Bachian folklore claims Bach used to disguise himself and wander into random churches to play the organ. After a few minutes the warden was frightened it was either the devil himself or Johann Sebastian Bach. I imagine this piece would have given such an impression.

Pedal Shoes Anyone?

The Passacaglia BWV 582 appears in the Andreas Bach Book upside down. Its title is in all capitals, spelled like the title of this episode. (Curiously, Buxtehude’s Passacaglia in D Minor BuxWV 16 also appears in all capitals, spelled the same— but it is not upside down.) Have a look:

If we rotate the page and zoom in, we see the famous opening bars, played with only the feet:

On this theme, Bach pens 20 variations, culminating in a brilliant fugue. The fugue has two countersubjects. Until I made this episode I hadn’t considered the Trinity as a possible vision for the fugue (the nature of countersubjects often demands that they move at different speeds to the theme) but it may be a helpful image:

I went long on this episode, so I wasn’t able to feature a full recording of this, I’ll be back in a few days to feature Paul Jacobs. In the meanwhile, here is Ton Koopman’s recording with a score:

We Rely Exclusively on Paid Subscriptions! Help WTF Bach endure:Join at WTFBach.comThis is the only place Evan checks comments regularly.You can also make a one-time donation here:https://www.paypal.me/wtfbach https://venmo.com/wtfbachThank you for your help!

TRANSCRIPT:

Hi everyone evan here thanks for tuning in just a quicker episode today or maybe it will be as long but certainly more spontaneous the few days I usually prepare for the podcast researching and writing the show I will now be busy preparing for and playing my first organ concert. I’m quite excited about that. I wrote about this experience at length and I want to share that piece with you. I’m not sure if I’m going to read it aloud on the podcast, however, as it’s a personal essay. In fact, it’s so personal I’ve really been on the fence about whether I should share it or not since I admit some things about myself. Fears, doubts, hesitation. I really don’t hold back. So anyhow, if you’re listening to this podcast without being subscribed to the Substack, you might miss this. But if you follow the links in the episode description, you will be notified when I publish that essay about playing an organ concert, probably the first week of August or so. Thanks, meanwhile, to all my listeners who write me, who offer their insights or their curiosities. Thanks for those of you who take out a paid subscription on Substack. This support means I don’t have to take that one gig that pays, but I really don’t want to play it because it eats away at my soul. Instead, I can focus on what I love about this gig, which is sharing with people what I love about music. Thanks for the support. So a piece I love, a piece that floored me the first time I heard it, this recital, this organ concert ends with that piece, The Mighty Passacaglia and Fugue BWB 582. It’s about time we discussed this piece on the show. No, this is a piece that if you’re into Bach... You haven’t missed this. If you haven’t heard this piece before, take note of where you’re sitting or where you’re standing or maybe you’re running listening to this podcast. Maybe you’re that one listener of mine who rides a tractor while listening to the podcast. Remember where you are because this is the type of piece that you remember where you were the first time you heard it. So let’s go. It’s an early masterpiece, the Passacaglia. In my opinion, the great triumph of Bach’s youth may be this very piece. It comes down to us in a manuscript in the so-called Andreas Bach book, one of the two major collections of keyboard music that gives us remarkable insight into Bach’s youthful compositions. This is a pre-Weimar work. The bulk, I suppose it’s safe to say, or at least a major creative burst of organ compositions happened in Weimar. This precedes that. This is the same period that we’re discussing in these cantatas. 1707 Bach is 22 years old. And if you look into the manuscript, it appears upside down. It’s quite a thrill to flip through the Andreas Bach book and suddenly you wouldn’t even notice if you weren’t really paying close attention to what is upside down. But yes, this Passacaglia... The whole piece is upside down, but it’s not like the pages were sewn in upside down or anything like that. The scribe, Bach’s brother, he turns the page and he flips the whole manuscript 180 degrees in order to pen in the pascalia. Why? Hmm, I assume it has to do with page turns. The idea that this piece is so special that his brother turned the manuscript is probably a modern idea. Anyhow, what is a pascalia? Well, pascalia means, etymologically, to walk the street, to pass the calle, signor. The other form we’re familiar with on this show, the chaconne. We just heard Bach’s first cantata, which ends with the chaconne. These forms, pascalia, chaconne, are very similar. In fact, so similar by the time the Baroque composers inherited these forms, they’re virtually indistinguishable. Pascalia, chaconne, these are pieces with repeated bass lines with bass lines and harmonies that happen over and over and over like a set of variations frescobaldi is the one who took these forms from possibly what distinguishable forms they were and changed them into the form we know which is essentially a piece that starts slow then gets faster and faster in a series of variations so let’s pass the calle with the 22 year old Bach I’ll be switching between two sounds today. One that sounds like a real organ, this one. This is 466, so it’s like the organ that Bach would have had in Mülhausen. A half-step higher to our ears. This sounds like C-sharp minor to our modern ears. It is, in fact, C minor on the keyboard. And this one here... I also apologize if this... This episode is a bit more free than usual since I’m not taking too much time to edit it but this one here which is the electronic one sounding in C minor just to give you a sense of this piece in as many different opportunities as we can hear it so we are walking this street and we begin walking in the pedals like this and this is the melody this is the theme this is the glue that holds everything together this here And that note there is the lowest note of the pedalboard, the lowest note of the organ, unless it’s one of those rare organs in tyringia that has a low B on pretty much any organ you’ll see today. This is the leftmost note of the pedalboard. The biggest pipe would be reserved for that. So I’ll play that melody again in the hands so you can hear it a bit higher. Bach will make 20 variations on this. 20 variations on this. So let’s go through them slowly. Feet alone. One of the greatest openings. Just play the melody with your feet. And then he brings in the hands. Here we go. that’s variation one you start to notice all these really subtle things here so initially there’s three voices and the bottom one always goes down first so so we hear this bottom one descending but then just one time the middle voice goes down first but then back to the bottom voice And you hear that tuning, that sixth tone tuning. So with the G in the bass, you get this lovely dissonance. Goodness. How marvelous is that to hear this pain resolve into consonants? Just a little variation there, this Now, that’s variation 1. Variation 2 starts out quite similarly. The exact same way as variation 1. But then, immediately, we hit this beautiful chord. This E flat, E flat major 7th chord. The hands are getting lower and lower. That’s variation two. Now, out of variation two comes, naturally, variation three, and it comes out of these low depths, and we have this beautiful counterpoint. I will play without the pelety line, without the pelety, without the petaline. So that’s the counterpoint there in Variation 3. Why don’t I play that so you can hear that even more clearly. So it’s Starts like a cannon, in fact. Is imitated in the middle voice. And in the bottom voice. So we have this three-part cannon. And the top voice so expressive is in the top voice. I just love this And this at the end. Not good enough. Twice. Still not enough. Three times. Gorgeous. And in this final scale here, he adds a fourth voice, so no longer three voices but one, two, three, four. So I will add the pedal line here so you can hear that third variation now with the pedals. Gorgeous. Let’s go back to the acoustic organ. And I might have to slow this down again as the piece is speeding up. And speeding up indeed we get our first 16th note so this 16th notes from this smooth 8th Counterpoint to this. With a bass. so far the feet have done nothing but play this over and over again all the way through that was variation four but now we have something different in variation five suddenly the feet stop playing this line and we have this counterpoint these broken octaves going from top to bottom This piece is getting quite fast. I do have to tell myself when I begin this piece, don’t start fast because the music itself gets faster and faster. So if you start fast, you are looking at quite an enthusiastic finish. Anyhow, these lines in the manuals in the hands, but the feet are dancing. Beep-bo. so from slow moving quarter notes and half notes to quicker music but still struggling to get momentum we get the momentum It’s steadily mounting, and then we get sixteenths. A...