maldv/crabcanon · Datasets at Hugging Face

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Bach

Frederick was an admirer not only of pianos, but also of an organist and composer by the
name of J. S. Bach. This Bach's compositions were somewhat notorious. Some called
them "turgid and confused", while others claimed they were incomparable masterpieces.
But no one disputed Bach's ability to improvise on the organ. In those days, being an
organist not only meant being able to play, but also to extemporize, and Bach was known
far and wide for his remarkable extemporizations. (For some delightful anecdotes about
Bach's extemporization, see The Bach Reader, by H. T. David and A. Mendel.)

In 1747, Bach was sixty-two, and his fame, as well as one of his sons, had reached
Potsdam: in fact, Carl Philipp Emanuel Bach was the Capellmeister (choirmaster) at the
court of King Frederick. For years the King had let it be known, through gentle hints to
Philipp Emanuel, how


Introduction: A Musico-Logical Offering


3



pleased he would be to have the elder Bach come and pay him a visit; but this wish had
never been realized. Frederick was particularly eager for Bach to try out his new
Silbermann pianos, which lie (Frederick) correctly foresaw as the great new wave in
music.

It was Frederick's custom to have evening concerts of chamber music in his court.
Often he himself would be the soloist in a concerto for flute Here we have reproduced a
painting of such an evening by the German painter Adolph von Menzel, who, in the
1800's, made a series of paintings illustrating the life of Frederick the Great. At the
cembalo is C. P. E. Bach, and the figure furthest to the right is Joachim Quantz, the
King's flute master-and the only person allowed to find fault with the King's flute
playing. One May evening in 1747, an unexpected guest showed up. Johann Nikolaus
Forkel, one of Bach's earliest biographers, tells the story
as follows:

One evening, just as lie was getting his flute ready, and his musicians were ssembled,
an officer brought him a list of the strangers who had arrived. With his flute in his hand
he ran ever the list, but immediately turned to the assembled musicians, and said, with a
kind of agitation, "Gentlemen, old Bach is come." The Hute was now laid aside, and old
Bach, who had alighted at his son's lodgings, was immediately summoned to the Palace.
Wilhelm Friedemann, who accompanied his father, told me this story, and I must say
that 1 still think with pleasure on the manner in which lie related it. At that time it was
the fashion to make rather prolix compliments. The first appearance of J. S. Bach before
se great a King, who did not even give him time to change his traveling dress for a
black chanter's gown, must necessarily be attended with many apologies. I will net here
dwell en these apologies, but merely observe, that in Wilhelm Friedemann's mouth they
made a formal Dialogue between the King and the Apologist.

But what is mere important than this is that the King gave up his Concert for this
evening, and invited Bach, then already called the Old Bach, to try his fortepianos,
made by Silbermann, which steed in several rooms of the palace. [Forkel here inserts
this footnote: "The pianofortes manufactured by Silbermann, of Frevberg, pleased the
King se much, that he resolved to buy them all up. He collected fifteen. I hear that they
all now stand unfit for use in various corners of the Royal Palace."] The musicians went
with him from room to room, and Bach was invited everywhere to try them and to play
unpremeditated compositions. After he had gene en for some time, he asked the King to
give him a subject for a Fugue, in order to execute it immediately without any
preparation. The King admired the learned manner in which his subject was thus
executed extempore: and, probably to see hew far such artt could be carried, expressed
a wish to hear a Fugue with six Obligato parts. But as it is not every subject that is fit
for such full harmony, Bach chose one himself, and immediately executed it to the
astonishment of all present in the same magnificent and learned manner as he had done
that of the King. His Majesty desired also to hear his performance en the organ. The
next day therefore Bach was taken to all the organs in Potsdam, as lie had before been
to Silbermann's fortepianos. After his return to Leipzig, he composed the subject, which
he had received from the King, in three and six parts, added several artificial passages
in strict canon to it, and had it engraved, under the title of "Musikalisches Opfer"
[Musical Offering], and dedicated it to the Inventor.'


Introduction: A Musico-Logical Offering


4




Introduction: A Musico-Logical Offering


5


FIGURE 2. Flute Concert in Sanssouci, by Adolph von Menu! (1852).






FIGURE 3. The Royal Theme.

When Bach sent a copy of his Musical Offering to the King, he included a dedicatory
letter, which is of interest for its prose style if nothing else rather submissive and
flattersome. From a modern perspective it seems comical. Also, it probably gives
something of the flavor of Bach's apology for his appearance.2

Bach

Frederick was an admirer not only of pianos, but also of an organist and composer by the

name of J. S. Bach. This Bach's compositions were somewhat notorious. Some called

them "turgid and confused", while others claimed they were incomparable masterpieces.

But no one disputed Bach's ability to improvise on the organ. In those days, being an

organist not only meant being able to play, but also to extemporize, and Bach was known

far and wide for his remarkable extemporizations. (For some delightful anecdotes about

Bach's extemporization, see The Bach Reader, by H. T. David and A. Mendel.)

In 1747, Bach was sixty-two, and his fame, as well as one of his sons, had reached

Potsdam: in fact, Carl Philipp Emanuel Bach was the Capellmeister (choirmaster) at the

court of King Frederick. For years the King had let it be known, through gentle hints to

Philipp Emanuel, how

Introduction: A Musico-Logical Offering

3

pleased he would be to have the elder Bach come and pay him a visit; but this wish had

never been realized. Frederick was particularly eager for Bach to try out his new

Silbermann pianos, which lie (Frederick) correctly foresaw as the great new wave in

music.

It was Frederick's custom to have evening concerts of chamber music in his court.

Often he himself would be the soloist in a concerto for flute Here we have reproduced a

painting of such an evening by the German painter Adolph von Menzel, who, in the

1800's, made a series of paintings illustrating the life of Frederick the Great. At the

cembalo is C. P. E. Bach, and the figure furthest to the right is Joachim Quantz, the

King's flute master-and the only person allowed to find fault with the King's flute

playing. One May evening in 1747, an unexpected guest showed up. Johann Nikolaus

Forkel, one of Bach's earliest biographers, tells the story

as follows:

One evening, just as lie was getting his flute ready, and his musicians were ssembled,

an officer brought him a list of the strangers who had arrived. With his flute in his hand

he ran ever the list, but immediately turned to the assembled musicians, and said, with a

kind of agitation, "Gentlemen, old Bach is come." The Hute was now laid aside, and old

Bach, who had alighted at his son's lodgings, was immediately summoned to the Palace.

Wilhelm Friedemann, who accompanied his father, told me this story, and I must say

that 1 still think with pleasure on the manner in which lie related it. At that time it was

the fashion to make rather prolix compliments. The first appearance of J. S. Bach before

se great a King, who did not even give him time to change his traveling dress for a

black chanter's gown, must necessarily be attended with many apologies. I will net here

dwell en these apologies, but merely observe, that in Wilhelm Friedemann's mouth they

made a formal Dialogue between the King and the Apologist.

But what is mere important than this is that the King gave up his Concert for this

evening, and invited Bach, then already called the Old Bach, to try his fortepianos,

made by Silbermann, which steed in several rooms of the palace. [Forkel here inserts

this footnote: "The pianofortes manufactured by Silbermann, of Frevberg, pleased the

King se much, that he resolved to buy them all up. He collected fifteen. I hear that they

all now stand unfit for use in various corners of the Royal Palace."] The musicians went

with him from room to room, and Bach was invited everywhere to try them and to play

unpremeditated compositions. After he had gene en for some time, he asked the King to

give him a subject for a Fugue, in order to execute it immediately without any

preparation. The King admired the learned manner in which his subject was thus

executed extempore: and, probably to see hew far such artt could be carried, expressed

a wish to hear a Fugue with six Obligato parts. But as it is not every subject that is fit

for such full harmony, Bach chose one himself, and immediately executed it to the

astonishment of all present in the same magnificent and learned manner as he had done

that of the King. His Majesty desired also to hear his performance en the organ. The

next day therefore Bach was taken to all the organs in Potsdam, as lie had before been

to Silbermann's fortepianos. After his return to Leipzig, he composed the subject, which

he had received from the King, in three and six parts, added several artificial passages

in strict canon to it, and had it engraved, under the title of "Musikalisches Opfer"

[Musical Offering], and dedicated it to the Inventor.'

Introduction: A Musico-Logical Offering

4

Introduction: A Musico-Logical Offering

5

FIGURE 2. Flute Concert in Sanssouci, by Adolph von Menu! (1852).

FIGURE 3. The Royal Theme.

When Bach sent a copy of his Musical Offering to the King, he included a dedicatory

letter, which is of interest for its prose style if nothing else rather submissive and

flattersome. From a modern perspective it seems comical. Also, it probably gives

something of the flavor of Bach's apology for his appearance.2