Musical Offering

To Potsdam in 1747 went Johann Sebastian Bach, by royal invitation, and was joyfully received by "the most distinguished flute player in Europe," King Frederick the Great. Himself an amateur versifier and composer, Frederick asked his famed visitor to improvise on a royal theme. Bach forthwith obliged, extemporized a three-voice fugue. Frederick, delighted but still royal, thereupon set a more difficult task: development of his original theme into a six-part fugue. That was a stumper, even for the 62-year-old master; to make things worse, Frederick wished the assignment worked out in his presence.

Bach demurred, gracefully. But the King of Prussia's poser had roused the King of Fugue's dander: afterwards, in Leipzig, Bach went to work. He elaborated Frederick's theme into a monumental score which he named Musikalisches Opfer (Musical Offering) and sent it to the King, with a felicitous dedication: "To Your Majesty is proffered herewith in humblest obedience a musical offering, whose most excellent portion originates from your noble hand."

Famed as the work is, it has seldom been performed. Last week, when the Bach Circle presented it at Town Hall, Manhattanites first heard it in its devious entirety. A capacity audience of Bach enthusiasts sat out the two-hour perform ance, then applauded quickly, quickly swarmed doorwards.

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