Variations on a Tradition: The Chorale "Partitas" of Johann Sebastian Bach

Abstract

The chorale variation sets by Johann Sebastian Bach represent the culmination of a long tradition, which is itself a merger of two older traditions—the organ chorale, specifically the ornamented chorale, and the secular variation set. Combining north German musical precedent with his knowledge of French music, Bach wrote four variation sets that encapsulate this unique point in music history: Christ, der du bist der helle Tag (BWV 766), O Gott, du frommer Gott (BWV 767), Sei gegrüsset, Jesu gütig (BWV 768), and Ach, was soll ich Sünder machen (BWV 770). He also wrote canonic variations on Vom Himmel hoch, da komm’ ich her (BWV 769/BWV 769a), which will be briefly discussed but not considered in depth because their organization and purpose are so different from the other sets. Taking its cue from other areas of Bach organ scholarship, this document revolves around a discussion of what ties the variations together—using the language of texture, melody, harmony, and form—and what is distinctive about each variation. The majority of the movements, of the ornamented-soprano-chorale variety, can be described using just four motivic principles; the rest can be similarly grouped based on other musical parameters, like the perpetual-motion chorales and the bicinia. In doing so, this project contributes to the wider field of Bach studies by shedding light on an otherwise neglected area of the composer’s output.