 | Bach, Johann Sebastian - Prelude: "Nun komm der Heiden Heiland" for Oboe & Strings BWV 659 Hautbois, Violon, Alto, Violoncelle |
VoirPDF : Prelude: "Nun komm der Heiden Heiland" (BWV 659) for Oboe & Strings (4 pages - 126.9 Ko)494x⬇ MP3 : Prelude: "Nun komm der Heiden Heiland" (BWV 659) for Oboe & Strings 44x⬇ 402x
| 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, 21 Aoû 2016 The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales and the third book of the Clavier-Übung, they represent the summit of Bach's sacred music for solo organ. Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and Konzertmeister (director of music) in Weimar, at the court of Wilhelm Ernst, Duke of Saxe-Weimar. As a result of encouragement from the Duke, a devout Lutheran and music lover, Bach developed secular and liturgical organ works of all forms, in what was to be his most productive period for organ composition. As his son Carl Philipp Emanuel Bach mentions in his obituary or nekrolog: "His grace's delight in his playing fired him to attempt everything possible in the art of how to treat the organ. Here he also wrote most of his organ works." During Bach's time at Weimar, the chapel organ there was extensively improved and enlarged; occupying a loft at the east end of the chapel just below the roof, it had two manual keyboards, a pedalboard and about a dozen stops, including at Bach's request a row of tuned bells. It is probable that the longer chorale preludes composed then served some ceremonial function during the services in the court chapel, such as accompanying communion. When Bach moved to his later positions as Kapellmeister in Köthen in 1717 and cantor at the Thomaskirche in Leipzig in 1723, his obligations did not specifically include compositions for the organ. The autograph manuscript of the Great Eighteen, currently preserved as P 271 in the Berlin State Library, documents that Bach began to prepare the collection around 1740, after having completed Part III of the Clavier-Übung in 1739. The manuscript is made up of three parts: the six trio sonatas for organ BWV 525–530 (1727–1732); the Canonic Variations on "Vom Himmel hoch da komm' ich her" BWV 769 added at the same time as the chorale preludes (1739–1750); and an early version of Nun komm' der heiden Heiland (1714–1717), appended after Bach's death. The first thirteen chorale preludes BWV 651–663 were added by Bach himself between 1739 and 1742, supplemented by BWV 664 and 665 in 1746–7. In 1750 when Bach began to suffer from blindness before his death in July, BWV 666 and 667 were dictated to his student and son-in-law Johann Christoph Altnikol and copied posthumously into the manuscript. Only the first page of the last choral prelude BWV 668, the so-called "deathbed chorale", has survived, recorded by an unknown copyist. The piece was posthumously published in 1751 as an appendix to the Art of the Fugue, with the title "Wenn wir in höchsten Nöthen sein" (BWV 668a), instead of the original title "Vor deinen Thron tret ich hiermit" ("Before your throne I now appear"). Nun komm der Heiden Heiland first appeared in 1524. It is one of the shorter chorales, having four brief phrases of nearly identical length (each is two bars long, and each has eight notes, except the third, which has nine). In BWV 659, Bach sets this framework in G minor and expands it considerably -- the prelude lasts thirty-four bars, and the phrases are five, six, six, and seven bars long, respectively. More significantly, he fills all the rhythmic spaces of the cantus firmus melody with an astounding amount of motion: the nine notes of the third phrase have by Bach's hand given birth to no fewer than 103 separately articulated notes, more still if we count the trill indication in the final bar of the phrase! This lovely filigree of the soprano voice cantus firmus is supported by two lower manual voices (counterpoint, which might, under other circumstances, itself seem highly decorated but which, compared to the soprano melody, is as plain as bread) and a steady pedal bass that moves mostly in eighth notes. Source: Wikipedia (https://en.wikipedia.org/wiki/Great_Eighteen_Chorale_P reludes#Chorale_Pr...). Although originally written for Organ, I created this Interpretation of the Chorale Prelude (BWV 659) "Nun komm' der Heiden Heiland" (Come now, Saviour of the heathen) for Oboe & String Trio (Violin, Viola & Cello). Partition centrale : | 18 préludes, chorals pour orgue (74 partitions) | | |||
