At the same time the motif in the inner parts is derived from descending scale D, C, B-flat, A that recurs in the cantus. Nun freut euch, lieben Christen, BWV 734 5. 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." Dieses Leben ist ein Geschenk, das sich niemals wiederholen wird. BWV 642 has similarities with the earlier chorale prelude BWV 690 from the Kirnberger collection, with the same affekt of a delayed entry in the second half of the cantus firmus. Seb. In addition, as Williams (2003) notes, the outer and inner voices are naturally paired: the pedal with—or in opposition to—the cantus; and the alto voice with the tenor. Below is the traditional fourteenth century German/Latin Christmas carol In dulci jubilo with the English/Latin translation of Robert Lucas de Pearsall. Johann Sebastian Bach: "O Mensch, bewein dein Sünde gross." Prior to Bach, there were choral settings by Michael Praetorius and Samuel Scheidt and a setting for organ in the choral prelude BuxWV 202 by Dieterich Buxtehude. Besonders Hamburg-Genf, mit den wirklich tollen Flügen der Eurowings. 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. These include turning figures and ascending or descending scales all presented in the first bar. Gemaeinschaft 'Kraft durch Freude' Summary Theater masks; lyre in background. It closely follows the four voices of Bach's earlier harmonisation in the four-part chorale BWV 278, with virtually no changes in the cantus firmus. In the words of Albert Riemenschneider, "the exuberance of the passage work indicates a joyous background.". In turn Bach's slight alteration of the melody in bars 1 and 3 might have been dictated by his choice of motif. Join Napster and play your favorite music offline. 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. In the chorale prelude BWV 636 the plain cantus firmus is in the soprano voice. By Richard D. P. Jones", "Key Structure in "Das alte Jahr vergangen ist, "The Weimar Organ Tablature: Bach's Earliest Autographs", International Music Score Library Project, Free downloads of the complete Orgelbüchlein, Toccata and Fugue in D minor ("Dorian"), BWV 538, Fantasia and Fugue in G minor ("Great"), BWV 542, Prelude and Fugue in E minor ("Wedge"), BWV 548, Eight Short Preludes and Fugues, BWV 553–560, Toccata, Adagio and Fugue in C major, BWV 564, Prelude (Toccata) and Fugue in E major, BWV 566, Fantasia ("Pièce d'Orgue") in G major, BWV 572, Passacaglia and Fugue in C minor, BWV 582, Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769, Capriccio on the departure of a beloved brother, Concerto transcriptions, BWV 592–596 and 972–987, List of fugal works by Johann Sebastian Bach, List of concertos by Johann Sebastian Bach,üchlein&oldid=996559372, Chorale preludes by Johann Sebastian Bach, Articles with International Music Score Library Project links, Creative Commons Attribution-ShareAlike License, Wir danken dir, Herr Jesu Christ, dass du für uns gestorben bist, Allein nach dir, Herr, allein nach dir, Herr Jesu Christ, verlanget mich, Herzliebster Jesu, was hast du verbrochen, Komm, Heiliger Geist, erfüll die Herzen deiner Gläubigen, Auf tiefer Not schrei ich zu dir [Psalm 130], Der Herr is mein getreuer Hirt [Psalm 23], Wir danken dir, Herr Jesu Christ, dass du das Lämmlein worden bist, Nun lob, mein Seel, den Herren [Psalm 103], Wo Gott zum Haus nicht gibt sein Gunst [Psalm 127], Wie's Gott gefällt, so gefällt mir's auch, In dich hab ich gehoffet, Herr [Psalm 31], Ach Gott, erhör mein Seufzen und Wehklagen, So wünsch ich nun eine gute Nacht [Psalm 42], Was Gott tut, das ist wohlgetan, kein einig Mensch ihn tadeln kann, Was Gott tut, das ist wohlgetan, es bleibt gerecht sein Wille, Ach Gott, vom Himmel sieh darein [Psalm 12], Es spricht der Unweisen Mund wohl [Psalm 14], Wär Gott nicht mit uns diese Zeit [Psalm 124], Wo Gott der Herr nicht bei uns hält [Psalm 124], Dankt dem Herrn, denn er ist sehr freundlich [Psalm 136], Lobet dem Herren, denn er ist sehr freundlich [Psalm 147], Hast du denn, Jesu, dein Angesicht gänzlich verborgen. Play on Napster. 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. 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)). Although in the phrygian mode, Bach slightly modifies it, replacing some B♭s by B♮s in the melody, but still ends in the key of A. Below is the text of the first stanza of the hymn O Mensch, bewein dein Sünde groß by Sebald Heyden with the English translation of Catherine Winkworth. BWV 612 is written for single manual and pedal with four voices. 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. As Spitta (1899) comments, "What tender melancholy lurks in the chorale, Alle Menschen müßen sterben, what an indescribable expressiveness, for instance, arises in the last bar from the false relation between c♯ and c', and the almost imperceptible ornamentation of the melody!". The accompaniment in the three lower voices is built up from two motifs each containing the repeated notes that characterise the theme. Below are the six verses of this New Year's hymn with the English translation of Catherine Winkworth. Johann Sebastian Bach: eleven chorale preludes from the little organ book, BWV 600, 601, 608, 609, 610, 625, 627, 633, 636, 637, 643, Johann Sebstian Bach: Ich ruf' zu dir, Herr Jesu Christ (Choralvorspiel), Bote & Bock, 1954. 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. Du bist der Kapitän The widely spaced polyphonic texture has been taken as a musical depiction of Sedulius' poetic lines A solis ortus cardine, ad usque terræ limitem—"From the hinge of the rising sun, To the farthest edge of the earth". Many of the preludes are short and in four parts, requiring only a single keyboard and pedal, with an unadorned cantus firmus. [6] Only a few other organ works based on chorales can be dated with any certainty to this period. 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]. In the generation prior to Bach, organ settings had mainly been made by composers in Southern Germany like Kindermann, Pachelbel and Fischer. Pure in style, this ornamental chorale prelude has been described as "a supplication in time of despair." 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. BWV 640 is the only occasion he used the melody in the minor key, which can be traced back to an earlier reformation hymn tune for Christ ist erstanden and medieval plainsong for Christus iam resurrexit. The chorale prelude is in four voices for single manual with pedals. It was used in settings by Scheidt, Scheidemann, Walther and de Grigny, the latter two employing the Latin title. The abrupt leaps in the pedal part create unexpected changes in key; and halfway through the chorale prelude the tangled inner parts are inverted to produce an even stranger harmonic texture, resolved only in the final bars by the modulation into a major key. The canon is itself disguised, in crotchets in the first half with the same rhythm as the soprano; but in the second half it is heard in fragmentary form at double the speed in quavers. The simple cantus firmus sings in crotchets (quarter notes) above an accompanying motif of three semiquavers (16th notes) followed by two quavers (eighth notes) that echoes between the two inner parts and the pedal. [37][38][39]. 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. 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. [29][30][31][32], The chorale prelude BWV 614 is written for two manuals and pedal with the cantus firmus in the soprano voice. From the album "J.S. 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. 1 (J.S. Ich ruf' zu dir, Herr, BWV 639 6. In the two closing bars, there is a fleeting appearance of figures usually associated with crucifixion chorales, such as Da Jesu an dem Kreuzer stund, BWV 621: semiquaver cross motifs[15] in the upper parts above delayed or dragging entries in the pedal. 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. 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. The combined effect is of the harmonisation of a chorale by arpeggiated chords. Die Seite für Wortspiele und Wortspielereien, Start Join Napster and play your favorite music offline. The hymn was originally written in duple time but, to facilitate the canonic counterpoint, Bach adopted triple time with a minim beat, at half the speed of the bass. Commentators have given different interpretations of what the motif might symbolise: for Schweitzer (1905) it was "the bonds of death" (Todesbanden) and for Hermann Keller "the rolling away of the stone". Below is the German version of the Christmas hymn Dies est latitiae with the English translation by Charles Sanford Terry. The rich and complex harmonic structure is partly created by dissonances arising from suspensions and occasional chromaticisms in the densely scored accompanying voices: the motifs are skillfully developed but with restraint. The chorale prelude is in four parts for single manual and pedals. 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. Bach: Motet BWV 227 'Jesu, meine Freude'Vocalconsort Berlin o.l.v. Below is the first verse of the traditional Latin carol Puer natus in Bethlehem with the English translation of Hamilton Montgomerie MacGill. From the album "J.S. 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. In 1707 Bach became organist at St. Blasius' Church in Mühlhausen, before his second appointment at the court in Weimar in 1708 as concertmaster and organist, where he remained until 1717. The plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. Seb. The expressive mood is heightened by the fleeting modulations between minor and major keys; and by the dissonances between the melody and the chromatic inner parts and pedal. The pivotal notes CCCDEF in this motif are also derived from the theme. It is less predictable and regular than other settings of the same hymn by Bach or predecessors like Buxtehude, only the second and third lines having any regularity. Created / Published 1938. More than a simple accompaniment, the push the harmonies forward, revealing it unexpectedly at every turn. Amedeo de Filippi, string quartet/orchestra. 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. "O Mensch" is one of the most celebrated of Bach's chorale preludes. Join Napster and play your favorite music offline. Call for new members of a Nazi theater group. Vom Album „J. S. Bach : 6 Triosonatas & 16 Chorales for Piano and Double Bass“ von Claudio Colombo auf Napster Fuga, BWV 705 8. Above and below it the scale figures in the three accompanying parts are heard meandering in parallel and sometimes contrary motion. Spitta (1899) also preferred to view Bach's chorale prelude as representing the complete text of the hymn instead of individual words, distinguishing it from Buxtehude's earlier precedent. They are in four parts, with three accompanying voices. Below is the traditional Easter carol Surrexit Christus hodie in German and English translations. As the piece progresses the motifs become more concentrated, with the alto taking up some of the tenor motifs towards the close. Williams (2003) points out, however, that if there is any intentional numerology, it might be in the occurrences of the strict form of the motif, with tone and semitone intervals matching the first entry: it occurs precisely ten times in the chorale prelude (b1 – bass; b1 – tenor; b2 – bass; b4 – bass; b9 – tenor; b10 – bass; b11 – tenor; b13 – tenor; b15 – alto; b18 – tenor).[52][53]. Composed by Johann Sebastian Bach, Capellmeister to his Serene Highness the Prince of Anhalt-Cöthen. Despite starting starkly with two repeated crotchets—unaccompanied and unembellished—in the cantus, BWV 614 is an ornamental chorale prelude: the highly expressive melodic line, although restrained, includes elaborate ornamentation, coloratura melismas (reminiscent of Bach's Arnstadt chorale preludes) and "sighing" falling notes, which at the close completely subsume the melody as they rise and fall in the final cadence. 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.". The chromaticism creates ambiguities of key throughout the chorale prelude. The first two verses of the hymn text were first published in Clemens Stephani's Nuremberg hymnbook of 1568; the entire six verses of the text appeared in Johann Steuerlein's Erfurt hymnbook of 1588. Schweitzer (1905) describes its use by Bach as a motif of "beatific peace", commenting that "the melody of the hymn that speaks of the inevitability of death is thus enveloped in a motif that is lit up by the coming glory." Trascritti dall' organo per orchestra, Universal Edition, 1925. 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. A close variant of BWV 639 is catalogued as BWV Anh. The chorale prelude BWV 605 is written for two manuals and pedal with the cantus firmus in the soprano part. Choraele fürs P.f. Play on Napster. Bach. Below is the first verse and refrain of the third verse of Christe, du Lamm Gottes, a German version of the Agnus Dei, with the English translation of Charles Sanford Terry. 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. Below is the first verse of this hymn of Johann Lindemann with the English translation by Catherine Winkworth. The cantus firmus in the soprano voice of this chorale prelude is a slight variant of the treble part of a four-part Johann Sebastian Bach: drei Orgelchoralvorspiele, für Klavier gearbeitet. 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. of a wonderfully true aesthetic feeling" [in Bach], since "that enforced quietude of direst anguish was no real calm." The accompaniment in each lower voice is constructed from its own separate motifs, each having its own characteristic rhythm. [16][17][18][19]. The Orgelbüchlein was originally passed from teacher to student and was not published in its entirety until Felix Mendelssohn edited an edition. The two forms of the motif and their inversions pass from one lower voice to another, producing a continuous stream of semiquavers; semiquavers in one voice are accompanied by quavers in the other two. 16 Chorales for Piano and Double Bass : Ich ruf' zu dir, Herr Jesu Christ, BWV 639 Claudio Colombo. The text addresses Jesus as joy and support, versus enemies and the vanity of existence. Select Your Cookie Preferences. Below is the first verse of Martin Luther's version of the Nunc dimittis, Mit Fried und Freud ich fahr dahin, with the English translation of Catherine Winkworth. Join Napster and play your favorite music offline. Der Ruf geht an Dich: werde Mitglied des Theaterringes der N.S. For Williams (2003) the syncopated bass line is a "masterful" way of evoking the dragging of the cross. The poetry is bar form, with irregular lines from 5 to 8 syllables. The chorale prelude BWV 609 is scored for single manual and pedal with the cantus firmus unembellished in the soprano voice. There are no breaks between the lines of the cantus for, The notes ending verse lines in the cantus are marked by, BWV 600, 608, 618, 619, 620, 624, 629 and 633/634 where the soprano cantus is in. Anzahl aus Sebastian Bach's Kompositionen, zur ersten Bekanntschaft mit dem Meister am Pianoforte, Challier, 1844. 2" by Alexander Koschel on Napster 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]. Below is the text of the three verses of the Easter hymn Christ ist erstanden with the English translation of Myles Coverdale. 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]. Each setting takes an existing Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Both have similar rhythmic structures in the parts, but one is in a minor key with complex chromatic harmonies, the other in a major key with firmly diatonic harmonies.[60][61]. Join Napster and play your favorite music offline. Listen to Jesu meine Freude, LV 49 by Alexander Koschel. 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. 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. They indicate that already at the age of 15 Bach was an accomplished organist, playing some of the most demanding repertoire of the period. Free sheet music from the Cantorion database matching: 'bach-busoni ich ruf zu dir free score partition' Below are the first two verses of Michael Weisse's advent hymn with the English translation of John Gambold. Apart from BWV 606, Bach composed a harmonisation of the hymn in BWV 294 and set it as a chorale prelude, BWV 719 in the Neumeister Collection. The original hymn melody is in the aeolian mode of A (the natural form of A minor) modulating to E major in the final cadence. The plain cantus firmus is in the soprano part. This type of writing—in this case with hidden and understated imitation between the voices, almost in canon, conveying a mood of intimacy—was a new feature introduced by Bach in his Orgelbüchlein. The highly ornate ornamentation is rare amongst Bach's chorale preludes, the only comparable example being BWV 662 from the Great Eighteen. The two pages of "In dulci jubilo" in the autograph manuscript, harvtxt error: no target: CITEREFJacques_Chailley1974 (, harvtxt error: no target: CITEREFSpitta1999 (, harvnb error: no target: CITEREFOrgelbüchlein_Project (, harvnb error: no target: CITEREFStinson2003 (, harvnb error: no target: CITEREFBenitez (, harvnb error: no target: CITEREFTerry1920 (, harvnb error: no target: CITEREFRichards_&_Yearsley2008 (, harvnb error: no target: CITEREFStinto1999 (, Jesus Christus, unser Heiland, der den Tod überwand, List of compositions by Johann Sebastian Bach, Ich ruf zu dir, Herr Jesu Christ, BWV 177, "Inventing a Melody with Harmony: Tonal Potential and Bach's "Das alte Jahr vergangen ist, "Of Time and Eternity: Reflections on "Das alte Jahr vergangen ist, "Review of The Creative Development of Johann Sebastian Bach, i: 1695–1717. The accompanying motif is shared between the two inner voices on the second manual which together provide a continuous stream of semiquavers with two hemidemiquavers on the second semiquaver of each group.