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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Organ solo11 other versions | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 24 Sep 2016 Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. As a craftsman obliged to fulfil the terms of his employment, Bach provided music suited to his various appointments. It was natural that his earlier work as an organist and something of an expert on the construction of organs, should result in music for that instrument. At Cöthen, where the Pietist leanings of the court made church music unnecessary, he provided a quantity of instrumental music for the court orchestra and its players. In Leipzig he began by composing series of cantatas for the church year, later turning his attention to instrumental music for the Collegium musicum of the University, and to the collection and ordering of his own compositions. The so-called Kirnberger Collection (BWV 690-713), a title now generally ignored in recent editions, is a collection of music by Bach copied by or for his pupil Johann Philipp Kirnberger. The latter was born in Saalfeld in 1721 and educated in Coburg and Cotha, before, in 1739, travelling to Leipzig for lessons in composition and performance with Bach. After a period spent in Poland, he returned to Dresden, moving then to Berlin as a violinist in the Prussian royal service. In 1754 he entered the service of Prince Heinrich of Prussia and four years later that of Princess Anna Amalia, remaining in this last position until his death in Berlin in 1783. Kirnberger had the highest regard for Bach, and did his utmost to bring about the posthumous publication of the latter's four-part chorale settings. This short piece, "Nun komm der Heiden Heiland" (Now come, Savior of the World), is really a mini-fugue (or fuguette) and is one of its less-obvious gems. Despite its modest scope and one-and-a-quarter minute length, this work offers quite substantial -- if not immediate -- rewards to the listener. This chorale prelude opens with barren sonorities, a single note sounding for a moment, that is then followed by other lonely, unaccompanied tones that go on to form the chorale theme. Thereafter, textures grow a bit, but the writing remains skeletal throughout. Still, Bach enriches this quiet music with subtle contrapuntal activity and inner voices alive with ideas, while the dark mood exhibits many shades of gray with many rays of hope, the whole producing a work whose expressive manner encompasses a range broader than the ear first realizes. Source: Allmusic (http://www.allmusic.com/composition/nun-komm-der-heide n-heiland-vi-chora...). I created this Transcription of the Fughetta (BWV 699) "Nun komm der Heiden Heiland" (Now come, Savior of the World) for Pipe Organ. Sheet central : | Chorals et préludes « Kirnberger » (57 sheet music) | | |||
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