Schweitzer (1905) described the anapaest as a "joy" motif; to Hermann Keller it symbolised "constancy". The continuous accompaniment in quavers and crotchets is an example of the first of two types of joy motif described by Schweitzer (1911b), used to convey "direct and naive joy." Joh. Seb. Others involve two keyboards and pedal. The chorale prelude is in four parts for single manual and pedals. The pivotal notes CCCDEF in this motif are also derived from the theme. Von allen Fähigkeiten, die wir haben, ist es am wertvollsten zu verstehen, dass das Leben ein Geschenk ist." The second motif is passed from voice to voice in the accompaniment—there are two passages where it is adapted to the pedal with widely spaced semiquavers alternating between the feet—providing an unbroken stream of semiquavers complementing the first motif. Schweitzer (1905) described the accompanying motifs as representing "peace of mind"(quiétude).[54][55][56]. Five Chorale Preludes, Universal Edition, 1975. BWV 611, marked Adagio, has several unusual and novel features. On a purely musical level, a mood of increasing wonder is created as the accompaniment intensifies throughout the chorale with more imitative entries in the inner parts.[10][11]. Die Seite für Wortspiele und Wortspielereien, Start This setting of the Lutheran hymn Christus, der uns selig macht features the chorale in canon between the highest voice in the manuals and the pedal part. The chorale prelude BWV 610 is scored for single manual and pedal, with the cantus firmus unadorned in the soprano voice. Below is the first verse of Martin Luther's hymn Christum wir sollen loben schon with the English translation of Richard Massie (1854). Neue Landkarte 11. This video is unavailable. Ausgewählte Choralvorspiele von Joh. The bass accompaniment at first is derived directly from the melody; during the pauses in the soprano part, a second motif recurs. Although it has often been suggested that this opening advent chorale prelude resembles a French overture, in construction, with its texture of arpeggiated chords, it is more similar to the baroque keyboard preludes of German and French masters, such as Couperin. Following baroque convention, Bach notated the triplets in the accompaniment as quavers instead of crotchets, to make the score more readable for the organist. The highly ornate ornamentation is rare amongst Bach's chorale preludes, the only comparable example being BWV 662 from the Great Eighteen. Lindemann wrote the text in 1598, and Giovanni Giacomo Gastoldi supplied the melody in 1591.[40]. The accompanying arpeggio motifs in the inner parts are not dissimilar to figurations in settings of the hymn by Georg Böhm and Walther (the 6th variation in his partita). Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears. Bach's friend and colleague Johann Walther composed an organ partita on the hymn in 1712. [Nationalist Socialist] Association 'Strength through Joy'. Below is the first verse and refrain of the third verse of this version of the Agnus Dei, O Lamm Gottes, unschuldig, with the English translation of Catherine Winkworth. Bach left no indication that the manualiter parts were to be played on two keyboards: indeed, as Stinson (1999) points out, the autograph score brackets all the keyboard parts together; in addition technically at certain points the keyboard parts have to be shared between the two hands. Join Napster and play your favorite music offline. The semiquaver figures, sometimes in parallel thirds or sixths, run continuously throughout the upper parts, including the soprano part, further obscuring the melody. The slow, gentle melody of Agricola’s 16th-century hymn ‘Ich ruf zu dir, Herr Jesu Christ’ is supported by the pedal in a calmly progressing accompaniment. Below is the first verse of Caspar Stolshagen's Easter hymn Heut triumphieret Gottes Sohn by Bartholomäus Gesius with the English translation of George Ratcliffe Woodward. The motifs in the intricately crafted accompaniment are descending and ascending scales, sometimes in contrary motion, with rapid semiquaver scales shared between the inner voices and slower crotchet scales in the walking bass of the pedal part following each phrase of the melody. At the same time in the eleventh bar the soprano and tenor parts play semiquaver motives in canon separated by a quaver and two octaves, before playing in more transparent imitation in bars 12 and 13. Exceptionally Bach scored the final chord of this nebulous piece without pedal. That melody first appeared with the text in Erhard Bodenschatz's Leipzig hymnbook of 1608. There is a precursor of the musical style of BWV 611—the plainchant melody A solis ortus cardine/Hostis herodes impie accompanied by polyphonic scale motifs—in the 1667 Deuxième Livre d’Orgue of Nivers. befindlichen Choralen das Pedal gantz obligat tractiret wird. zu 4 Haenden eingerichtet, Dunst, undated. They indicate that already at the age of 15 Bach was an accomplished organist, playing some of the most demanding repertoire of the period. Similar semiquaver figures had been used in other contemporary settings of this hymn, for example in a set of variations by Böhm[67], and in the first chorus of Bach's cantata BWV 26, but without conveying the same effect of quiet reflection. As with the most of the collection, Bach had allotted one page for the chorale prelude. The hymn was performed throughout the Christmas period, particularly during nativity plays. outdoordesign.ch. [16][17][18][19]. The canon—normally in the tenor part in the carol—is taken up one bar later in the pedal. The last line repeats the first but with the suspirans suppressed and the dotted rhythms of the bass replaced by a long pedal note, possibly reflecting the wonder described in the third and fourth lines of the first verse. The chromaticism creates ambiguities of key throughout the chorale prelude. In the eleventh bar the bass's motivic accompaniment pauses for a second pedal point after which it resumes by unexpectedly taking up the cantus firmus in canon—two beats after and two octaves below the alto—until the end of the twelfth bar. Although the cantus itself repeats more of its lines than most Lutheran hymns, Bach avoids repetitiveness in the chorale prelude by varying the harmonies and rhythmic texture in the accompaniment for each phrase. Johann Sebastian Bach: drei Orgelchoralvorspiele, für Klavier gearbeitet. Although the chorale prelude cannot be precisely matched to the words of either hymn, the mood expressed is in keeping both with joy for the coming of Christ and gratitude for the bountifulness of God. BWV 632 is written for single keyboard and pedal with the cantus firmus in the soprano part: it starts with a characteristic triad, at first concealed by the intermediate notes of the legato dotted rhythm. The cantus firmus of this chorale prelude is in the soprano voice and is drawn from the tenor part of the four-part setting of Puer natus by Lossius. To Spitta (1899) the scales "hurry by like misty ghosts." Johann Sebastian Bach: organ choral preludes arranged for pianoforte, Johann Sebastian Bach: "O Mensch, bewein dein Sünde gross." The sharp on the second note was a more modern departure, already adopted by the composer-organists Bruhns, Böhm and Scheidt and by Bach himself in his early cantata Christ lag in Todes Banden, BWV 4. [28]. The instrumental combination itself was used elsewhere by Bach: in the third movement of the cantata Schmücke dich, o liebe Seele, BWV 180 for soprano, violoncello piccolo and continuo; and the 19th movement of the St John Passion, with the middle voice provided by semiquaver arpeggios on the lute. It is set to the same melody as Johann Roh's advent hymn Gottes Sohn ist kommen, the first verse of which is given here with the English translation of Catherine Winkworth. Listen to Jesu meine Freude, LV 49 by Alexander Koschel. The first verse of the Lutheran hymn Es ist das Heil uns kommen her of Paul Speratus is given below with the English translation of John Christian Jacobi. Bach, Editio Musica Budapest, 1985. The attempts of Schweitzer (1905) have been criticised: Harvey Grace felt that Bach was "expressing the idea of insistence, order, dogma—anything but statistics." It has been described as "melancholic" by Schweitzer (1905); as having "the greatest intensity" by Spitta (1899); as a "prayer" with "anxiety for the future" by Ernst Arfken; and as a crossroads between "the past and the future" by Jacques Chailley. BWV 643 is one of the most perfect examples of Bach's Orgelbüchlein style. Bach used the same hymn in other organ compositions as well as in the cantatas BWV 64, 91 and 248, parts I and III (the Christmas Oratorio). Below is the text of the hymn from the Ballad of the Passion (1527) by Heinrich Müller[44] with a 16th-century translation from The Gude and Godlie Ballatis. Below are the first and last verses of Nikolaus Herman's Christmas hymn with the English translation by Arthur Tozer Russell. Watch Queue Queue The same suspirans triad motif, like a broken chord or arpeggio, forms the basis of the accompaniment in the two inner voices: the imitative responses between the parts providing a steady flow of semiquaver figures, rising and falling, melifluous and sweet. Above and below it the scale figures in the three accompanying parts are heard meandering in parallel and sometimes contrary motion. Bach & Middle German Organ Music of the 16th-18th Centuries, Vol. 2" by Alexander Koschel on Napster The predominant mood of the chorale prelude is one of joyous exultation. The accompaniment in the inner voices is built on a four-note motif—derived from the hymn tune—a descending semiquaver scale, starting with a rest or "breath" (suspirans): together they provide a constant stream of semiquavers, sometimes in parallel sixths, running throughout the piece until the final cadence. During the period before his return to Weimar, Bach had composed a set of 31 chorale preludes: these were discovered independently by Christoph Wolff and Wilhelm Krunbach in the library of Yale University in the mid-1980s and first published as Das Arnstadter Orgelbuch. The accompaniment is derived from the suspirans pedal motif of three semiquavers (16th notes) followed by two quavers (eighth notes). The motif is passed imitatively down through the voices, often developing into more flowing passages of semiquavers; the motif in the pedal has an added quaver and—punctuated by rests—is more fragmentary. Williams (2003) suggests that the motif might then resemble the Gewalt ("power") motif in the cello part of BWV 4, verse 3; and that the turmoil created by the rapidly changing harmonies in some bars might echo the word Krieg ("war") in verse 4.[48][49]. It has been taken by some commentators as a musical allusion to the words kreuze lange in the text: for Spitta the passage was "full of imagination and powerful feeling." Released: Jul 2018 Apart from BWV 610, Bach's organ settings include the chorale preludes BWV 713 in the Kirnberger Collection, BWV 1105 in the Neumeister Collection and BWV 753 composed in 1720. The syncopated crotchets in the pedal also interrupt the fermatas at the end of each cantus line, giving a further sense of restlessness. The accompaniment in the inner voices is a uniform stream of semiquavers shared between the parts, often in parallel sixths but occasionally in contrary motion. There are three accompanying voices, often closely scored: the alto and tenor voices in the keyboard between them weave a continuous and complex pattern of rising and falling semiquavers, sometimes in parallel thirds; and below them the bass voice in the pedal moves in steady quavers and syncopated crotchets. An early version of the melody also appeared in Steuerlein's hymnbook, but set to different words (Gott Vater, der du deine Sonn). Durch Adam's Fall. Bach's ingenious writing is constantly varying. Scored for single manual and pedal, the unadorned cantus firmus is in the soprano voice. In turn Bach's slight alteration of the melody in bars 1 and 3 might have been dictated by his choice of motif. Throughout Thuringia and Saxony this became the hymn that the congregation sang as the priest entered the pulpit before delivering his Sunday sermon. "O Mensch" is one of the most celebrated of Bach's chorale preludes. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. setting of Puer natus by Lossius. Transcriptions from Machaut to J.S. Play on Napster. Hermann Keller even suggested that Bach might have composed the chorale prelude starting from an earlier harmonisation; as Williams (2003) points out, however, although the harmonic structure adheres to that of a four-part chorale, the pattern of semiquavers and suspended notes is different for each bar and always enhances the melody, sometimes in unexpected ways. Various commentators have proposed interpretations of the accompanying motifs: the rocking motif to suggest the action of swaddling; and the pedal motif as symbolising either the "journey of the Magi" to Bethlehem (Schweitzer (1905)) or Christ's "descent to earth" (Jacques Chailley (1974) harvtxt error: no target: CITEREFJacques_Chailley1974 (help)). Below are the first two verses of Michael Weisse's advent hymn with the English translation of John Gambold. The accompanying figure in the inner voices has been interpreted as a joy motif by Schweitzer (1905); as an evocation of rocking by Keller (1948); and as symbolising the miracle of virgin birth by Arfken. The reprise of the second part differs from the hymn as it appears in hymnbooks; but the stream of repeated triadic motifs—which Schweitzer (1911a) interpreted as constant repetitions of Herr Jesu Christ—add to the mood of supplication in the chorale prelude. Bach wrote a four-part chorale on the hymn tune in BWV 298; he used it for the trumpet canon in the opening chorus of cantata BWV 77; and much later he set it for organ in the first two of the catechism chorale preludes, BWV 678 and 679, of Clavier-Übung III. After the cadence at bar 14 from D minor to A minor, the accompaniment is augmented to four voices with a second voice in the pedal, first with motivic semiquaver figures in all the parts in the penultimate bar; and then imitative dactylic joy motifs in the soprano and tenor parts during the closing bar. The vocal ornamentation and portamento appoggiaturas of the melody are French in style. Williams (2003) suggests that the relative simplicity of BWV 605 and the uniformity of the accompaniment could be signs that it was one of the earliest composed pieces in Orgelbüchlein. Already in the opening bar, as Williams (2003) points out, the subtlety of Bach's compositional skills are apparent. There is some ambiguity as to whether Bach intended the crotchets in the accompanying motif to be played as a dotted rhythm in time with the triplets or as two beats against three. The Lutheran Erfurter Enchiridion of 1524 contains the text with the melody, which was also used for In Gottes Nahmen fahren wir, a pilgrims' hymn. The compositional structure for all four voices in BWV 642 is close to that of BWV 643.[65][66]. The accompaniment also has repeated crotchets on the single note of A, which, combined with the A's in the main canon, simulate the drone of a musette sounding constantly through the chorale until the A♯ in bar 25. After Orgelbüchlein, Bach returned to the hymn with a pair of chorale preludes (BWV 682 and 683) in Clavier-Übung III. Ich nehme zur Kenntnis, dass die abgesendeten Daten zum Zweck der Bearbeitung meines Anliegens verarbeitet werden dürfen. This chorale prelude is based on a traditional Christmas carol in canon that predates Luther. Below are the first and last verses of Elisabeth Cruciger's hymn for Epiphany Herr Christ, der einig Gotts Sohn with the English translation of Myles Coverdale. Amongst Bach's immediate predecessors, Dieterich Buxtehude wrote two settings of the hymn for organ—a freely composed chorale prelude in three verses (BuxWV 207) and a chorale prelude for two manuals and pedal (BuxWV 219); and Georg Böhm composed a partita and two chorale preludes (previously misattributed to Bach as BWV 760 and 761). The accompaniment is composed of two motifs, both suspirans: one in the inner parts contains a joy motif; and the other, shared between all three lower parts, is formed of three semiquavers (16th notes) and a longer note or just four semiquavers. As is now known, Bach set Das alte Jahr early in his career as BWV 1091, one of the chorale preludes in the Neumeister Collection; he also composed two four-part harmonisations, BWV 288 and 289. Join Napster and play your favorite music offline. The motif is in turn linked to the melodic line, which later on in bar 5 is decorated with a rising chromatic fourth. But the light and airy texture of the keyboard writing has more in common with the harpsichord allemande, such as BuxWV 238/1 below, from the thirteenth keyboard suite of Dieterich Buxtehude: the introductory upbeat; the repeats of binary dance form; and the arpeggiated accompaniment at the cadences. Below are the first and fourth verses of Martin Luther's Easter hymn Christ lag in Todesbanden with the English translation of Paul England.[45]. Bach's chorale prelude is written for single manual and pedals, with the leading voice in the soprano. The accompaniment, intricately crafted from two separate motifs in the inner voices and in the pedal, is a particularly fine illustration of Bach's compositional method in the Orgelbüchlein. Terry (1921) erroneously assigned a date after 1715, because the earliest source for Das alte Jahr he had been able to locate was Christian Friedrich Witt's Gotha hymnbook, first published in 1715. Stinson (1999) also sees similarities with Bach's omission of a bass part in Wie zittern und wanken from cantata BWV 105, an aria concerned with the uncertainties in the life of a sinner.[68][69]. Renwick (2006) analyses the mysteries of the key structure in BWV 614. Another extract from Sedulius' poem became the Latin Hymn Hostis herodes impie. Bach ornamented the simple melody, in twelve phrases reflecting the twelve lines of the opening verse, with an elaborate coloratura. In 1705–1706 he was granted leave from Arnstadt to study with the organist and composer Dieterich Buxtehude in Lübeck, a pilgrimage he famously made on foot. Bach, however, like Walther, Böhm and Krebs, generally preferred a version in 44 time for his fourteen settings in chorale preludes and cantatas: it appears in cantatas BWV 21, BWV 27, BWV 84, BWV 88, BWV 93, BWV 166, BWV 179 and BWV 197, with words taken from one or other of the two hymn texts. Beneath the melody in a combination of four different motifs, the inner parts wind sinuously in an uninterrupted line of semiquavers, moving chromatically in steps. ruf-betten.de. This chorale prelude is a canon at the octave in the soprano and tenor voices, with the tenor entering one bar after the soprano. Damit Sie lange Freude haben an Ihren Gartenmöbeln, [...] unterstützen wir Sie mit Pflege- und Reinigungstipps. One of the earliest known sources for the version of the hymn used by Bach is Gottfried Vopelius's Leipzig hymnbook of 1682. From the album "J.S. Below are the first and third verses of the Lutheran hymn Herr Jesu Christ, dich zu uns wend by Wilhelm, Duke of Saxe-Weimar (1648) with the English translation of John Christian Jacobi. This figure is also found in the organ works of Georg Böhm and Daniel Vetter from the same era. Orgelchoralvorspiele von Johann Sebastian Bach: Auf das Pianoforte im Kammerstyl übertragen, 2 vols. For Schweitzer (1911a) the opening motivic accompaniment "entwines the chorale melody in a consummately effective way and embraces a whole world of unutterable joy", the adagio is a "mystical contemplation", and the motifs "a joyous exaltation in the soprano". BWV 612 is written for single manual and pedal with four voices. At a faster tempo, as has become more common, the mood becomes more exultant and vigorous, with a climax at the words Gott loben und dankbar sein ("praise our God right heartily"), where the music becomes increasingly chromatic. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. It recalls but also goes beyond the ornamental chorale preludes of Buxtehude. Der Englische Garten Bei Tag und Nacht, released 13 March 2020 1. The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal. The cantus firmus of this ornamental chorale prelude was written by Louis Bourgeois in 1543. The pedal provides a rhythmic pulse with a semiquaver walking bass with sustained notes at each cadence. They form part of a larger collection of organ music compiled in the 1790s by the organist Johann Gottfried Neumeister (1756–1840) and are now referred to as the Neumeister Chorales BWV 1090–1120. Trascritti dall' organo per orchestra, Universal Edition, 1925. Below is the traditional Easter carol Surrexit Christus hodie in German and English translations. Music to Delight the Spirit. It is derived from the first line of the melody of the cantus firmus and often shared out freely between voices in the accompaniment. Scored for single manual and pedal, the accompanying voices are the soprano (right hand), the tenor (left hand) and the bass (pedal). Bach: Motet BWV 227 'Jesu, meine Freude'Vocalconsort Berlin o.l.v. Below are the six verses of this New Year's hymn with the English translation of Catherine Winkworth. [29][30][31][32], The chorale prelude BWV 614 is written for two manuals and pedal with the cantus firmus in the soprano voice. After Orgelbüchlein, Bach set the entire hymn in cantata Es ist das Heil uns kommen her, BWV 9; and composed chorales on single verses for cantatas 86, 117, 155 and 186. The chorale prelude BWV 605 is written for two manuals and pedal with the cantus firmus in the soprano part. As Williams (2003) comments, however, the inner voices, "with their astonishing accented passing-notes transcend images, as does the sudden simplicity of the melody when the bass twice rises chromatically.". Ich nehme zur Kenntnis, dass die abgesendeten Daten zum Zweck der Bearbeitung meines Anliegens verarbeitet werden dürfen. Mit der Freude im Herzen: Das Schreiben "Gaudete et exsultate" über den Ruf zur Heiligkeit in der Welt von heute [Papst, Franziskus] on Amazon.com.au. Ein paar Lebkuchen und etwas eiskalte Milch, um sie runterzuspülen, wären genau das Richtige. Es ist das Licht, das in uns scheint. Easy to play with alternating feet, it figured in particular in the preludes of Buxtehude and Böhm as well as an earlier manualiter setting of the same hymn by Bach's cousin, Johann Gottfried Walther. Considered to be amongst his most expressive compositions—Snyder (1987) describes it as "imbued with sorrow"—Buxtehude's setting employs explicit word-painting.[57][58][59]. Es ist nicht der Tag, der nicht zurückkommen wird, es ist der Moment, der nicht zurückkommen wird. It was used again the last of the Great Eighteen Chorale Preludes, BWV 668. Prioritäten 9. The two inner voices, often in thirds, are built on a motif made up of two short beats followed by a long beat—an anapaest—often used by Bach to signify joy (for example in BWV 602, 605, 615, 616, 618, 621, 623, 627, 629, 637 and 640). Buy Mit der Freude im Herzen: Das Schreiben "Gaudete et exsultate" über den Ruf zur Heiligkeit in der Welt von heute by Papst, Franziskus (ISBN: 9783746252216) from Amazon's Book Store. It is possible that the unusual choice of key followed Bach's experience playing the new organ at Halle which employed more modern tuning. Beneath it the two inner voices—often in thirds—and the pedal provide an accompaniment based on a motif derived from the melody, a falling three-note anapaest consisting of two semiquavers and a quaver.