BWV 529—and what it symbolizes

BWV 529 1-3

http://www.youtube.com/watch?v=sYIkOHN1bg8&feature=related

http://www.youtube.com/watch?v=bgETFJdnXek&feature=related

http://www.youtube.com/watch?v=gPKTVg5hvQw&feature=related

(printable sheet music)

1st Movement-C major

Because this sonata is written on an organ–perhaps Bach’s favorite instrument besides the harpsichord or viola–we see three clefs.  From top to bottom, there is the treble cleft(a);  a second treble cleft which acts similar to an alto’s singing voice(b);  and the bass cleft(c).  The time signature is 3/4, and since it is written in C major, we have no accidentals in the key.

The movement begins with a simple call and response–initiated by the (a) cleft and repeated in the (b) cleft.  When the theme of the call and response appears in the (b) cleft the bass supports it with a march-like bounce, giving the introduction a free yet structured feel.  Once the voices have introduced themselves they move promptly into the beautiful realm of counterpoint Bach is best known for.  The key here is to be able to discern both voices–that is, being able to hear both voices individually and together.  The  result of being able to discern is that you can enter into the atmosphere of the music–you begin to feel its pulse.  The themes from the call and response are repeated throughout and it is truly amazing at what Bach does with so little.

Throughout, we hear a suspension in the bass cleft that allows the clefts (a) and (b) to speak out in tight counterpoint.  What is interesting to note in this piece is Bach use of syncopation–which was popularized by the likes of Scott Joplin and others.  To me,  this gives the music a sort of graceful authority.  Although the theme remains platonic, the syncopation seems to command a more prominent importance–almost as if Bach was trying to stress a point, such as here:

or here:

Perhaps Bach wanted to stress the importance of frugality?  To use what little we do have to feed those without.

This is what I like to think.  Having a point of understanding let’s me enjoy the piece on a moral level.   The music becomes more than music at this point.

2nd Movement A minor

The second movement switches to A minor, which is similar to the key of C major in that it also has no accidentals.

The transition between the two movements is starkly felt.  The first movement carried a rather admonishing tone throughout–as if saying don’t forget!  Remember what I said, because I will keep repeating this theme!

Well, the second movement seems to be exactly what was to have been feared. Its feel is  immediately cold, dim, and introspective.  After a while you perceive its hypnotizing sway–not unlike a ship tossed at sea.  There is a journey to be experienced here.  There are scintillating episodes that shine so brightly that they would seem to burst into actual light (beginning at 2:35 in the video).

This movement has a lot of charm.   With its introspective air, I like to believe that these beautiful charms are nothing more than illusions.  They quickly degrade into frustration and anguish, such as here:

The bass picks its way throughout the soundscape.  It attempts to remain steady.  The syncopation familiar to the first movement is present also here, albeit more grave in nature.  The seriousness of this movement cannot be ignored and its poignancy is highlighted by its somber ending.  Much is left unsaid and it will be the purpose of the next movement to somehow change all this!  We need answers!

3rd Movement Major

Now we get back to a very expressive feel.  The return to C major brightens up the mood, yet this movement is by no means a return to “enjoyable” times.  With careful listening, the (a) and (b) clefts are locked in a tight tussle, instigated by the bass.  Everything moves along in a seamless arc, with melodies becoming bass and the bass becoming melody. The opening has a distinct upward lilt, and the music has a tendency to move upwards.

As per the video, I like to imagine the bass as sounding a lot like cellos, and the upper voices come across as a mixture of violins or flutes.  In this sense, this movement makes me think of a concerto with its construction!

I have heard some people criticize Bach’s music because of his “over-reliance” on counterpoint, and his use of “flipping” the music upside down.  I fail to see why these same people would consider this somehow as if Bach were cheating.  The music may look simple enough, and it is in simplicity where there is genius.    It takes more than simply “flipping” the music as Bach does and still maintain artistic clarity.  What is amazing is how the music takes on a different character when it is transposed from the treble cleft to the bass cleft.

January 24, 2012 | Categories: Uncategorized | Tags: education, entertainment, fun, leisure, music | Leave A Comment »