 | Bach, Johann Sebastian - Prelude: "Christ unser Herr zum Jordan kam" for Double-Reed Trio BWV 684 2 Hautbois et Basson |
VoirPDF : Prelude: "Christ unser Herr zum Jordan kam" (BWV 684) for Double-Reed Trio (5 pages - 183.92 Ko)183x⬇ MP3 : Prelude: "Christ unser Herr zum Jordan kam" (BWV 684) for Double-Reed Trio 30x⬇ 316x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | 2 Hautbois et Basson | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 25 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. The chorale prelude Christ unser Herr zum Jordan kam BWV 684 has a trio sonata like ritornello in C minor in the three parts of the manuals. (Note that I have replaced the the cantus firmus in the tenor register of the pedal). Bach specifically stipulates two keyboards to give different sonorities to the imitative upper parts and the bass part. The undulating semiquavers in the bass, usually interpreted as representing the flowing waters of the Jordan, imitate a violine continuo, according to the model of Kauffmann's Harmonische Seelenlust. The musical content of the ritornello contains explicit allusions to the melody of the chorale, sometimes hidden in the semiquaver passage work and motifs. 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 684) "Christ unser Herr zum Jordan kam" (Christ our Lord to the Jordan came) for Double-Reed Trio (2 Oboes & Bassoon). Partition centrale : | Chorale Préludes (46 partitions) | | |||
