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On-line Book ReviewYO TOMITA |
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On-line Book ReviewYO TOMITA |
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Dimension: 24 x 17 x 1.1 cm |
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Yet until when one actually tries to identity exactly what Corelli’s works Bach studied and how he acquainted them, it is difficult to measure the impact of his influence, for it could have come from various sources (including indirect influence via Bach’s contemporaries such as Reinken, Böhm and Telemann). It is surprising to find that despite Corelli’s fame and achievement in the history of Western music there was only a handful of research works on this subject before Sackmann pursued it here; it is in sharp contrast to the research on Vivaldi’s influence on Bach, which is one of the most popular study topics in this subject area. (See a list of literatures on Bach and Vivaldi in the Bach Bibliography). This may reflect the relative fames they respectively achieved; but it would seem more likely that it was lack of clear evidence in the case of Corelli that hindered facilitating the research. Source studies indicate fairly clearly, for instance, that Bach was amply exposed to the works of Vivaldi. A number of Bach’s transcription of Vivaldi’s concertos survive (i.e. BWV 972–3, 975–6, 978 and 980). In stark contrast, there is only one piece by Corelli, i.e. the fugue in B minor (BWV 579), which is modelled on the second movement of his op.3, no.4 (1689). In working on it Bach added an extra voice, while massively expanding it as an impressive fugue of 102 bars (Corelli’s original was in three-part texture, and 39 bars long); it not only manifests Bach’s great interest in Corelli’s style but also reveals Bach’s individuality, absorbing foreign elements as his own. Still, this was the limited extent to which we commonly regard as Bach’s understanding of Corelli’s music and, therefore, there is a plenty of room for Sackmann to expand the issue of Bach’s ‘Corelli reception’.
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He then move on to argue two main points: (1) the so-called ‘Passaggio-Orgelchoräle’ or more commonly known as ‘Arnstädter Gemindechoräle’—a new genre of organ music distinguished from Bach’s other chorale preludes by the well-known criticism by the consistory on Bach’s organ playing after his extended trip to Lübeck (‘many curious variationes in the chorale, and mingled many strange tones in it, and for the fact that the Congregation has been confused by it’ [NBR, no.20 / BDok II, no.16]), viz. BWV 715, 722, 726, 729, 732, 738—and (2) slow movements (many from concertos) that shows stylistic reference to Corelli, viz. BWV 21/1, 622, 1041/2, 1043/2, 1046a/2, 1052/2, 1055/2, 1060/2, 1064/2. Sackmann’s approach is both systematic and cautious, which is essential when discussing such complex issues as style and authenticity, pursuing possibly all the conceivable aspects that are needed to be covered under each point. Both the coverage and his treatment of literatures are also fair and critical, making the style of his writing pleasant and secure.
One question emerges from reading this book: Corelli was primarily known
as the composer of ‘trio sonatas’ (opp.1–4), and I wonder what pictures
would emerge if one looks into this (e.g. BWV 525–530 and 1039)?
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