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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Wind Quartet: Flute, Oboe, Clarinet, Bassoon1 other version | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 10 Oct 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. The chorale prelude is a four-part fugue in the Dorian mode of D based on the first line of the Luther's hymn. It is written in the Italian style, apparent both in the instrumental trio-sonata style and in the ingenious use of the full range of Italianate semiquaver motifs. The five notes in the original hymn for the opening melisma on Wir are expanded in the first two bars and the remaining notes are used for the countersubject. There is exceptionally no cantus firmus, probably because of the exceptional length of the hymn. Features of the remainder of the hymn, however, suffuse the writing, in particular the scale-like passages and the melodic leaps. The fugue subject is adapted to the pedal as a vigorous striding bass with alternate footwork; its quasi-ostinato character has been consistently interpreted as representing a "firm faith in God": a striding bass line was often used by Bach for Credo movements, for example in the Credo and Confiteor of the Mass in B Minor. During each occurrence of the semiquaver part of the subject in the pedal, the music modulates into a different key while the three upper parts play in invertible counterpoint, so that the three different melodic lines can be freely interchanged between the three voices. These highly original transitional passages punctuate the work and give a coherence to the whole movement. Although the added G sharp makes it difficult to recognize the chorale melody, it can be heard more clearly later on, singing out in the tenor part. In the final manualiter episode the ostinato pedal figures are taken up briefly by the tenor part before the movement draws to a close over a final extended restatement of the fugue subject in the pedal. 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 680) "Wir glauben all' an einen Gott" (We all believe in one God) for Woodwind Quartet (Flute, Oboe, English Horn & Bassoon). Sheet central : | Chorale Préludes (46 sheet music) | | |||
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