Bach, Johann Sebastian - Prelude: "Kyrie, Gott heiliger Geist" for Woodwind Quintet BWV 671 Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson |
Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
Instrumentation : | Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson1 autre version | ||||
Genre : | Baroque | ||||
Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
Droit d'auteur : | Public Domain | ||||
Ajoutée par magataganm, 04 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. BWV 671 is a chorale motet for organum plenum and pedal. The bass cantus firmus is in semibreves in the pedal with four parts above in the keyboard: tenor, alto and, exceptionally, two soprano parts, creating a unique texture. The subject of the four part fugue in the manuals is derived from the first two lines of the cantus firmus and is answered by its inversion, typical of the stile antico. The quaver motifs in ascending and descending sequences, starting with dactyl figures and becoming increasingly continuous, swirling and scalelike, are a departure from the previous chorale preludes. Among the stile antico features are movement in steps and syncopation. Any tendency for the modal key to become diatonic is counteracted by the chromaticism of the final section where the flowing quavers come to a sudden end. Over the final line of the cantus firmus, the crotchet figures drop successively by semitones with dramatic and unexpected dissonances, recalling a similar but less extended passage at the end of the five part chorale prelude O lux beata of Matthias Weckmann. As Williams (2003) suggests, the twelve descending chromatic steps seem like supplications, repeated cries of eleison—"have mercy". Source: Wikipedia (https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III). I created this transcription of the Chorale Motet (BWV 671) "Kyrie, Gott heiliger Geist" (Kyrie, O God the Holy Ghost) for Woodwind Quintet (Flute, Oboe, Bb Clarinet, French Horn & Bassoon). Partition centrale : | Chorale Préludes (45 partitions) | |
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