 | Bach, Johann Sebastian - Fugue on the Magnificat: "Meine Seele erhebet den Herren" for Oboe & Strings BWV 733 Hautbois, Quatuor à cordes |
VoirPDF : Fugue on the Magnificat: "Meine Seele erhebet den Herren" (BWV 733) for Oboe & Strings (12 pages - 260.68 Ko)72x⬇ VoirPDF : Violoncelle (76 Ko) VoirPDF : Hautbois (73.42 Ko) VoirPDF : Alto (77.66 Ko) VoirPDF : Violon (73.28 Ko) VoirPDF : Conducteur complet (160.8 Ko) MP3 : Fugue on the Magnificat: "Meine Seele erhebet den Herren" (BWV 733) for Oboe & Strings 13x⬇ 85x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Hautbois, Quatuor à cordes2 autres versions | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 26 Fév 2022 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. Bach's Orgelbüchlein (Little Organ Book) contains chorale preludes for the church year written during the composer's service at Weimar (1708 - 1717). In about 1713, Bach began assembling the Orgel-Büchlein, and his earliest entries seem to be Her Christ, der ein'ge Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ ist erstanden, BWV 627, and Heut' triumphieret Gottes Sohn, BWV 630. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. Bach's Orgelbüchlein was essentially complete by 1716. Only the fragment O Traurigkeit and the chorale prelude, Helft mir Gottes Güte preisen, BWV 613, were added later. "Complete" is used with some reservation here, because Bach originally projected 164 pieces but completed fewer than 50. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. In the early 1740s Bach assembled a number of chorale preludes, possibly with the intention of publishing them as a set. These Achtzehn Choräle (Eighteen Chorales) BWV 651 - 668 were almost certainly written before 1723 and revised later. The Fantasia super Komm, heiliger Geist, BWV 651 is an especially impressive, extended elaboration of the chorale melody, which is in the pedal. The tune is treated in a less ornate fashion in the next prelude of the set (BWV 652). The highly convoluted Von Gott will ich nicht lassen, BWV 658 also contains the chorale melody in the pedal. The six Schübler chorales (BWV 645 - 650) are derived from Bach's cantatas and contain one of his most popular chorale preludes, on the melody Wachet auf, ruft uns die Stimme, BWV 645. Fuga sopra il Magnificat: Meine Seele erhebet den Herren (My Soul Praise the Lord) was at one time believed to date from Johann Sebastian Bach's first year as organist in the Duke of Sachsen-Weimar's Court. At the time the Bach-Gesellschaft volume containing this work was compiled in 1893, the only manuscript sources known for the Magnificat Fugue dated from no earlier than 1800. These identified the work as Bach's. Toward the end of the twentieth century, previously unknown manuscripts came to light that established the paternity of the piece for Bach's student, Johann Ludwig Krebs. While the Magnificat Fugue is certainly a worthwhile and even strong composition, it is not consistently compelling. It suffers in comparison to such genuine Johann Sebastian Bach works as the Prelude and Fugue (BWV 532), but is still a fine composition. In its latter half, for example, Krebs' writing is brilliant and quite as masterful as that in many of Bach's greatest works for organ. Krebs presents the stately chorale theme in a somewhat dry fashion in the opening, but afterwards his subtle contrapuntal voicing enlivens the music, drawing in the listener. When he finally makes use of the pedal just past the midpoint of the work, the music suddenly takes on an epic air, a greater sense of religious grandeur. Throughout the piece, Krebs subtly employs a motif, as well as its inversion, which it derives from the work's countermelody, in the end demonstrating his mastery in development and contrapuntal writing. Lasting about four to four-and-a-half minutes, this work, despite the flaws noted, may still attract many listeners, even though it is no longer recognized as a work of Bach. Source: Allmusic (http://www.allmusic.com/composition/fugue-on-the-magni ficat-meine-seele-erhebet-den-herren-for-organ-formerly -bwv-733-mc0002624830). Although originally written for Pipe Organ, I created this Interpretation of the Fugue on the Magnificat (BWV 733) "Meine Seele erhebet den Herren" (My Soul Praise the Lord) for Oboe & Strings (Violin, Viola & Cello). Partition centrale : | Autres chorals et préludes (91 partitions) | | |||
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