Bach, JS: Ach bleib' bei uns, Herr Jesu Christ, BWV 649 (02:26) 24. Durch Adams Fall Ist Ganz Verderbt (Bach BWV 637/705) 5:16 0:30. Bach (1685-1750)\rperformed by Wolfgang Zerer, organ \r\rBach - BWV 599-644 - Little Organ Book\rhttp://www.youtube.com/view_play_list?p=4532C343606BE0C8 \r\rBach - BWV 645-650 - Schübler Chorales\rhttp://www.youtube.com/view_play_list?p=6B588CECF816A9B6 \r\rBach - BWV 651-668 - Leipzig Chorales\rhttp://www.youtube.com/view_play_list?p=2C2EB2EC7B65F072 \r\rBach - BWV 669-689 - Clavier-Übung 3.Teil\rhttp://www.youtube.com/view_play_list?p=271234B965C91002 \r\rBach - BWV 690-713 - Kirnberger Chorales\rhttp://www.youtube.com/view_play_list?p=0236250D17FBBE78 \r\rBach - various chorale preludes BWV 714-\rhttp://www.youtube.com/view_play_list?p=D20EA45A2B7879FE In the eleventh bar the bass's motivic accompaniment pauses for a second pedal point after which it resumes by unexpectedly taking up the cantus firmus in canon—two beats after and two octaves below the alto—until the end of the twelfth bar. The same melody was used in the postprandial grace Herr Gott, nun sei gepreiset, the first verse of which is given below with the English translation of Charles Sanford Terry. In the pedal part this prominent descending motif has been taken to symbolise the "coming down of divine Majesty." Below are the first and last verses of the Lutheran version of the Lord's Prayer with the English translation of George MacDonald. ⇒ 23 more: Von Himmel hoch da komm ich her, BWV 606 • Vom Himmel kam der Engel-Schaar, BWV 607 • In dulci jubilo, BWV 608 • Lobt Gott ihr Christen allzugleich, BWV 609 • Christum wir sollen loben schon, BWV 611 • Wir Christen-Leut, BWV 612 • Helft mir Gottes Güte preisen, BWV 613 • Mit Fried und Freud ich fahr dahin, BWV 616 • Herr Gott nun schleuß den Himmel auf, BWV 617 • O Lamm Gottes unschuldig, … Below are the first and last verses of Tobias Kiel's hymn with the English translation of Catherine Winkworth. 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. Below is the first verse of this hymn of Johann Lindemann with the English translation by Catherine Winkworth. Bach: Oh, How Fleeting, J. Fischer and Bro., 1940. The piping triplets above the musette drone create a gentle pastoral mood, in keeping with the subject of the carol. Bach's use of the hymn in his choral works includes the Magnificat, BWV 243 and 3 settings in the Christmas Oratorio, BWV 248. The first verse is given below with Luther's German version Was fürchtst du, Feind Herodes, sehr to the same melody. Below is the German text of the 1568 Lutheran hymn by the Bohemian theologian Christoph Fischer, with the English translation of Benjamin Hall Kennedy. Commentators have given different interpretations of what the motif might symbolise: for Schweitzer (1905) it was "the bonds of death" (Todesbanden) and for Hermann Keller "the rolling away of the stone". He used it in cantatas BWV 90, 100 and 102 with a different text. Never before was Jesus called on so movingly, thought the Dutch author Maarten ‘t Hart. Aria nach dem Choralvorspiel für Streichorchester bearbeitet, Arrangements of several of the chorale preludes for the, Adaptations, Ser. BWV 621 is scored for single manual and pedal, with the cantus firmus in the soprano voice almost entirely in plain crotchets. Apart from BWV 609, Bach set the hymn in the cantatas BWV 151 and 195, the two harmonisations BWV 375 and 376 and the chorale prelude BWV 732. For Williams (2003) the syncopated bass line is a "masterful" way of evoking the dragging of the cross. Find album reviews, stream songs, credits and award information for Bach: Orgelbüchlein - Les 45 Chorals du Petit Livre d'Orgue - André Isoir on AllMusic - 1999 Anzahl aus Sebastian Bach's Kompositionen, zur ersten Bekanntschaft mit dem Meister am Pianoforte, Challier, 1844. The "hidden" alto hymn tune, occasionally tinged with chromaticism, imparts a further sense of mystery. Bach: Für Klavier zu 2 Händen übertragen, Universal Edition, 1900. The ornamentation, although employing conventional musical figures, is highly original and inventive. Beneath the melody in a combination of four different motifs, the inner parts wind sinuously in an uninterrupted line of semiquavers, moving chromatically in steps. An early version of the melody also appeared in Steuerlein's hymnbook, but set to different words (Gott Vater, der du deine Sonn). Lindemann wrote the text in 1598, and Giovanni Giacomo Gastoldi supplied the melody in 1591.[40]. A very slow tempo was adopted by the school of late nineteenth and early twentieth century French organists, such as Guilmant and Dupré: for them the mood of the chorale prelude was quiet, inward-looking and mournful; Dupré even saw in the descending semiquavers "the descent by the holy women, step by step, to the tomb". BWV 617, 618, 619 and 637, where the accompaniment starts before the cantus. Below is the first verse and refrain of the third verse of this version of the Agnus Dei, O Lamm Gottes, unschuldig, with the English translation of Catherine Winkworth. Johann Sebastian Bach: drei Orgelchoralvorspiele, für Klavier gearbeitet. befindlichen Choralen das Pedal gantz obligat tractiret wird. The chromatic fourth was a common form of the baroque passus duriusculus, mentioned in the seventeenth century musical treatise of Christoph Bernhard, a student of Heinrich Schütz. G. Donizetti: Musiche per pianoforte à 4 mani. The alto part is characterised by falling anapaests; while the tenor line is made up of two parts, the first a rising semiquaver figure and the second shorter semiquaver cross motifs descending in sequence. 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). 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 Various commentators have proposed interpretations of the accompanying motifs: the rocking motif to suggest the action of swaddling; and the pedal motif as symbolising either the "journey of the Magi" to Bethlehem (Schweitzer (1905)) or Christ's "descent to earth" (Jacques Chailley (1974) harvtxt error: no target: CITEREFJacques_Chailley1974 (help)). Dissonances in the pedal in bars 3 and 5, however, could also be signs of Bach's more mature style. As with the most of the collection, Bach had allotted one page for the chorale prelude. Johann Gottfried Walther, Bach's distant cousin and the organist in the Stadtkirche in Weimar, also set the hymn as a chorale prelude and as a partita with many variations. Johann Sebastian Bach Durch Adams Fall ist ganz verderbt (I), chorale prelude for organ, … In stock. Bach ingeniously develops the accompaniment using the motif in canon, inversion and semiquaver stretto. Bach: 6 Choräle von verschiedener Art (Schübler Chorales) - 1. J.S. 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. The canon—normally in the tenor part in the carol—is taken up one bar later in the pedal. Below are the first and last verses of Elisabeth Cruciger's hymn for Epiphany Herr Christ, der einig Gotts Sohn with the English translation of Myles Coverdale. It was used in settings by Scheidt, Scheidemann, Walther and de Grigny, the latter two employing the Latin title. Below is the text of the first stanza of the hymn O Mensch, bewein dein Sünde groß by Sebald Heyden with the English translation of Catherine Winkworth. Many commentators have agreed with Spitta (1899) that the lively and rhythmic accompaniment conveys "Christmas joy".[12][13]. VIDEO. The verses of Franck's hymn alternate the order of the words nichtig and flüchtig in their opening lines. During the period before his return to Weimar, Bach had composed a set of 31 chorale preludes: these were discovered independently by Christoph Wolff and Wilhelm Krunbach in the library of Yale University in the mid-1980s and first published as Das Arnstadter Orgelbuch. Below is the German version of the Christmas hymn Dies est latitiae with the English translation by Charles Sanford Terry. Beneath it the two inner voices—often in thirds—and the pedal provide an accompaniment based on a motif derived from the melody, a falling three-note anapaest consisting of two semiquavers and a quaver. Bach. Sweelinck J.p. - Works For Organ Organ Dover Publications. Scored for single manual and pedal, the unadorned cantus firmus is in the soprano voice. Partially, that’s because the piece is dramatic and shocking, and it’s easy to appreciate what’s going on from the title alone. Already in the opening bar, as Williams (2003) points out, the subtlety of Bach's compositional skills are apparent. Giovanni Paiseillo - Piano Concertos. About 'Durch Adams Fall (Chorale Prelude BWV 637)' Artist: Bach, Johann Sebastian (sheet music) Born: 21 March 1685 , Eisenach Died: 28 July 1750 , Leipzig The Artist: One of the greatest composers of all time. The pedal has a walking bass which also partly incorporates the joy motif in its responses to the inner voices. Edition Euterpe, 1929. Transcriptions from Machaut to J.S. The instrumental combination itself was used elsewhere by Bach: in the third movement of the cantata Schmücke dich, o liebe Seele, BWV 180 for soprano, violoncello piccolo and continuo; and the 19th movement of the St John Passion, with the middle voice provided by semiquaver arpeggios on the lute. BWV 632 is written for single keyboard and pedal with the cantus firmus in the soprano part: it starts with a characteristic triad, at first concealed by the intermediate notes of the legato dotted rhythm. Scored for single manual and pedal, the accompanying voices are the soprano (right hand), the tenor (left hand) and the bass (pedal). At a faster tempo, as has become more common, the mood becomes more exultant and vigorous, with a climax at the words Gott loben und dankbar sein ("praise our God right heartily"), where the music becomes increasingly chromatic. 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. 2003 • 1 song, 5:16. Bach often used canons in his chorale preludes to signify the relation between "leader" and "follower" as in his settings of Dies sind die heil'gen zehn Gebot ("These are the Ten Commandments"); Stinson (1999) considers that this was unlikely to be the case here, despite the words Trahe me post te ("Draw me to thee") in the second verse.[22][23]. Beneath them in the pedal is a contrasting walking bass in quavers with sustained notes at the end of each phrase. Spitta (1999) harvtxt error: no target: CITEREFSpitta1999 (help) wrote that Christ's hanging on the cross "is represented by the heavy, syncopated notes" and takes this as "evidence Unlike the inner voices, the pedal part has a wide range: there are two scale-like passages where it rises dramatically through two octaves, covering all the notes from the lowest D to the highest D. The four voices together convey a mood of joyous exultation. In honour of our Lord alone That my fellow man his skill may hone. Bach's formal training as a musician started when he was enrolled as a chorister at the Michaelskirche in Lüneburg in 1700–1702. Hermann Keller saw the bass motif as representing "the futility of human existence." "Ich ruf zu dir" is amongst the most popular chorale preludes in the collection. 10), KiV B27/10 12. 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. [15] The cross motifs are followed by suspended crochets, falling in steps. Although it has often been suggested that this opening advent chorale prelude resembles a French overture, in construction, with its texture of arpeggiated chords, it is more similar to the baroque keyboard preludes of German and French masters, such as Couperin. Bach: Chorale Prelude A (BWV 637) No. [8], Cranach altarpiece in St Peter und Paul, where Bach played the organ, View of Weimar, 1686: Wilhelmsburg in centre, St Peter and Paul behind, Rote Schloss over footbridge on left, Wilhelmsburg, Weimar, c 1730, built in the 1650s and destroyed by fire in 1774. Similarly for Schweitzer (1911b), the pedal line symbolises "the drooping of the exhausted body of Jesus on the cross." setting of Puer natus by Lossius. 16.90 EUR - Sold by … Stinson (1999) also sees similarities with Bach's omission of a bass part in Wie zittern und wanken from cantata BWV 105, an aria concerned with the uncertainties in the life of a sinner.[68][69]. The semiquaver figures, sometimes in parallel thirds or sixths, run continuously throughout the upper parts, including the soprano part, further obscuring the melody. In 1707 Bach became organist at St. Blasius' Church in Mühlhausen, before his second appointment at the court in Weimar in 1708 as concertmaster and organist, where he remained until 1717. In the generation prior to Bach, organ settings had mainly been made by composers in Southern Germany like Kindermann, Pachelbel and Fischer. Bach's title conforms to a later 1681 hymnbook from Weimar which inverted the order throughout. 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