 |
Vidéo :
![]()
| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||
| Instrumentation : | Winds & String Orchestra | ||
| Style : | Baroque | ||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Publisher : | MAGATAGAN, MICHAEL | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 04 Jun 2016 Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: four-part harmony, SATB vocal forces or homophonic text treatment. The compositions by Johann Sebastian Bach that had been printed during his lifetime were nearly exclusively instrumental works. Moreover, by the time Bach died in 1750 it was forgotten that a few of his vocal works (BWV 71, BWV 439–507,...) had indeed been printed in the first half of the 18th century. In the period between the publication of The Art of Fugue in the early 1750s, and the publication of further works from 1900, only one group of Bach's works was published: his four-part chorales. The most complete 18th century publication of chorales by J. S. Bach is Carl Philipp Emanuel Bach's edition in four volumes, published by Breitkopf from 1784 to 1787. About half of the chorale harmonisations in this collection have their origin in other extant works by Bach. This collection went through four more editions and countless reprintings until 1897. Several other collections of chorales by J. S. Bach were published, some of these using the original C-clef or different texts. The loss of musical material from Bach's death to the first printings of chorale collections may have been substantial. Not only are many works the chorales were extracted from no longer extant but there is no way of knowing how much of all the harmonisations that were once compiled the current collections include. For example, there is no way of knowing how many of the 150 harmonisations first proposed for sale in 1764 also appear in Princess Anna Amalia's manuscript which ultimately forms the basis of the Breitkopf edition. As to the chorale melodies with figured bass, current collections include less than one hundred of them whereas those proposed for sale in 1764 numbered 240. The chorale harmonisations BWV 250–438 were probably all extracted from lost larger vocal works. For six of them the work they have been derived from has been identified. Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende? BWV 27. Source: Wikipedia (https://en.wikipedia.org/wiki/List_of_chorale_harmonis ations_by_Johann_S...). I created this arrangement of the 3 Wedding Chorales: "Was Gott tut, das ist wohlgetan" (What God does, that is done well), "Sei Lob und Ehr dem höchsten Gut" (Let there be praise and honour for the highest good) & "Nun danket alle Gott" (Now all thank God) for Brass Trio (Bb Trumpet, French Horn & F Tuba) & Strings (2 Violins, Viola & Cello). | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version