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Vidéo :
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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | String Quartet3 other versions | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 18 Oct 2016 As organist at Weimar, Johann Sebastian Bach was charged with providing a harmonic underpinning for the singing of Lutheran chorale tunes chosen for each day. Bach wrote out many of these harmonizations, in part as instruction for younger composers (they are still used for this purpose). A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from 1713 -1714, about the time he became familiar with Vivaldi's concertos. Bach's Orgelbüchlein (Little Organ Book) contains chorale preludes for the church year written during the composer's service at Weimar (1708 - 1717). In about 1713, Bach began assembling the Orgel-Büchlein, and his earliest entries seem to be Her Christ, der ein'ge Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ ist erstanden, BWV 627, and Heut' triumphieret Gottes Sohn, BWV 630. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. Bach's Orgelbüchlein was essentially complete by 1716. Only the fragment O Traurigkeit and the chorale prelude, Helft mir Gottes Güte preisen, BWV 613, were added later. "Complete" is used with some reservation here, because Bach originally projected 164 pieces but completed fewer than 50. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. In the early 1740s Bach assembled a number of chorale preludes, possibly with the intention of publishing them as a set. These Achtzehn Choräle (Eighteen Chorales) BWV 651 - 668 were almost certainly written before 1723 and revised later. The Fantasia super Komm, heiliger Geist, BWV 651 is an especially impressive, extended elaboration of the chorale melody, which is in the pedal. The tune is treated in a less ornate fashion in the next prelude of the set (BWV 652). The highly convoluted Von Gott will ich nicht lassen, BWV 658 also contains the chorale melody in the pedal. The six Schübler chorales (BWV 645 - 650) are derived from Bach's cantatas and contain one of his most popular chorale preludes, on the melody Wachet auf, ruft uns die Stimme, BWV 645. The third part of Bach's Clavier-Übung, published in Leipzig in 1739, contains 21 chorale preludes (not all appear in every publication), many of which are for manuals only. Nine of these are meant for use during the Mass, while the others are for the catechism. Among the most impressive is Kyrie, Gott heiliger Geist, BWV 671, which is in five voices with the chorale melody in the pedal. More complex is the first of two preludes on Aus tiefer Not schrei ich zu dir, BWV 686, which is in six parts, including two pedal parts. This work is based on the chorale tune "Ach Gott vom Himmel sieh darein" (Oh God of heaven look upon us). Of course, Bach did not merely do take-offs on the source themes in his chorale preludes and chorale fantasias, for he also attempted to capture the character suggested by the chorale's text. Here, the mood is rather somber throughout in its rather stately and grandiose treatment of the theme. But Bach imparts a celestial sense to the music as well, wringing from its chord-drenched textures, bass-laden sonorities, and often austere-sounding tones a reverence and religious sense whose fervor achieves an almost trance-like bliss. The work opens with the chorale theme mostly played in solemn chords that invoke a mood of contemplation, the music slowly moving along in an almost march-like manner. The mood brightens somewhat around midway through, as sonorities rise higher on the keyboard, but the sense of deep reverence and religious meditation remain. As the music proceeds, it develops a greater sense of ecstasy, Bach's contrapuntal writing deftly underscoring the rapturous atmosphere. This chorale prelude gloriously ends with a series of powerful, sustained chords that grandly ring out. Source: Allmusic (http://www.allmusic.com/composition/wir-glauben-all-an -einen-gott-iv-chorale-prelude-for-organ-by-j-l-krebs-n ot-jsb-bwv-740-mc0002379185). Although originally written for Pipe Organ, I created this Interpretation of the Chorale Prelude (BWV 741) "Ach Gott vom Himmel sieh darein" (Oh God of heaven look upon us) for String Quintet (2 Violins, Viola, Cello & Bass). Sheet central : | Autres chorals et préludes (91 sheet music) | | |||
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