Some commentators, aware that the number "ten" of the Ten Commandments has been detected in the two chorale preludes of Clavier-Übung III, have endeavoured to find a hidden numerology in BWV 635. Williams (2003) suggests that the grieving mood might possibly reflect tragic events in Bach's life at the time of composition; indeed in 1713 his first wife gave birth to twins who died within a month of being born. In addition, as Williams (2003) notes, the outer and inner voices are naturally paired: the pedal with—or in opposition to—the cantus; and the alto voice with the tenor. The simple cantus firmus sings in crotchets (quarter notes) above an accompanying motif of three semiquavers (16th notes) followed by two quavers (eighth notes) that echoes between the two inner parts and the pedal. Below is the first verse of this New Year's hymn of Paul Eber with the English translation by John Christian Jacobi. The bass accompaniment at first is derived directly from the melody; during the pauses in the soprano part, a second motif recurs. Transcriptions from Machaut to J.S. Below are the first and fourth verses of Martin Luther's Christmas hymn Vom Himmel kam der Engel Schar with the English translation of Catherine Winkworth. The cantus firmus for this chorale prelude originates in the Gregorian chant Conditor alme siderum. This figure is also found in the organ works of Georg Böhm and Daniel Vetter from the same era. 2 Below is the German version of the Christmas hymn Dies est latitiae with the English translation by Charles Sanford Terry. We … 10 The semiquaver motifs, in constant motion upwards and downwards, create what Schweitzer (1905) called "a charming maze," symbolising angels heralding the birth of Christ. 4 A mood of ecstasy permeates this chorale prelude, a funeral hymn reflecting the theme of heavenly joy. In the chorale prelude BWV 642, the unadorned cantus firmus in 44 time is in the soprano voice. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Although there is some ambiguity in the autograph manuscript, the crossing of parts suggests that the intended scoring is for single manual and pedals. Mixed Quintet. As Anton Heiller and others have observed, the brief musical allusions to the crucifixion in the closing bars bring together themes from Christmas and Easter, a momentary reminder that Christ came into the world to suffer; in the words of Clark & Peterson (1984), "Christ's Incarnation and Passion are inseparable, and Bach tried to of a wonderfully true aesthetic feeling" [in Bach], since "that enforced quietude of direst anguish was no real calm." 6 Text Language: German. Similar items. After Orgelbüchlein, Bach returned to the hymn with a pair of chorale preludes (BWV 682 and 683) in Clavier-Übung III. 2 Skip to main content. Bachs Werke, Nach der Ausgabe der Bachgesellschaft. Both motifs are related as can be seen when they are first heard together in the alto and bass parts in the last two beats of bar 1 and first beats of bar 2: separated by an octave plus a third, the bass motif (a rest followed by six notes) can be seen as a simplified form of the alto motif (a rest followed by two five-note figures). In the words of Albert Riemenschneider, "the exuberance of the passage work indicates a joyous background.". To Spitta (1899) the scales "hurry by like misty ghosts." - Check out In dir ist Freude by Stuttgart Hymnus Boys' Choir on Amazon Music. Composed by Johann Sebastian Bach, Capellmeister to his Serene Highness the Prince of Anhalt-Cöthen. Williams (2003) points out, however, that if there is any intentional numerology, it might be in the occurrences of the strict form of the motif, with tone and semitone intervals matching the first entry: it occurs precisely ten times in the chorale prelude (b1 – bass; b1 – tenor; b2 – bass; b4 – bass; b9 – tenor; b10 – bass; b11 – tenor; b13 – tenor; b15 – alto; b18 – tenor).. The accompaniment on the keyboard is built from semiquaver motifs, made up of four-note groups of suspirans semiquavers (starting with a rest or "breath"). • Switch back to classic skin, Creative Commons Attribution Non-commercial 3.0, Creative Commons Attribution Non-commercial Share Alike 3.0, Creative Commons Attribution-NonCommercial-ShareAlike 4.0, http://imslp.org/index.php?title=In_dir_ist_Freude,_BWV_615_(Bach,_Johann_Sebastian)&oldid=2816276, Works first published in the 19th century, Pages with commercial recordings (Naxos collection), Pages with commercial recordings (BnF collection), Creative Commons Attribution-ShareAlike 4.0 License. In Bach's chorale prelude BWV 640, the cantus firmus is in the soprano voice, several times held back for effect. They are in four parts, with three accompanying voices. Seb. No. It recalls but also goes beyond the ornamental chorale preludes of Buxtehude. The chorale prelude BWV 605 is written for two manuals and pedal with the cantus firmus in the soprano part. For Schweitzer (1911b) this particular motif signified "beatific joy", representing either "intimate gladness or blissful adoration." The chorale prelude BWV 609 is scored for single manual and pedal with the cantus firmus unembellished in the soprano voice. The hymn tune was later set to other words, notably "Wer weiß, wie nahe mir mein Ende" ("Who knows how near is my end?"). Bach's use of the hymn in his choral works includes the Magnificat, BWV 243 and 3 settings in the Christmas Oratorio, BWV 248. Some have also seen the suspensions between bars as representing "the bonds of death". 4 Hermann Keller even suggested that Bach might have composed the chorale prelude starting from an earlier harmonisation; as Williams (2003) points out, however, although the harmonic structure adheres to that of a four-part chorale, the pattern of semiquavers and suspended notes is different for each bar and always enhances the melody, sometimes in unexpected ways. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. The pedal provides a rhythmic pulse with a semiquaver walking bass with sustained notes at each cadence. These chorale preludes are all short, either in variation form or fughettas. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. Below is the first verse of Martin Luther's Easter hymn Jesus Christus, unser Heiland, der den Tod überwand with the English translation by George MacDonald. For Williams (2003), the angular motifs and richer subdued textures in the lower registers are consonant with the "firm hope" of the text, in contrast to more animated evocations of joy.. Bach. Below them the pedal is a walking bass in quavers, built on the inverted motif and octave leaps, pausing only to mark the cadences at the end of each line of the hymn. PD. The chorale prelude BWV 635 is in the mixolydian mode with the cantus firmus in the soprano voice in simple minims. Throughout Thuringia and Saxony this became the hymn that the congregation sang as the priest entered the pulpit before delivering his Sunday sermon. It has been described as "melancholic" by Schweitzer (1905); as having "the greatest intensity" by Spitta (1899); as a "prayer" with "anxiety for the future" by Ernst Arfken; and as a crossroads between "the past and the future" by Jacques Chailley. BWV 617, 618, 619 and 637, where the accompaniment starts before the … J. S. Bach: In dir ist Freude. The two inner voices and pedal follow the usual Orgelbüchlein pattern, providing a harmonious accompaniment, with gently rocking quavers in the inner voices and a repeated motif in the pedal, rising first and then descending in crotchet steps. The second motif, first heard in the alto part in bars 2 and 3, is made up of five groups of 4 semiquavers, individual groups being related by inversion (first and fifth) and reflection (second and third). BWV 615. Beneath them in the pedal is a contrasting walking bass in quavers with sustained notes at the end of each phrase. Many of the preludes are short and in four parts, requiring only a single keyboard and pedal, with an unadorned cantus firmus. Below are the first and last verses of Martin Luther's hymn for Pentecost Komm, Gott Schöpfer, Heiliger Geist with the English translation of George MacDonald. 272 pages. Below are the first and last two verses of the funeral hymn of Johann Georg Albinus with the English translation of Catherine Winkworth. The melody first appeared with this text in a 1580 hymnbook. (-) - !N/!N/!N - 1465×⇩ - arranger, PDF typeset by arranger Edition Euterpe, 1929. 1750 Gottfried Silbermann organ at the Katholische Hofkirche in Dresden, Germany, recorded through the Johannus Orgelbouw LiVE 3T-A organ. Although largely moving in steps, like a walking bass, the pedal plays a type of canon two octaves below the cantus. 6 Stinson (1999) points out that the diminished seventh interval used in the pedal part was customarily associated with "grief." Skip to main content.ca. 8 Johann Sebastian Bach: organ choral preludes arranged for pianoforte, Johann Sebastian Bach: "O Mensch, bewein dein Sünde gross." Bach: Organ Chorale Prelude, "Ich ruf' zu dir, Herr Jesu Christ", Elkan-Vogel, 1934, Mabel Wood-Hill, string quartet/orchestra. The sharp on the second note was a more modern departure, already adopted by the composer-organists Bruhns, Böhm and Scheidt and by Bach himself in his early cantata Christ lag in Todes Banden, BWV 4. Johann Sebastian Bach: eleven chorale preludes from the little organ book, BWV 600, 601, 608, 609, 610, 625, 627, 633, 636, 637, 643, Johann Sebstian Bach: Ich ruf' zu dir, Herr Jesu Christ (Choralvorspiel), Bote & Bock, 1954. pro. Seb. Another extract from Sedulius' poem became the Latin Hymn Hostis herodes impie. $1.20. The cantus firmus of this chorale prelude is in the soprano voice and is drawn from the tenor part of the four-part setting of Puer natus by Lossius. These four identities are so closely intertwined that it is hard to know where one leaves off and another begins. Extra videos. Many commentators have interpreted the compositional form and motifs of BWV 621 in terms of the themes of the Passiontide hymn, primarily concerned with the crucifixion. The prelude has an intimate charm: as Albert Schweitzer commented, the soprano part flows "like a divine song of consolation, and in a wonderful final cadence seems to silence and compose the other parts.". Account & Lists Account Returns & Orders. After the cadence at bar 14 from D minor to A minor, the accompaniment is augmented to four voices with a second voice in the pedal, first with motivic semiquaver figures in all the parts in the penultimate bar; and then imitative dactylic joy motifs in the soprano and tenor parts during the closing bar. 2 0.0/10 Johann Sebastian Bach: "O Mensch, bewein dein Sünde gross." Williams further suggests that the F♯ major chord at bar 25 might be a reference to leuchtet als die Sonne ("shines like the sun") in the first verse; and the long pedal point at the close to Alpha es et Omega ("You are the Alpha and the Omega") at the end of the first verse. 4 "Ich ruf zu dir" is amongst the most popular chorale preludes in the collection. There is some ambiguity as to whether Bach intended the crotchets in the accompanying motif to be played as a dotted rhythm in time with the triplets or as two beats against three. As Williams (2003) comments, however, the inner voices, "with their astonishing accented passing-notes transcend images, as does the sudden simplicity of the melody when the bass twice rises chromatically.". 0.0/10 The accompaniment is composed of two motifs, both suspirans: one in the inner parts contains a joy motif; and the other, shared between all three lower parts, is formed of three semiquavers (16th notes) and a longer note or just four semiquavers. A similar device has been used by Bach for the word inanes ("empty") in the ninth movement of his Magnificat. He used it in cantatas BWV 90, 100 and 102 with a different text. Includes piano resources. 8 Some recent editions have incorporated this suggestion. Many composers had written organ settings prior to Bach, including Sweelinck, Scheidt and Buxtehude (his chorale prelude BuxWV 186). Although the chorale prelude cannot be precisely matched to the words of either hymn, the mood expressed is in keeping both with joy for the coming of Christ and gratitude for the bountifulness of God. 4 6 (-) - !N/!N/!N - 783×⇩ - MP3 - Fiffaro, Synthesized performance Bach varies the texture and colouring of the accompaniment for each line of what is one of the longest melodies in the collection. Unlike most of the other chorale preludes in the Orgelbüchlein, Bach did not use the chorale in any of his cantatas—BWV 621 is his unique setting of the hymn. The motif in the pedal is a constant three-note quaver figure, with octave leaps punctuated by frequent rests. The cantus firmus alto part is in a dotted rhythm shared between the two hands, as if hidden. It is unusual in that in most published versions no repeats are marked. Below are the first and seventh verses of the hymn written in 1524 by Lazarus Spengler with an English translation by John Christian Jacobi. Each setting takes an existing Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. The pivotal notes CCCDEF in this motif are also derived from the theme. The resolute striding bass has been seen by Schweitzer (1911b) as representing firmness in faith, a reference to the last two lines of the first verse Wer sich des tröst', und glaubet fest, soll nicht werden verloren: "whosoever trusts in Him and firmly believes shall not be lost." For Wolfgang Budday, Bach's departure from normal compositional convention was itself intended to symbolise the "corruption" and "depravity" of man. 10 Although the longer figures in the two lowest voices are heard several times throughout the piece, Bach's ingenious writing gives no sense of artifice or mechanical repetition. 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