(born Eisenach, March 21, 1685)
G. D. CUNNINGHAM (organ)
ISOBEL BAILLIE (soprano)
ARTHUR CATTERALL (violin)
THE WIRELESS CHORUS
(Section A)
Conductor,
LESLIE WOODGATE
G. D. CUNNINGHAM
Toccata and Fugue in D minor
CHORUS
Come, Jesu, come (unaccompanied
Motet)
ISOBEL BAILLIE, ARTHUR CATTERALL
(violin obbligato) and G. D. CUNNINGHAM
Laudamus Te (Mass in B minor)
G. D. CUNNINGHAM
Choral Preludes
I. Nun komm' der Heiden Heiland
(Come, Thou Saviour of the Gentiles)
2. Nun freut euch, licben Christen g'mein (Rejoice now, all ye Christian men)
' The lexicon of Bach's musical language ' is what one devotee calls the Choral Preludes. Thoughtful listeners have no doubt realised that they are really symphonic poems, very much in the sense in which that name is used by modern composers. Bach's method is almost always the same. As a rule he takes the choral melody, in its original shape, and without breaking it up, giving it to the highest part. Round it he weaves counter-melodies, almost always made up of a motive which is not derived from the tune of the choral itself, but which was suggested to his thought by the text.
He is thus illustrating in his music the poetry and imagery of the words, as well as elaborating the melody, and the result is as wholly satisfactory as it was when new.
It is still new in this way, that no later master has ever achieved it with anything like such simple means. Their significance not only in relation to Bach's music, but as an actual landmark in music itself, was not fully understood until long after his day.
Mendelssohn, who did so much to revive interest in the great Bach, was one of the first to realise the beauty and value of these Choral Preludes, and Schumann, whom Mendelssohn initiated, was not less enthusiastic.
It was Mendelssohn who said of one of the Choral Preludes that if life should ever deprive him of hope and faith, this music alone would restore it to him fully.
CHORUS
Be not afraid (unaccompanied Motet)
G. D. CUNNINGHAM
Fantasia and Fugue in G minor