Partitas and Chorale Variations by JanEl B. Gortmaker

Johann Sebastian Bach's compositions BWV 766-770 are categorized as partitas or variations. These two compositional forms were commonly used in Bach's day, especially the chorale partita that is prominently found in the compositions of Georg Böhm (1661-1733).

In the 16th and 17th centuries, the term partita was used synonymously with variation, meaning a successive statement of a musical theme. The theme is repeated more or less intact and may also be altered. Other variables, such as the counterpoint, accompanying voices, harmony and rhythm are changed.

Each work opens with a harmonization of the chorale. What follows are prototypes of variation form, including melodic, harmonic and rhythmic modifications. The cantus firmus may appear in any voice.

BWV 766
Christ, der du bist der helle Tag (Christ, you who are the bright day)

The text for this chorale, written by E. Alberus, is an evening hymn of petition for God's protection through the night hours. This melody also appears in BWV 273, part of a collection of four-part chorales. The opening chorale statement of BWV 766 contains four to seven-voice harmonies. The six variations that follow do not seem to reflect the rhetoric of the text and may have been played between sung verses as interludes.

BWV 767
O Gott, du frommer Gott (O God, merciful God)

This particular hymn was included in the hymnals at both Weimar and Leipzig. Due to the absence of a pedal part, it is believed that Bach composed this work in his early years, perhaps while living in Lüneburg. The text is a prayer for safety and a peaceful death. The final two variations musically portray death and heavenly joy.

BWV 768
Sei gegrüsset, Jesu gütig (Hail to you, kind Jesus)

Written in Weimar, circa 1717, this chorale is based on a hymn published in 1663. The text is related to the prayer Salve Jesu, summe bonum and tells of the passion of Christ. Due to the questions surrounding the chronology of these variations, there are differing opinions as to the order in which they should be performed. Sources list incongruous compositional dates as well as incompatible numbers of variations. Bach may have worked on this set of variations over a long span of time, making alterations which ultimately resulted in a more cohesive set. The later variations demonstrate a strong correlation between the text and the musical setting, thus reflecting a more mature writing and depth of spirituality.

BWV 769/769a
Vom Himmel hoch da komm' ich her (From heaven above to earth I come)

This set of canonic variations was originally submitted by Bach to the Mizler Society, a group of learned musicians, as an example of his musical knowledge. The canon is the strictest of all contrapuntal writing. Published in 1748, this example of complex compositional technique has been compared and contrasted to a number of the Goldberg Variations. The text to this chorale demonstrates Bach's use of ascending and descending melodies representative of Christ's coming to earth and return to heaven. Symbolism is prevalent in all of Bach's works and can be found in this monumental work of compositional 'acrobatics.' The final variation combines all four canonic statements, demonstrating Bach's mastery of counterpoint.

BWV 770
Ach, was soll ich Sünder machen (Ah, what shall I, a sinner, do?)

Until recently, it was assumed that Bach did not use this chorale melody in any of his other compositions. However, a chorale with three variations on "Ach, was soll ich Sünder machen?" is one of the newly-discovered works in the Rudorff Collection. Like it, BWV 770 dates from Bach's early years. The variations contain many aspects of harpsichord writing, including the French dialogue style, and may be described as a youthful attempt at canonic writing.