Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musici...(+)
Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musicians today. Many consider him
the greatest composer of all time.
The date of composition here is uncertain, though the
high quality of the work suggests Bach had already
attained a mastery of the fugue form. Thus, it probably
dates at least to the early years of the composer's
Weimar period (1708 - 1717), during which he was the
court organist in the service of the Duke of
Sachsen-Weimar. In this Fugue in B minor, he uses a
theme by Italian composer Arcangelo Corelli, who gave
it a vigorous (Allegro) treatment. Bach, on the other
hand, slows the tempo and imaginatively alters its
character, converting its vivacity to a slightly
melancholy deliberateness. Bach presents Corelli's
theme in a somber dressing at the outset, the pacing
leisurely, the textures light. There is virtually no
hint of the Italianate character or lively manner of
the original here. Instead, the music has a serious
demeanor, but is hardly devoid of color and spirit. As
the work proceeds, inner voices become more active,
textures thicken, and a subtle sense of tension
develops, culminating in an ambivalent but resolute
ending. Bach's fugal writing is brilliantly crafted
throughout, growing somewhat more animated in the
brighter second half.
Although originally composed for Organ, I created this
arrangement for Woodwind Quartet (Flute, Oboe, Bb
Clarinet and Bassoon).
PARTITION