There are many to choose from, depending on the level and ability of the ensemble. The twisting inner parts have been interpreted as illustrating the words verderbt ("ruined") by Hermann Keller and Schlang ("serpent") by Jacques Chailley. They indicate that already at the age of 15 Bach was an accomplished organist, playing some of the most demanding repertoire of the period. Both verses concern Christ's coming on earth. [5] Bach previously set it as a chorale prelude in the Kirnberger Collection (BWV 705) and Neumeister Collection (BWV 1101); the seventh verse also recurs in the closing chorales of cantatas BWV 18 and BWV 109. 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. 371 Four-Part Chorales Volume I for Organ or Piano: Nos. In turn Bach's slight alteration of the melody in bars 1 and 3 might have been dictated by his choice of motif. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. The same type of bass line was used much later by Bach in the chorale prelude Wir glauben all an einen Gott”, BWV 664 in Clavier-Übung III. Les meilleures offres pour ohann Sebastian Bach - Bach: A Book of Chorale Settings, 5 - [CD] sont sur eBay Comparez les prix et les spécificités des produits neufs et … The accompaniment—striding quavers in the pedal like an ostinato bass and dance-like semiquavers in the inner parts—s formed from two short motifs. Marked Largo, the cantus and accompanying voices in the two inner parts and pedal are written at an unusually low pitch, creating a sombre effect. EMBED. Many commentators have interpreted the compositional form and motifs of BWV 621 in terms of the themes of the Passiontide hymn, primarily concerned with the crucifixion. Find album reviews, stream songs, credits and award information for Bach Edition: Chorales - Chamber Choir of Europe, Nicol Matt on AllMusic. As was Bach's custom, it was notated in the autograph manuscript at the pitch at which it should sound, although this fell outside the range of baroque pedalboards. 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. Bach's ingenious writing is constantly varying. Buy 371 Harmonized Chorales: Piano Solo 2., Erw. Social. Bach: Chorale Preludes, R.D. Renwick (2006) takes a different approach, suggesting that Bach's choice of tonal structure leads the listener to expect the E's that end the chorale prelude to be answered by A's, the notes that start it. Below is the German text of the 1568 Lutheran hymn by the Bohemian theologian Christoph Fischer, with the English translation of Benjamin Hall Kennedy. Dissonances in the pedal in bars 3 and 5, however, could also be signs of Bach's more mature style. Below are the first two verses of Johann Frank's hymn Jesu, meine Freude with the English translation by Catherine Winkworth. Published by Carl Fischer. The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal. Although there are a few important departures, the chorale preludes of the Orgelbüchlein were composed with a number of common stylistic features, which characterise and distinguish the so-called "Orgelbüchlein style:"[9]. In my opinion the title of all of the books on this subject should be "Chorales Harmonized by Bach." Dem Höchsten Gott allein' zu Ehren, Dem, Title page of autograph of the Orgelbüchlein, The title page of the autograph score reads in English translation:[2], Little Organ Book In which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal, since in the chorales contained herein the pedal is treated entirely obbligato. 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. Amazon Price New from Used from Audio CD, 21 Feb. 2000 "Please retry" £52.99 . One of the earliest known sources for the version of the hymn used by Bach is Gottfried Vopelius's Leipzig hymnbook of 1682. Aria nach dem Choralvorspiel für Streichorchester bearbeitet, Arrangements of several of the chorale preludes for the, Adaptations, Ser. J S Bach Chorale Partitas, BWV 766-768 & 770 Stephen Farr, organ Resonus Classics RES10120. It is hoped that this user-friendly edition will inspire students and congregations alike to take a fresh look at this priceless musical treasure. Schweitzer (1905) described the anapaest as a "joy" motif; to Hermann Keller it symbolised "constancy". Boston University Libraries. Some have also seen the suspensions between bars as representing "the bonds of death". J.S. The two inner voices and pedal follow the usual Orgelbüchlein pattern, providing a harmonious accompaniment, with gently rocking quavers in the inner voices and a repeated motif in the pedal, rising first and then descending in crotchet steps. Chorale-Song Collections, Student Work Discussions: Chorale-Song Collections, BWV 439-524, Student Work: William Hoffman wrote (October 14, 2018): The heart of Bach's calling for a "well-regulated church music to the glory of God" was the Lutheran chorale, found earliest in his organ chorale preludes (c.1700-1710) that preceded the singing of chorales in the various services. A close variant of BWV 639 is catalogued as BWV Anh. zu 4 Haenden eingerichtet, Dunst, undated. The author chooses 30 of Bach's 200 church cantatas that are especially likely to be performed live, and explores them in detail. 389 Chorale Settings Alt ernative. 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. J.S. 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. 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. Printed in an easy-to-read format, this edition was designed to facilitate both analysis of Bach's musical genius in voice leading and renewed performance of these works by congregations. Ausgewählte Choralvorspiele von Joh. Reviewed in the United States on January 24, 2017, This is a wonderful, complete book of chorales, Reviewed in the United States on May 27, 2016. 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. This contrasts with Bach's choral settings and the chorale preludes of Pachelbel and Walther, which follow the natural rhythm of the hymn. Luther's text was his version of the Latin hymn A solis ortus cardine, part of the fifth century abecedarius of Coelius Sedulius; it has been inserted between the two. The accompaniment in the two middle voices, often in parallel sixths, and the pedal is derived from the first four notes of the melody. 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)). 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