Liszt, Franz. (1811–1886) [Bach, Johann Sebastian. (1685–1750)] [Berlin, Irving. (1888–1989)]
"Ich hatte viel Bekümmernis" - Autograph Musical Manuscript of Liszt's Organ Transcription
Autograph musical manuscript in the hand of Franz Liszt for his organ transcription (S. 660/1, LW. E9) of the final chorale and fugue from Bach's cantata BWV 21, Ich hatte viel Bekümmernis. 93 measures of music penned over 5 pp. Hand-ruled manuscript paper with 18 or 19 staves per page, oblong. Final page on a smaller trimmed piece of manuscript paper, bound in. Identified as Liszt's autograph and signed at the upper right of the first page by Alexander Wilhelm Gottschalg, composer and close associate of Liszt. The manuscript gives two alternate endings for the piece, one on p. 4 marked "Fine" in blue pencil, and one on the final smaller page. Three-quarter red leather with gilt accents and marbled endpapers. Edge wear and some scratches to the leather, but structurally sound. Internally fine, binding very good. 13.75 x 11 inches (35 x 27.5 cm).At head: "Lob und Ehre und Preis und Gewalt sei unserem Gott von Ewigkeit zu Ewigkeit!—Schluss Chor und Fugue aus der Cantata 'ich hatte viel Bekümmernis' von J. S. Bach, für Orgel gesetzt von F. L." ("Glory and honor and praise and might be unto our God for ever and ever!—Final chorus and fugue from the cantata 'I had much affliction' by J. S. Bach, set for organ by F. L.") Performance instructions in Liszt's hand throughout, including at the head "Grave–sehr majestätisch langsam" ("Grave–very majestic and slow"); in the first section the text of the Bach chorale written out next to the chords played on the "volles Werk" (full organ); at the beginning of the fugue "N. B. the notes with vertical lines above are always sharply staccato"; fingerings and articulation markings throughout; and notes at the end explaining the alternate endings. Markings in blue and red pencil indicate that the music continues after the last measure of p. 3 to the third system of p. 4, and then after the last measure of p. 4 to the first system of p. 4. In addition, the word "Vi-de" in red pencil shows a cut from the second-to-last measure of p. 3 to the first measure of p. 5, apparently an alternate ending.
Provenance: from the collection of songwriter Irving Berlin.
The work was composed ca. 1860–1866, and first published in 1869 by Schuberth in Leipzig. The 1860's were a period of sadness and piety for Liszt: after the death of his son in 1859 and of his daughter in 1862, he retreated to a monastery in Rome. Already a member of a Franciscan order, he received further minor orders in 1865 and was from then on known as Abbé Liszt. His musical output while in Rome was largely sacred. In adapting the ending of the cantata BWV 21 for organ, organist Martin Schmeding writes that "Liszt followed a unique path in his transcription [...] beginning with a faithful adaptation of the introduction (with the addition of fermatas and articulation marks) and of the first part of the Fugue from the orchestral score. Liszt expands the Fugue with a cadenza, several versions of which are extant [...] The work concludes with a reprise of the introduction that rounds off the composition. Thus, Liszt combines faithful transcriptions and free-form modifications to create a new version of Bach’s original score." (16424)
Manuscript Music Classical Music