their distinguishing characteristic. Composers of Bach's day, therefore, were familiar with measures and rhythms which are now obsolete. Moreover skilful treatment was necessary in order that each dance might exhibit its own distinctive character and swing. Herein Bach exceeded his predecessors and contemporaries. He experimented with every kind of key and rhythm in order to give variety and colour to each movement. Out of his experience he acquired such facility that, even in [pg 85] Fugue, with its complex interweaving of several parts, he was able to employ a rhythm as easy as it was striking, as characteristic as it was sustained from beginning to end, as natural as a simple Minuet.