A singular and remarkable work, Pièce d'Orgue occupies a remote niche in the keyboard works of J.S. Bach. Its three distinctly contrasting sections, overall proportion and idiosyncrasies make it enigmatic even when compared to the other so-called individual pieces (Passacaglia & Fugue, Alla breve, Canzona, Pastorella, etc.). If the requirements of the more absolute forms (prelude & fugue, etc.) are the fulfillment of formal and contrapuntal criteria, then the object of the freer forms (fantasy, etc.) are more toward the expression of subjective, extra-musical thought. If one acknowledges that Pièce d'Orgue belongs to this latter genre, dismissing the notion that it is merely an essay in contrasting keyboard textures, then a valid question remains: what extra-musical elements influenced its design?
In regard to The Passion of Jesus Christ, J.S. Bach drew from the Gospel narratives at least twice for his two great Passions. Viewing the Passion, beginning with the entry into Jerusalem up to the Resurrection, one may divide this expanse of time into eight sections, one part naturally for each day of the week (as in the observance of Holy Week within the Gregorian calendar). Taking the above 8-part construct and superimposing it over the middle section (gravement) of Pièce d'Orgue reveals a remarkable structural and dramatic correlation. A comparison between the two provides for a compelling argument that the Passion may have dictated its architecture and dramatic content.
1. Formal considerations
The middle portion of Pièce d'Orgue divides into eight major sections, the beginning of a section defined as possessing the following criteria: (1) upper voices begin on the upbeat of the measure and are tied over the bar line (2nd beat in 2/2 meter) and (2) lowest voice begins on the downbeat of the measure as a whole note, the first of a succession of at least three ascending, stepwise notes. The following is the superposition of the eight days of the Passion, beginning with the entrance into Jerusalem (Palm Sunday) up to the day of the Resurrection, upon the middle portion of Pièce d'Orgue.
2. Contrapuntal/harmonic considerations
Comparing the relative contrapuntal/harmonic affekt between sections reveals a further correlation to the Passion narrative. In regard to contrapuntal texture, particularly towards the use of suspension, the first four sections (Sunday to Wednesday) contain a similar and consistent use of its technique. The fifth section (Thursday), however, closes with outer voices dispersing from one another in parallel, ascending second inversion triads in the manual and descending steps in the lowest voice (m. 113-115) (the forsaking of the disciples?). (Example 1.)
The sixth section (Friday), confined entirely to the minor mode, contains the most sharply dissonant material yet encountered. The half-step descent of the leading tone resulting in parallel tri-tones (m. 121), the downward descent of a leading tone falling an augmented fifth (m.125), the 2-1 suspension in the lowest voice (the only one in minor mode) (m. 137) and the neapolitan sixth (functioning within d) (m.139) are particularly striking (the Crucifixion?). (See Example 2.)
A return to the major mode releases tension in the seventh section (Saturday) but ends in a curious turn of events. Lifting out of the formal confines of this last section, indeed out of the entire gravement of Pièce d'Orgue, is an ascent of 14 consecutive whole notes (15 if one counts the E gained via lower-octave displacement) in the lowest voice for nearly two octaves (m. 158-171) (the Resurrection?). The final section (Sunday) continues the whole note ascending motive but is continued in higher voices in parallel thirds, the pedal remaining solidly fixed on a static pedal point. (Example 3.)
The pedal point ultimately resolves into the unexpected: the dissonant, deceptive cadence (m. 185). Heard in context, its effect is shocking since the treatment of all dissonance up to this point has been consistently prepared. If the deceptive cadence represents what is not expected (an empty tomb?), then the section following (Lentement) is the response: the suspension of previous tonal terra firma (And they departed quickly from the sepulcher with fear and great joy; and did run to bring his disciples word.--Matthew 28:8). Fear and great joy are the operative words here. (Example 4.)
Tonal ambiguity is finally resolved in the confirmation of G major tonality (193), with the once static, repetitive keyboard figurations themselves now ascending in stepwise motion (the confirmation of the Resurrection?). (Example 5.)
One who is familiar with the Passion narrative may draw further scriptural and musical correlation. Before his crucifixion, Jesus makes several references to his death and resurrection (example: Destroy this temple, and in three days I will raise it up.--John 2:19). Bach, in Pièce d'Orgue, makes an equivalent motivic and harmonic foreshadowing of this idea: commencing each section is the ascending, whole note motive in the lowest voice, ultimately culminating in the final, nearly two-octave ascent. Furthermore, the deceptive cadence which ushers in this 14-note ascent is foreshadowed in the first section by a similar use of a deceptive cadence to introduce an ascending whole note series (m. 41). (Example 6.)
Jesus' entry into Jerusalem is prepared and made ready with the following tribute: And a very great multitude spread their garments in the way; others cut down branches from the trees, and strewed them in the way (Matthew 21:8). Equally prefatory is the beginning of Pièce d'Orgue (Très vitement), with its free, toccata-like writing. Not unlike an intonation, it defines key center, but also serves as an introduction to the more protean, central section (gravement).
3. Conclusion
Some commentators of the organ works of J.S. Bach have sought to link extra-musical thought to his organ music, particularly towards the chorale preludes, Albert Schweitzer perhaps having been one of the foremost of this school. The chorale preludes (particularly those within the Orgelbüchlein) invite the most likely speculation for extra-musical portrayal or tone painting due to the presence of a chorale text. Proponents of this practice point out specific musical figures that correlate with a word, words or implied meaning within a given text. The presence of text naturally helps to support a claim of extra-musical portrayal. The uniqueness of Pièce d'Orgue, regardless of text, invites speculation. It raises this final question: Is the design and content of Pièce d'Orgue and its correlation to the Passion a coincidence? If it is, then one must continue to justify its bizarre curiosities of length, proportion and content when compared to the other works of Bach. An unsatisfactory justification will continue to render Pièce d'Orguee as nearly an arbitrary creation as the quodlibet. But in view of the gravitas of the composer's religious beliefs, coupled with his religiously inspired and motivated musical creations, an intended connection between Pièce d'Orgue and the Passion is not out of the question.
