Abstract
Abstract Bach’s study of Central and North German methods of chorale preluding came to full fruition in Weimar, resulting in the composition of large pedal pieces of remarkable invention and beauty. These pieces can be divided into five categories: fore-imitation settings, florid-melody settings, chorale trios, cantus firmus settings, and eclectic blends. In each case, Bach built upon the work of his predecessors and took the chorale prelude to a new level of sophistication. In settings such as the “Fantasia super Komm, heiliger Geist, Herre Gott,” BWV 651a, and “Nun komm, der Heiden Heiland,” BWV 661a, he reinterpreted cantus firmus technique within the context of Vivaldi’s concerto idiom and strict fugue writing, respectively. In yet another extraordinary work, “Sei gegrüßet, Jesu gütig,” BWV 768, Bach reimagined the modest Central German manual partita, creating a monumental set of 11 variations for manual and pedal. Chapter 10 explores this development by examining the individual works.
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