The WTF Bach Podcast

• Borges, Bach, Barthelme.

  Would you object to the comparison of Messiaen and Borges? I see both 20th century giants deeply steeped in the masters of the past, throughly conversant in the antique, and yet they bring something uniquely modern— magical. Borges’ stories have the ability to stun, to make one wonder, or in the case of the story I read today, elicit tears.After Shakespeare’s Memory, (1983) which I believe is his last published story, I offer my somewhat chaotic rendition of the Canonic Variations on Vom Himmel Hoch, BWV 769. Following this, Donald Barthelme, an exciting, quirky read: The School (1976.) The frontispiece of my Barthelme book is a painting by Kandinsky— perhaps this is the right metaphor. June 13th, episode 99, sees the release of volume 4 in my J.S. Bach Complete Keyboard Works series. You can save the release here in eager anticipation:https://modernclassicalx.lnk.to/BachCompleteKeyboardWorksVol4PartitasPtOne The two tracks I made for this episode are available as a free download. Here you are!We Rely On Listener Support! How to Donate to this Podcast:The best way to support this podcast, is to become a paid Substack subscriber at wtfbach.substack.comEnough paid subscribers = exclusive content, monthly merchandise giveaways!You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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• Bach as A Minor in a minor.

  Yep. I based an entire episode on the pun. We study two works not usually heard in the organ repertoire, the Prelude (Fantasy) BWV 569 and the Prelude with Fugue BWV 551, both in a minor. These are not the best known pieces in the repertoire, but they command our attention—especially when you consider that one of them was written when Bach was just 14 years old.BWV 569, composed around 1708 when Bach was 23, is a single-rhythm experiment in modulation—akin to his Fantasy, BWV 922. On the page, it looks repetitive, but harmonically it’s anything but:I mentioned I’d link to my own recording of its sister piece, BWV 922 (this cover art: under appreciated.)The second piece, BWV 551, recently dated to around 1700, shows stunning compositional command for a young teenager. If Mozart and Mendelssohn are the poster children of musical precocity, Bach must now be added to the whizz-kid list. As Schweitzer puts it:“If ever a composer’s period of probation was short, it was his.” -Schweitzer, Vol. 2, p. 122. This piece, based on the keyboard toccatas of Johann Jakob Froberger (1616–1667) is an absolute blast. For our purposes, we can call it a double fugue. Look to the pedal line to identify both subjects, and imagine tap-dancing the 16th-note theme:The first time I played it, the ending is what had me cracking up (alone and in an organ loft.) Not only does the piece seem like it’s coming to a stop in d minor:But on the last bar, Bach adds the raised fourth degree! Exceptional. Performers in today’s episode:Rübsam, Koopman, Preston, Walcha, Hans Fagius.I read excerpts from:Pirsig, Robert M. Lila: An Inquiry into Morals. Bantam Books, 1991.Wolff, Christoph, and Markus Zepf. The Organs of J. S. Bach: A Handbook. Translated by Lynn Edwards Butler, University of Illinois Press, 2012.We Rely On Listener Support! How to Donate to this Podcast:The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.comMore paid subscribers = monthly merchandise giveaways. Rock WTF Bach Swag.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support.Reach us at Bach (at) WTFBach (dot com)Concepts Covered:In this episode on early Bach organ works, we highlight two lesser-known compositions in A minor: the Prelude (Fantasy) BWV 569 and the Prelude with Fugue BWV 551. These pieces, rarely featured in standard organ repertoire, showcase the astonishing talent of young Johann Sebastian Bach. BWV 569, composed around 1708, reveals experimental rhythmic modulation reminiscent of BWV 922. Bach enthusiasts, organ music lovers, and anyone interested in the early genius of J.S. Bach, will be interested in the fugal analysis, the discussion on double fugues, the influence of Froberger, and Bach’s copy of Frescobaldi. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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  1:06:55
• Alleluia! Bach's Jubilant Ululation.

  The oldest surviving (ca. 1100) German church melody is centered around Easter and the resurrection: Christ ist erstanden. Luther adapted this into Christ lag in Todesbanden. Both texts culminate in a triumphant “Hallelujah!”What kind of music could Bach compose for such a joyous word? In every instance, it demands a distinctly exalted treatment. We discuss the origins of the word Alleluia, and analyze the music when the word appears in his motets, cantatas and a four-part chorale. Plus, the story of the discovery of Bach’s personal bible, the Calov Bible.Here’s the word in the autograph of Singet dem Herrn ein neues Lied (can’t you feel his joy writing this?)Performers in today’s episode:BWV 225, Vocalconsort Berlin, Daniel ReussBWV 230, Le Petite Band, Sigiwald KokenBWV 140, Academy of Ancient Music, Choir of King's College, Stephen CleoburyBWV 4, Pigmaleon, Raphael PinchonBWV 276, Chamber Choir of Europe, Nichol MattBWV 143, Amsterdam Baroque Orchestra & Choir, Ton KoopmanWe Rely On Listener Support! How to Donate to this Podcast:The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.comMore paid subscribers = monthly merchandise giveaways. Rock WTF Bach Swag.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support.Reach us at Bach (at) WTFBach (dot com)Concepts Covered: This study explores the origins of the German resurrection hymn Christ ist erstanden, transformed by Luther into Christ lag in Todesbanden, and how Bach distinctively set the jubilant "Hallelujah" across motets, cantatas, and a four-part chorale. It examines the etymology of "Alleluia," its liturgical role in the tempus clausum—when festive music ceased—and its observance under the Rule of Saint Benedict. The discussion concludes with the discovery of Bach’s annotated Calov Bible, offering insight into his theological and musical mindset. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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  1:02:38
• Bach’s St. John Passion: Which Version?

  Today, Good Friday 2025, marks 300 years since Bach performed the St. John Passion in Leipzig. … but it started like this:But wait, I thought the St. John Passion was:In this episode, beyond outlining the basic revisions between the 1724 and 1725 (and a few other) versions of BWV 245, we’ll study how people heard passion music, the purpose of a passion setting, and how Bach, by changing the opening and closing movements, or swapping an aria here and there, envisioned he might guide the listener into a different state of reflection to receive the same Gospel. Today’s performers were M. Suzuki, H. Rilling and P. Herreweghe. Here is a link to the Weimar Passion theory I mentioned. Finally, the excerpt by Daniel Melamed comes from his excellent book: Hearing Bach’s Passions. Revised ed. New York: Oxford University Press, 2016, 73–74. We Rely On Listener Support! How to Donate to this Podcast:The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.comMore paid subscribers = monthly merchandise giveaways. Rock WTF Bach Swag.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support.Reach us at Bach (at) WTFBach (dot com)Concepts covered:Various versions of BWV 245, especially the 1724 and 1725 layers, analyzing changes in opening and closing choruses, aria placement, as well as theological emphasis. Topics include Lenten music practices, the music during tempus clausum, the Passion oratorio, Passion hymns such as “O Mensch, bewein dein Sünde groß,” the liturgical and devotional role of chorales, and how Bach’s compositional decisions recalibrate the listener’s reception of the Johannine Passion text. We discuss changes in orchestration and the change in venue from St. Thomaskirche to St. Nikolaikirche in 1724. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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  1:04:26
• Baroque Keyboardists Weren’t Specialists—They Played Everything

  The organ held a central role in the life of a baroque keyboardist. Not only was an accomplished harpsichordist or clavichordist comfortable playing with their feet, but the art suggests that the repertoire often called for ad libitum pedal additions. In J.S. Bach’s second collection of chorale prelude for organ, he introduces obligato pedal parts. Below is an image from his Bach’s earliest chorale settings for organ, as preserved in the Neumeister Collection:Whereas we do not see any explicit pedal markings, we imagine the adept player added them when tasteful. A decade or so later, Bach’s chorale settings look more like this:Note the small staves on the left, indicating that the source still had two staves, but the counterpoint in the pedal is specifically called for. Here is the autograph:That little “P.” below the bottom staff is the clue. The title page of the Orgelbüchlein contains a flowery description, indicating its intended use:Here is the text of Saint-Saëns’ charming autobiography.And here is the episode where I introduce the Neumeister Collection.And I’m going to starting posting my latest YouTube videos in these posts, as extra Bach analysis can hurt no one. Are you a subscriber?We Rely On Listener Support! How to Donate to this Podcast:The best way to support this podcast, is to become a paid subscriber at wtfbach.substack.comMore paid subscribers = monthly merchandise giveaways. Rock WTF Bach Swag.You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for listening! Thank you for your support.Reach us at Bach (at) WTFBach (dot com)Concepts covered:This episode explores the rich tradition of Baroque organ music, focusing on J.S. Bach’s organ works and his chorale preludes. We examine historical performance practice, particularly the use of ad libitum pedal technique and the development of obbligato pedal lines in Bach’s compositions. A deep dive into the Neumeister Collection sheds light on early Baroque keyboard music, revealing how Bach’s pedal technique evolved over time. Finally, we analyze the Orgelbüchlein, its structure, and its lasting impact on organ repertoire. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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  1:03:31

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