 | Bach, Johann Sebastian - Prelude: "Vater unser im Himmelreich" for Flute & Strings BWV 682 Flute, Violin, Alto et Violoncelle |
VoirPDF : Prelude: "Vater unser im Himmelreich" (BWV 682) for Flute & Strings (10 pages - 219.44 Ko)225x⬇ MP3 : Prelude: "Vater unser im Himmelreich" (BWV 682) for Flute & Strings 63x⬇ 492x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Flute, Violin, Alto et Violoncelle1 autre version | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 09 Sep 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. Vater unser im Himmelreich BWV 682 in E minor has long been considered the most complex of Bach's chorale preludes, difficult at the levels of both understanding and performance. Through a ritornello trio sonata in the modern French galante style, the German chorale of the first verse is heard in canon at the octave, almost subliminally, played in each hand together with the obligato instrumental solo. Bach had already mastered such a compound form in the choral fantasia opening his cantata Jesu, der du meine Seele, BWV 78. The canon could be a reference to the Law, the adherence to which Luther saw as one of the purposes of prayer. Source: Wikipedia (https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III). Although originally created for Organ, I created this Interpretation of the Chorale Prelude (BWV 682) "Vater unser im Himmelreich" (Our Father who art in heaven) for Flute & String Trio (Violin, Viola & Cello). Partition centrale : | Chorale Préludes (47 partitions) | | |||
