 | Bach, Johann Sebastian - Fughetta: "Kyrie, Gott Vater" for Oboe & Strings BWV 672 Hautbois, Violon, Alto, Violoncelle |
VoirPDF : Fughetta: "Kyrie, Gott Vater" (BWV 672) for Oboe & Strings (3 pages - 119.09 Ko)252x⬇ MP3 : Fughetta: "Kyrie, Gott Vater" (BWV 672) for Oboe & Strings 30x⬇ 337x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Hautbois, Violon, Alto, Violoncelle2 autres versions | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 18 Nov 2016 The Clavier-Übung III, sometimes referred to as the German Organ Mass, is a collection of compositions for organ by Johann Sebastian Bach, started in 1735–36 and published in 1739. It is considered Bach's most significant and extensive work for organ, containing some of his musically most complex and technically most demanding compositions for that instrument. In its use of modal forms, motet-style and canons, it looks back to the religious music of masters of the stile antico, such as Frescobaldi, Palestrina, Lotti and Caldara. At the same time, Bach was forward-looking, incorporating and distilling modern baroque musical forms, such as the French-style chorale. The work has the form of an Organ Mass: between its opening and closing movements—the prelude and "St Anne" fugue in E-flat, BWV 552—are 21 chorale preludes, BWV 669–689, setting parts of the Lutheran mass and catechisms, followed by four duets, BWV 802–805. The chorale preludes range from compositions for single keyboard to a six-part fugal prelude with two parts in the pedal. The purpose of the collection was fourfold: an idealized organ programme, taking as its starting point the organ recitals given by Bach himself in Leipzig; a practical translation of Lutheran doctrine into musical terms for devotional use in the church or the home; a compendium of organ music in all possible styles and idioms, both ancient and modern, and properly internationalised; and as a didactic work presenting examples of all possible forms of contrapuntal composition, going far beyond previous treatises on musical theory. BWV 672 is a fughetta for four voices, 32 bars long. Although the movement starts in G major, the predominant tonal centre is A minor. The subject in dotted minims (G-A-B) and the quaver countersubject are derived from the first line of the cantus firmus, which also provides material for several cadences and a later descending quaver figure (bar 8 below). Some of the sequential writing resembles that of the B-flat major fugue BWV 890/2 in the second book of the Well-Tempered Clavier. Smoothness and melifluousness result from what Williams (2003) has called the "liquefying effect" of the simple time signature of 3/4; from the use of parallel thirds in the doubling of subject and countersubject; from the clear tonalities of the four-part writing, progressing from G major to A minor, D minor, A minor and at the close E major; and from the softening effect of the occasional chromaticism, no longer dramatic as in the conclusion of the previous chorale prelude BWV 671. Source: Wikipedia (https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III). Although originally created for Organ, I created this Interpretation of the Fughetta (BWV 672) "Kyrie, Gott Vater" (Kyrie, O God, Eternal Father) for Oboe & String Trio (Violin, Viola & Cello). Partition centrale : | Chorale Préludes (47 partitions) | | |||
