Reconsidering Tonal Procedures in J. S. Bach's First Year in Leipzig: Some Implications from the Wind-Player's Perspective

Abstract

Abstract:Only recently have Bach's use of multiple tonalities, different pitch levels, and unequal temperament been given both serious consideration and practical application in the performance of his sacred vocal works. By investigating the surviving performance material of works from his first year in Leipzig, this article explores the pragmatic decisions in the interconnected nexus of tonality, pitch, and tuning that impact our understanding of Bach's tonal language. The fact that Bach conceived music for performance in more than one key has implications for both the idiomatic treatment of instruments and the methods by which he aligned affects with specific keys. The continued use of tief-Cammerton (or A−2) across Bach's first cantata cycle of 1723–1724 is considered. Following procedures developed by Bruce Haynes, each case is examined. This results in a revised list of works that we can say conclusively were performed by Bach at this lower pitch. A pivotal work in this regard is the Magnificat in its two versions in E-flat and D major. The article also addresses the problems that Bach encountered when adapting material composed for performance at different pitches from the ones in place in Leipzig. As much as he sought practical solutions, the evidence suggests that in many cases, he was obliged to tolerate reusing music from Weimar and Cöthen in less-than-ideal circumstances where both instrumental and vocal parts were compromised by a change in pitch or tonality. The quest to find a tuning system suited to the demands of this repertoire has led to sixth-comma meantone temperament. The article concludes with a discussion of the application of this tuning orientation to multi-tonal performance and offers some considerations on how the intonation of non-fixed-pitch instruments can be treated in this context.