 | Bach, Johann Sebastian - Fughetta: "Christum wir sollen loben schon" for Brass Quartet BWV 696 Quatuor de Cuivres |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Quatuor de Cuivres2 autres versions | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 15 Oct 2016 Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. As a craftsman obliged to fulfil the terms of his employment, Bach provided music suited to his various appointments. It was natural that his earlier work as an organist and something of an expert on the construction of organs, should result in music for that instrument. At Cöthen, where the Pietist leanings of the court made church music unnecessary, he provided a quantity of instrumental music for the court orchestra and its players. In Leipzig he began by composing series of cantatas for the church year, later turning his attention to instrumental music for the Collegium musicum of the University, and to the collection and ordering of his own compositions. The so-called Kirnberger Collection (BWV 690-713), a title now generally ignored in recent editions, is a collection of music by Bach copied by or for his pupil Johann Philipp Kirnberger. The latter was born in Saalfeld in 1721 and educated in Coburg and Cotha, before, in 1739, travelling to Leipzig for lessons in composition and performance with Bach. After a period spent in Poland, he returned to Dresden, moving then to Berlin as a violinist in the Prussian royal service. In 1754 he entered the service of Prince Heinrich of Prussia and four years later that of Princess Anna Amalia, remaining in this last position until his death in Berlin in 1783. Kirnberger had the highest regard for Bach, and did his utmost to bring about the posthumous publication of the latter's four-part chorale settings. This chorale prelude was written around the same time as the identically titled one in Bach's Orgelbüchlein (The Little Organ Book). There, the piece appears as the tenth entry in the Christmas section. This BWV 696 chorale prelude is likewise based on the theme in the chorale "Christum wir sollen loben schon" (Christ, we now praise) and is a bit shorter than its two-minute counterpart in the Orgelbüchlein. The title of both works refers to the Christ child and can also be translated as Christ, we already praise. BWV 696 is a slow piece whose fugal writing and diminutive size prompt a classification as a fugetta. It is not technically challenging to the organist; neither is its appeal immediate to the listener. Yet the work is ultimately rewarding, owing to Bach's sense for atmosphere and subtle development. The chorale theme is initially treated solemnly, but as it emerges from the barren writing of the opening it takes on greater color and warmth, its textures thicken, and its contrapuntal activity infuses the piece with a good measure of expressive depth. Still, this work is not a major effort by Bach, though it must be assessed as at least a minor gem. Source: Allmusic (http://www.allmusic.com/composition/christum-wir-solle n-loben-schon-chorale-prelude-for-organ-bwv-696-bc-k142 -mc0002356480). Although originally written for Pipe Organ, I created this Interpretation of the Fughetta (BWV 696) "Christum wir sollen loben schon" (We should already be praising Christ) for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & F Tuba). Partition centrale : | Chorals et préludes « Kirnberger » (58 partitions) | | |||
