 | Bach, Johann Sebastian - Fughetta: "Christe, aller Welt Trost" for Double-Reed Quartet BWV 673 Double-Reed Quartet |
VoirPDF : Fughetta: "Christe, aller Welt Trost" (BWV 673) for Double-Reed Quartet (2 pages - 81.12 Ko)189x⬇ MP3 : Fughetta: "Christe, aller Welt Trost" (BWV 673) for Double-Reed Quartet 41x⬇ 320x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Double-Reed Quartet | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 21 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 673 is a fughetta for four voices, 30 bars long, in compound 6/8 time. It has been described by Williams (2003) as "a movement of immense subtlety". The subject, three and a half bars long, is derived from the first line of the cantus firmus. The semiquaver scale motif in bar 4 is also related and is much developed throughout the piece. The countersubject, which is taken from the subject itself, uses the same syncopated leaping motif as the earlier Jesus Christus unser Heiland BWV 626 from the Orgelbüchlein, similar to gigue-like figures used earlier by Buxtehude in his chorale prelude Auf meinen lieben Gott BuxWV 179; it has been interpreted as symbolising the triumph of the risen Christ over death. In contrast to the preceding fughetta, the writing in BWV 673 has a playful lilting quality, but again it is modal, unconventional, inventive and non-formulaic, even if governed throughout by aspects of the cantus firmus. The fughetta starts in the key of C major, modulating to D minor, then moving to A minor before the final cadence. Fluidity comes from the many passages with parallel thirds and sixths. Original features of the contrapuntal writing include the variety of entries of the subject (all notes of the scale except G), which occur in stretto and in canon. Source: Wikipedia (https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III). Although originally created for Organ, I created this Interpretation of the Fughetta (BWV 673) "Christe, aller Welt Trost" (Christ, Comfort of all the world) for Double-Reed Quartet (Oboe, English Horn, Bass Oboe & Bassoon). Partition centrale : | Chorale Préludes (46 partitions) | | |||
