Читать книгу Bach - C. F. Abdy Williams - Страница 10
Pedal.
Оглавление1. Principal, 8 ft.
2. Sub-bass, 16.
3. Posaune, 16.
4. Violon bass, 16.
5. Octava, 2.
Couplers for manuals and pedals.[15]
The keyboards, of which we give a photograph, are preserved in the Rathhaus. The instrument was built by Wender of Mühlhausen in 1703.
Bach had also the direction of a small school choir, which was augmented by “adjuvanten” or amateur singers, and he had to accompany and attend the rehearsals of the church choir, besides which he probably played the violin in the Count’s band. There was also a theatre belonging to the Count, in which “Singspielen” or operettas were occasionally performed.
First Cantata
The cantata for the first day of Easter, “Denn du wirst meine Seele nicht in der Hölle lassen,” which was afterwards remodelled for use at Leipsic, was composed at Arnstadt, probably for Easter 1704.[16] It was his first cantata, and is in character similar to those in vogue in Northern Germany.
It consists of a short introductory sonata, for three trumpets, drums, strings and organ, then a bass solo, “For thou shalt not leave my soul in hell,” in which are important ritornels. This is followed by a recitative, a duet for soprano and alto in Italian aria form,[17] a tenor solo, “Be not dismayed,” after which the cantata closes with a soprano aria, “Up soul, and be joyful.”
During his stay at Arnstadt he chiefly cultivated instrumental music and composition, and, according to Mizler, began to show his eminence in organ-playing.
In 1704, Johann Jacob, Sebastian’s elder brother, who had entered the Swedish Guard as an oboe-player, came to bid farewell to his family and friends. For him Bach wrote the early “capriccio on the departure of his beloved brother.” This was modelled on Johann Kuhnau’s “Bible Sonatas.”[18]
A chorale arrangement for two manuals and pedals “Wie schön leuchtet uns der Morgenstern” of this period exists in MS. in the R. Library at Berlin, and seventeen variations on “Allein Gott in der Höh sei Ehr” were in the possession of the late Dr Rust of Leipsic.
Visit to Lübeck
Towards the end of 1705 Bach determined to go to Lübeck to hear and study the style of Buxtehude, one of the greatest organists then living. He found a deputy, and having obtained one month’s leave of absence, started on foot, on the journey of over 200 miles, with the object of arriving in time to hear the “evening performances” at the Marienkirche, which took place in November and December, which were peculiar to Lübeck, and which Buxtehude had worked up to a high pitch of excellence. They consisted of sacred music both vocal and instrumental, with organ solos.[19]
Cited to Appear
Bach outstaid his leave of absence by some three months, and on his return to Arnstadt in February 1706 received a “citation” to appear before the Consistory to explain his conduct. The Consistory at the same time brought a charge against him of neglecting the training of the choir, and of introducing unseemly variations on the organ during the singing of the chorale, whereby the congregation were thrown into confusion; and they complained of the great length and unseemly figuration of his preludes to the chorales.
Bitter gives the whole of the report of this “citation,” in which the several charges are put to Bach and answered by him.
“The organist of the New Church, Bach, is required to say where he has been for so long of late, and from whom he received leave of absence?”
Ille.
“He has been to Lübeck in order to learn things connected with his art, but that he had previously asked permission from the Herr Superintendent.”
Der Superintend.
“He had only asked permission for four weeks, but had remained away four times as long as that.”
Ille.
“Hopes that the organ would have been played by him whom he had put in, in such a manner that no complaint can be made on that point.”
Nos.
“Charge him with having made extraordinary variations in the chorales, and with intermixing many strange sounds, so that thereby the congregation were confounded. He must in the future, when he wishes to introduce some tonus peregrinus, continue in it, and not go off too quickly to something else, or, as he had hitherto been in the habit of doing, play a tonum contrarium. And then it is very strange that up to this time he has had no rehearsals, because he will not agree with the scholars. Therefore he is to declare whether he will play both figural and choral music with the scholars, since a capellmeister cannot be kept. If he will not do this, let him say so categorically of his own accord, that a change may be made, and some one who will undertake it can be appointed to the post.”
Ille.
“If an honest Director be appointed, he will play again.”
Resolvitur.
Explanations Needed
“He must explain his conduct within eight days. That scholar Rambach (the choir prefect) now appear, and be reproved for the disorders which up to this time have taken place between the scholars and the organist of the New Church.”
Ille.
“The organist, Bach, played for too long a time, but after this was notified to him, by the Herr Superintendent, he at once went quite to the opposite extreme and has made it too short.”
Ille.
“Accuse him (Rambach) of having gone to a wine-cellar last Sunday during the sermon.”
Ille.
“Was very sorry, and it should never happen again, and the clergy have already spoken to him very severely about it. The organist need not complain of him about the conducting, because it was undertaken not by him, but by the youth Schmidt.”
Nos.
“He must for the future behave quite differently and better, otherwise the gift which was intended for him would be withheld. If he has anything to remember against the organist, he must bring it forward at the proper place, and not take the law into his own hands, but behave in such a way as to give satisfaction, as he had promised. The servant of the Court is now ordered to tell the Rector to have Rambach imprisoned on four successive days for two hours each day.”
Bach was always irritable and obstinate, and had completely alienated his choir. He was too much engaged in composition to take any interest in training it, and it was in any case not good enough for him. The Consistory allowed that there were faults on both sides, and hoped that by giving him more time than the eight days he would come to some agreement with the choir: but in vain. For Bach having come fresh from the artistic life of Lübeck found the drudgery of training the rough scholars unbearable. The answer that he was required to give in eight days completely left his mind, and after more than eight months the Consistory again “represented to the organist Bach that he should declare whether, as he has been ordered to do, he will rehearse with the scholars or not; as, if he feels no shame in remaining in the Church and receiving the salary, he must also not be ashamed to ‘make music’ (i.e. rehearse) with the scholars: for it is intended that these should exercise themselves, so that for the future they may have more skill in music.”
Ille.
“Will make the declaration on this subject in writing.”
Ille.
“Furthermore ask him by what power he has latterly allowed the strange maiden to appear, and to make music in the choir.”
Ille.
“Has already spoken about it to Master Uthe.”[20]
The “strange maiden” who made music with Bach in private in the church seems to have been his cousin, Maria Barbara, youngest daughter of Michael Bach of Gehren,[21] whom he married in the following year. It is not known how the matter ended, but Bach, from this time, began to endeavour to find another post.
Second appointment
An important post at St Blasius, Mühlhausen, some 20 miles north of Gotha, fell vacant through the death of Johann Georg Ahle on December 2nd, 1706, and there were many candidates. It seems, from Gerber’s account (vol. ii. p. 764), to have been at first offered to Johann Gottfried Walther of Erfurt, but to have been declined by him;[22] and when Bach, whose friction with the Consistory made him anxious to leave Arnstadt, offered himself as a candidate, the Council, after hearing him play, were unanimous in his favour.
The church of St Blasius is a fine Gothic building, in strong contrast to the homely, towerless New Church at Arnstadt; and the office of organist is proportionately more important. Its present holder is Herr Musikdirector Möller.
