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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Oboe, Violin, Viola, Cello2 other versions | ||||
| Style : | Baroque | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 05 Jun 2022 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. This smaller manualiter setting of Aus tiefer Noth schrei' ich zu dir is a four-part chorale motet in the key of F sharp minor, with the augmented cantus firmus in the phrygian mode of E in the uppermost soprano part. The strict contrapuntal writing is denser than that of BWV 686, although it adheres less to the stile antico and has a more uniform texture. Commentators have suggested that the continual responses to the fugue subjects by their inversion signify confession followed by forgiveness. Williams (2003) has pointed out the following musical features in the seven sections of BWV 687: (1) in each section, the fugue subject in quavers is derived from elements of the corresponding cantus firmus; it is answered by inversions of the subject in stretto. (2) In each section, there are five bars with alto, tenor and bass in counterpoint, followed by eight bars of the soprano cantus firmus in minims and ending with a one bar cadence. (3) As each cantus firmus episode progresses, the accompanying lower parts move in a more animated way. 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 687) "Aus tiefer Not schrei ich zu dir" (Out of the depths I cry to Thee) for Oboe & String Trio (Violin, Viola & Cello). Sheet central : | Chorale Préludes (47 sheet music) | | |||
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