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.

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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.

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