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 ...(+)
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 manualiter fughetta in E minor is both the shortest
movement in Clavier-Übung III and the exact midpoint
of the collection. The subject paraphrases the first
line of the chorale; the two-bar passage later in the
movement leading to two dramatic diminished seventh
chords is constructed over the second chorale line.
Although not strictly a French ouverture, the movement
does incorporate elements of that style, in particular
the dotted rhythms. Here Bach follows his custom of
beginning the second half of a major collection with a
French-style movement (as in the other three
Clavier-Übung volumes and in both volumes of Das
Wohl-Temperierte Clavier). It also complements the
preceding chorale prelude by following an Italian style
with a contrasting French one. Although still evidently
written for organ, in style it most resembles the Gigue
for harpsichord from the first French Suite in D.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III).
I created this Transcription of the Manualiter Fughetta
(BWV 681) "Wir glauben all' an einen Gott" (We all
believe in one God) for Pipe Organ.
PARTITION