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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Organ solo1 other version | ||||
| Style : | Baroque | ||||
| Key : | B♭ major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 12 May 2017 Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. The Prelude & Fuge on the name B-A-C-H (BWV 898) is not considered to be the work of Bach. Only a single manuscript copy from the second half of the 18th century exists. All other copies and printed music of it come from the 19th century. The NBA KB discusses the differences between all the different sources: In order to avoid the appearance of supporting this work as genuinely by J. S. Bach (there are no exterior or interior reasons supporting this contention), it was placed this time in this reissue in the appendix, so that the purchasers of this volume would not have to do without finding this work which they may have come to love. The critical voice regarding this composition is very likely that of Johann Nikolaus Forkel who, in 1810, wrote to the Leipzig publishing firm Hoffmeister und Kühnel, that was preparing to publish Bach’s keyboard works: The Fugue on Bach’s Name which you have sent to me for consideration is definitely not a work by J. S. Bach. You should not dishonor a collection of his works with such a common, schoolmasterly effort. In the same letter Forkel mentions that he has already received at least 20 such fugues on B-A-C-H that have been described as ‘great musical rarities’. In contrast to Forkel and Griepenkerl, Philipp Spitta is the only Bach expert who thought that he saw indications that this might have been a youthful work from the early Weimar period. All other experts since Spitta’s time have brought forth various arguments against Bach’s authorship. One might have to agree with Griepenkerl that externally the provenance of the sources for this work are highly questionable. Internally (stylistically) the only characteristics that might point into the direction of J. S. Bach are the use of the French ouverture in the Präludium and the virtuosic insertion at the end of the fugue, but the latter was commonplace among many masters of the North German style. Frieder Rempp suspects that the almost too frequent use of parallel thirds and sequential structures might be closer to the style exhibited in the A minor Fugue BWV 897/2. This along with the idiosyncratic final statement of the fugal subject in octaves would point more in the direction of Johann Christoph Kellner (1736-1803) as the possible composer of BWV 898. Source: Frieder Rempp (http://www.bach-cantatas.com/Pic-Arran/BWV898.pdf). Although originally written for Harpsichord. I created this Transcription of the Prelude & Fuge on the name B-A-C-H (BWV 898) for Pipe Organ. Sheet central : | Prélude et Fugue (4 sheet music) | | |||
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