Johann Adam Reincken (also Jan Adams, Jean Adam,
Reinken, Reinkinck, Reincke, Reinicke, Reinike;
baptized 10 December 1643 – 24 November 1722) was a
Dutch/German organist and composer. He was one of the
most important German composers of the 17th century, a
friend of Dieterich Buxtehude and a major influence on
Johann Sebastian Bach; however, very few of his works
survive to this day.
J. S. Bach scholars believe that a transcription of a
Reincken piece is Bach's earliest surviving key...(+)
Johann Adam Reincken (also Jan Adams, Jean Adam,
Reinken, Reinkinck, Reincke, Reinicke, Reinike;
baptized 10 December 1643 – 24 November 1722) was a
Dutch/German organist and composer. He was one of the
most important German composers of the 17th century, a
friend of Dieterich Buxtehude and a major influence on
Johann Sebastian Bach; however, very few of his works
survive to this day.
J. S. Bach scholars believe that a transcription of a
Reincken piece is Bach's earliest surviving keyboard
manuscript and, it is not surprising that he also
arranged some of Reincken's trio sonatas for keyboard.
When Bach played to Reincken in Hamburg in 1720 the
aged composer said to the young virtuoso, 'I thought
this art was extinct, but I see that it still lives in
you.'
The Sonatas in A Minor (BWV 967) and in C Major (BWV
966) arrange two of Reincken's sonatas from Hortus
musicus, published in 1687, while BWV 967 has an
unknown model. The elaboration Bach added to the slow
movements, and the fact that Walther copied them, has
suggested to Richard Jones a 1714,-17 date, much later
than the pre-1707 suggested in Grove. The Sonata in A
minor BWV 967 is definitely by Bach. The B minor
Prelude and Fugue prefaces with bold harmonies (which
may be by Wilhelm Heironymous Pachelbel) a fugue
described as `ovvero Thema Albinonium elaboratum et ad
Clavicimbalum applicatum', extended by Bach but
somewhat overlong. (A shorter elaboration of the Fugue
exists on its own as BWV 951a).
Bach's study of Albinoni and others resulted in several
fugues, the C Major using a nicely syncopated subject,
while the Fugue in A equally makes good use of offbeat
entries, something Bach learnt to master, though the
working is again overlong. Nothing is known about the
dates of the pleasing but insignificant Fugue in C BWV
952, while the A minor Fugue looks like a comparatively
mature work with a leaping conclusion to its theme. The
Fugue in D minor (1709-11, or perhaps later: 1726-27)
is an example of the elongated fugue subject using a
solid motive, sequences and a conclusion that Bach
would develop, and ending in flourishes and block
chords. The C minor Fughetta is a two-part invention in
12/8 time. These pieces show Bach learning and
practising his craft, but it is difficult to urge
performing them when there are so many greater pieces
clamouring for attention.
PARTITION