- Nov 26, 2019
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In addition to the aforementioned works, I should endeavor to add that BWV 545 always brings a smile to my face, and is particularly suited as a prelude and postlude for church services in Eastertide and other festal seasons I think. It is very happy sounding and yet it has a strong impactful driving rhythm on the lower pipes. And of course BWV 639
The best pipe organs I have seen are in Leipzig, which is home to the Thomaskirche, with two lovely organs, the 19th century Sauerorgel, which has a lovely powerful 19th century orchestral sound, and the replica Baroque Bachorgel, which was constructed to play Bach’s fugues using the original tuning, rather than the ISO tuning which most modern organs are built to (it is a replica of the organ that existed in the Thomaskirche while JS Bach was alive, with the same exact tuning. The Thomaschoir, a boys’ choir which Bach used to conduct, still sings there.
Nearby is the Nicholaskirche, which was also under Bach’s musical direction as Thomaskantor, and this church is of extreme recent historical signifigance, since it was there that the protests were held which began the downfall of the DDR in 1989, led by a Lutheran pastor and concerned local citizens. The Stasi and Volkspolizei at one time tried to force their way into the church with a battering ram, but it was no match for the 18th century reinforced oak door. When I visited the church in 2000 and 2001, the paint on the kneelers in the pews, which had not been repainted since the fall of the DDR, was worn off from the fervent vigils people had held there during the oppression in the 1980s. This church also has an incredibly beautiful organ whose pipes make the sweetest, loveliest sound of any organ I am personally acquainted with, and I have heard quite a few, since I collect organ music.
Across the street from the Thomaskirche (and with convenient access to the Nicholaskirche) is Bach’s house, which was located there for convenience sake as he was Thomaskantor, not just in charge of the music of the two main churches of Leipzig, but also in charge of the Thomaschor, in respect of which he was not merely the boys’ music instructor but their headmaster and principal instructor in all subjects and responsible for their wellbeing, and by all accounts Bach did a very good job, maintaining order while allowing the boys to develop their musical abilities and to enjoy doing so. Bach himself had sixteen children but sadly eight of them died in childhood, which was so often the case back then. How sorrowful it must have been in that time, and how precious life must have seemed; no doubt people in the middle class with pensions, such as Bach, who were not in all cases dependent on some of their children reaching adulthood for survival as was the case with farmers, raised large families in part so that the love from their surviving children could offset the heartbreak from those who succumbed to the various illness of the day. In his elder years, after he had become deaf and blind, Bach was aided in composing by his children and grandchildren, as he could still feel the keys on his clavichord, harpsichord or gravicimbalo, and in playing them could indicate the note to be written down. He would gather with his sons several times of years to have parties where they took turns challenging each other to improvise upon each others music and played various games of musical composition.
And in this manner Bach raised his sons including, but not limited to, JC Bach and CPE Bach to be supremely good composers in their own right, with JC Bach’s Requiem Mass being one of the most beautiful known to me, one which I should like to be used as part of my own funeral, along with the Officio Pro Defunctorum of Cristobal de Morales and the Pannikhida (Eastern Orthodox memorial service) of Pavel Chesnokov, among others (multiple Pannikhidas are served following one’s repose).
The best pipe organs I have seen are in Leipzig, which is home to the Thomaskirche, with two lovely organs, the 19th century Sauerorgel, which has a lovely powerful 19th century orchestral sound, and the replica Baroque Bachorgel, which was constructed to play Bach’s fugues using the original tuning, rather than the ISO tuning which most modern organs are built to (it is a replica of the organ that existed in the Thomaskirche while JS Bach was alive, with the same exact tuning. The Thomaschoir, a boys’ choir which Bach used to conduct, still sings there.
Nearby is the Nicholaskirche, which was also under Bach’s musical direction as Thomaskantor, and this church is of extreme recent historical signifigance, since it was there that the protests were held which began the downfall of the DDR in 1989, led by a Lutheran pastor and concerned local citizens. The Stasi and Volkspolizei at one time tried to force their way into the church with a battering ram, but it was no match for the 18th century reinforced oak door. When I visited the church in 2000 and 2001, the paint on the kneelers in the pews, which had not been repainted since the fall of the DDR, was worn off from the fervent vigils people had held there during the oppression in the 1980s. This church also has an incredibly beautiful organ whose pipes make the sweetest, loveliest sound of any organ I am personally acquainted with, and I have heard quite a few, since I collect organ music.
Across the street from the Thomaskirche (and with convenient access to the Nicholaskirche) is Bach’s house, which was located there for convenience sake as he was Thomaskantor, not just in charge of the music of the two main churches of Leipzig, but also in charge of the Thomaschor, in respect of which he was not merely the boys’ music instructor but their headmaster and principal instructor in all subjects and responsible for their wellbeing, and by all accounts Bach did a very good job, maintaining order while allowing the boys to develop their musical abilities and to enjoy doing so. Bach himself had sixteen children but sadly eight of them died in childhood, which was so often the case back then. How sorrowful it must have been in that time, and how precious life must have seemed; no doubt people in the middle class with pensions, such as Bach, who were not in all cases dependent on some of their children reaching adulthood for survival as was the case with farmers, raised large families in part so that the love from their surviving children could offset the heartbreak from those who succumbed to the various illness of the day. In his elder years, after he had become deaf and blind, Bach was aided in composing by his children and grandchildren, as he could still feel the keys on his clavichord, harpsichord or gravicimbalo, and in playing them could indicate the note to be written down. He would gather with his sons several times of years to have parties where they took turns challenging each other to improvise upon each others music and played various games of musical composition.
And in this manner Bach raised his sons including, but not limited to, JC Bach and CPE Bach to be supremely good composers in their own right, with JC Bach’s Requiem Mass being one of the most beautiful known to me, one which I should like to be used as part of my own funeral, along with the Officio Pro Defunctorum of Cristobal de Morales and the Pannikhida (Eastern Orthodox memorial service) of Pavel Chesnokov, among others (multiple Pannikhidas are served following one’s repose).
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