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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Organ solo2 other versions | ||||
| Style : | Baroque | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 18 Nov 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. In all his chorale arrangements, Bach took inspiration for the style and atmosphere from the words of the hymn on which his composition was based. But the main role in his chorale partitas seems to be given to pure pleasure in playing and inventiveness. For his variations on ‘Sei gegrüsset, Jesu gütig’, he literally pulls out all the stops. For over twenty minutes, he explores the harmonic, rhythmic and stylistic possibilities of the melody forming the base of the piece. The art of variation was already considered old-fashioned in Bach’s day. But Georg Böhm, the organ virtuoso with whom the fifteen-year-old Bach became acquainted during his schooldays in Lüneburg, was a master of variation. Through Böhm, Bach also came into contact with Reincken, and through him with Buxtehude, who were both composers with a flair for the art of variation. There was much that Bach could learn from these masters, but the challenge of variation must have held particular appeal for the young composer. It was not just conceiving of the most varied and sophisticated series possible, but also the virtuoso interpretation of that series that provided the opportunity of rivalling his idols. The chorale partita (BWV 766-770) is a special form of chorale arrangement, as the chorale (or hymn) serves as the starting point for a series of variations. The art of variation was at its peak in the seventeenth century. Usually, a folk song was taken as the starting point for a series of variations that increased in difficulty and speed. The genre was not restricted to keyboard instruments. The blind Dutch recorder and carillon player Jacob van Eyck was also a master in the art, for example. The five compositions by Bach bearing the name of chorale partita do not come from a single source, nor are they dated, but it is supposed that they originated in his teens and may have been revised later on. This setting of "Christ, der du bist der helle Tag" (Christ, You Are the Bright Day) is a quite early Bach work, likely dating to the composer's years in Lüneberg. While it may not contain the subtlety and craftsmanship of many later keyboard efforts by Bach, it is nevertheless a worthwhile piece. It has become fairly popular and highly regarded, too, standing above his other subsequent keyboard setting of this chorale, the Chorale Prelude "Neumeister" (BWV 1120). This earlier version is a quite substantial work, both in length -- lasting around nine or ten minutes -- and in scope as it is a fairly elaborate set of variations successfully modeled on the form as espoused by Pachelbel, Scheidt, and Böhm. The work begins with the stately chorale tune slowly and grandly presented in fairly simple harmonies. The ensuing first variation comes in two parts, bringing with it a much livelier, busier atmosphere. The variations that follow feature a fairly sophisticated level of contrapuntal writing, with the main line often in the upper ranges. There is a lovely slow variation at the center of this work, as well as a majestic, triumphant one to close out the piece. Although not a major masterwork, this Chorale partita clearly exhibits the burgeoning genius of Bach. Source: AllofBach (http://allofbach.com/en/bwv/bwv-768). I created this transcription of the Chorale Partita (BWV 766) "Christ, der du bist der helle Tag" (Christ, You Are the Bright Day) for Pipe Organ. Sheet central : | Christ, der du bist der helle Tag (3 sheet music) | | |||
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