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Uniform Title Christ lag in Todesbanden Chorale prelude ; arranged. Also Titled Three choral preludes. Creator Bach, Johann Sebastian, Other Creators Hart, Fritz Bennicke, Subjects Chorale preludes Violin and piano , Arranged.

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Australian Notes For violin and piano. Caption title. Cover title: Three choral preludes No. Set up My libraries How do I set up "My libraries"? None of your libraries hold this item.

Other suppliers National Library of Australia - Copies Direct The National Library may be able to supply you with a photocopy or electronic copy of all or part of this item, for a fee, depending on copyright restrictions. Tags What are tags? Add a tag. Public Private login e. Add a tag Cancel Be the first to add a tag for this edition. The semiquaver motifs, in constant motion upwards and downwards, create what Schweitzer called "a charming maze," symbolising angels heralding the birth of Christ. Below are the first and fourth verses of Martin Luther's Christmas hymn with the English translation of Catherine Winkworth.

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. It is the only time Bach that used this hymn tune. Although there is some ambiguity in the autograph manuscript, the crossing of parts suggests that the intended scoring is for single manual and pedals. The motifs in the intricately crafted accompaniment are descending and ascending scales, sometimes in contrary motion, with rapid semiquaver scales shared between the inner voices and slower crotchet scales in the walking bass of the pedal part following each phrase of the melody.

The mood of the chorale prelude is "ethereal" and "scintillating", veering elusively between the contemplative harmonised melody and the transitory rushing scales: towards the close the scales in the inner voices envelope the melody. The semiquaver motifs have been taken to represent flights of angels in the firmament: for Spitta , "Bach's music rushes down and up again like the descending and ascending messengers of heaven.

This chorale prelude is based on a traditional Christmas carol in canon that predates Luther. Prior to Bach, there had been settings of the carol as a canon by Fridolin Sicher and Johann Walther for organ and by Michael Praetorius for choir.

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Bach's chorale prelude is written for single manual and pedals, with the leading voice in the soprano. The canon—normally in the tenor part in the carol—is taken up one bar later in the pedal. As was Bach's custom, it was notated in the autograph manuscript at the pitch at which it should sound, although this fell outside the range of baroque pedalboards. The two accompanying inner voices, based on a descending triplet motif, are also in canon at the octave: such a double canon is unique amongst Bach's organ chorales.

Following baroque convention, Bach notated the triplets in the accompaniment as quavers instead of crotchets, to make the score more readable for the organist. At that point the strict canon in the accompaniment stops, but the imitative triplet motif continues until the close, also passing effortlessly into the soprano part.

Over the final pedal point , it sounds in all three of the upper voices. 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. The deliberate difference in spacing in the autograph score and the intended drone-like effect might suggest adopting the second solution throughout, although modern editions often contain a combination of the two. The piping triplets above the musette drone create a gentle pastoral mood, in keeping with the subject of the carol. For Williams the constant sounding of A major chords, gently embellished by the accompaniment, suggest unequivocally the festive spirit of the dulci and jubilo in the title; Schweitzer already described the accompanying triplets as representing a "direct and naive joy.

The mood also reflects the first two lines of the third verse, "O love of the father, O gentleness of the newborn! The melody first appeared with this text in a hymnbook. The chorale prelude BWV is scored for single manual and pedal with the cantus firmus unembellished in the soprano voice. The accompaniment in the inner voices is a uniform stream of semiquavers shared between the parts, often in parallel sixths but occasionally in contrary motion. It is built up from several four-note semiquaver motifs first heard in the opening bars.

Beneath them in the pedal is a contrasting walking bass in quavers with sustained notes at the end of each phrase.

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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 later hymnbooks the hymn became associated with Christmas and Epiphany; it was also frequently included amongst the so-called Jesuslieder , devotional hymns addressed to Jesus, often for private use.

One of the earliest settings of the hymn was Dieterich Buxtehude 's cantata BuxWV 60 for four voices, strings and continuo, composed in the s. Bach's friend and colleague Johann Walther composed an organ partita on the hymn in The chorale prelude BWV is scored for single manual and pedal, with the cantus firmus unadorned in the soprano voice. Marked Largo , the cantus and accompanying voices in the two inner parts and pedal are written at an unusually low pitch, creating a sombre effect.

The accompaniment is based on semiquaver motifs first heard in their entirety in the pedal in bar one; the inner parts often move in parallel thirds followed by quasi-ostinato responses in the pedal. The rich and complex harmonic structure is partly created by dissonances arising from suspensions and occasional chromaticisms in the densely scored accompanying voices: the motifs are skillfully developed but with restraint. Both Williams and Stinson concur with the assessment of Spitta that "fervent longing sehnsuchtsvoll Innigkeit is marked in every line of the exquisite labyrinth of music in which the master has involved one of his favourite melodies.

Below is the first verse of Martin Luther's hymn Christum wir sollen loben schon with the English translation of Richard Massie. Luther's text was his version of the Latin hymn A solis ortus cardine , part of the fifth century abecedarius of Coelius Sedulius ; it has been inserted between the two. Another extract from Sedulius' poem became the Latin Hymn Hostis herodes impie. The English translation is by George Macdonald. Both verses concern Christ's coming on earth. The melody of the cantus firmus in the Dorian mode is based on the Latin hymn A solis ortus cardine , which appeared in its Lutheran version in It was used in settings by Scheidt , Scheidemann , Walther and de Grigny , the latter two employing the Latin title.

BWV , marked Adagio , has several unusual and novel features.

BOHM: Chorale Partitas / Preludes and Fugues - NaxosDirect

In contrast to the densely scored chorale prelude BWV , the four parts—augmented to five by the double pedal in the last two bars—are widely spaced employing the full range of the baroque organ. Scored for single manual and pedal, the accompanying voices are the soprano right hand , the tenor left hand and the bass pedal.

  1. Christ lag in Todesbanden, P.58 (Pachelbel, Johann).
  2. Chapter 42 Bwv 4 42 – The Cantatas of Johan Sebastian Bach.
  3. Accessibility links;
  4. Johann Sebastian Bach - Classical Archives.

The cantus firmus alto part is in a dotted rhythm shared between the two hands, as if hidden. The accompanying motif derives from a suspirans figure, a four note descending or ascending semiquaver scale starting off the beat; this flowing motif is possibly derived from the hymn melody, moving as it does in steps, albeit much slower.

The motif is first heard high up in the soprano voice which is placed in bare relief by the sustained notes and slow-moving melody in the lower parts. After the opening, the four note motif is extended throughout in the bass part to five notes by preceding it by a dotted quaver: the slow tempo facilitates semiquaver scales in the pedal.

G. P. Telemann - Chorale Prelude for Organ 'Christ lag in Todesbanden' - 432 Hz

In the sixth bar the soprano and the bass play the highest and lowest notes in the Weimar organ's register, the two C's above and below middle C. The "hidden" alto hymn tune, occasionally tinged with chromaticism , imparts a further sense of mystery. Above and below it the scale figures in the three accompanying parts are heard meandering in parallel and sometimes contrary motion. 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.

At the same time in the eleventh bar the soprano and tenor parts play semiquaver motives in canon separated by a quaver and two octaves, before playing in more transparent imitation in bars 12 and 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. Commentators have suggested how the musical form echos the themes of the hymn—the cantus firmus reflecting the mystery of the incarnation, Christ hidden in Mary's womb, and its chromaticism the purity of the virgin.

For Schweitzer a the opening motivic accompaniment "entwines the chorale melody in a consummately effective way and embraces a whole world of unutterable joy", the adagio is a "mystical contemplation", and the motifs "a joyous exaltation in the soprano". Below are the first and third verses of the hymn of Caspar Fuger with the English translation of Catherine Winkworth first published in with the melody, which predates it. As with the most of the collection, Bach had allotted one page for the chorale prelude.

Due to lack of space, he entered the final two and a half bars in more compact tablature notation.


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BWV is written for single manual and pedal with four voices. The plain cantus firmus is in the soprano part. The accompaniment—striding quavers in the pedal like an ostinato bass and dance-like semiquavers in the inner parts—s formed from two short motifs. 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.

At the same time the motif in the inner parts is derived from descending scale D, C, B-flat, A that recurs in the cantus. Both accompanying motifs serve to propel the chorale prelude forwards, the bass line having a similar function to that in the last movement of the fourth Brandenburg concerto. Although the cantus itself repeats more of its lines than most Lutheran hymns, Bach avoids repetitiveness in the chorale prelude by varying the harmonies and rhythmic texture in the accompaniment for each phrase. In addition what sounds like an interlude for alto and tenor during a two and a half bar rest in the pedal part creates further variety.

Below are the six verses of this New Year's hymn with the English translation of Catherine Winkworth. Customarily sung on New Year's Day , the hymn addresses thanks for the past year and prayers for the coming year to Christ. Although primarily a supplication looking forwards to the future, the hymn also looks back at the past, reflecting on the perils facing man, his sins and his transitory existence. The version of the hymn that Bach used for BWV only emerged gradually. The first two verses of the hymn text were first published in Clemens Stephani's Nuremberg hymnbook of ; the entire six verses of the text appeared in Johann Steuerlein's Erfurt hymnbook of An early version of the melody also appeared in Steuerlein's hymnbook, but set to different words Gott Vater, der du deine Sonn.