Bach's title conforms to a later 1681 hymnbook from Weimar which inverted the order throughout. Dieterich Buxtehude had already set the hymn as a chorale prelude (BuxWV 183) prior to Bach. The widely spaced polyphonic texture has been taken as a musical depiction of Sedulius' poetic lines A solis ortus cardine, ad usque terræ limitem—"From the hinge of the rising sun, To the farthest edge of the earth". Customarily sung on New Year's Day, the hymn addresses thanks for the past year and prayers for the coming year to Christ. [46] The chorale prelude is in four parts for single manual and pedals, with the cantus firmus in the soprano voice. 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. [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. The frequent F♮s are a hint of the mixolydian mode. The canon—normally in the tenor part in the carol—is taken up one bar later in the pedal. Edited from the sources. 13. 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. Notable editions have been made by Robert Clark and John David Peterson, Quentin Faulkner, Albert Riemenschneider, and Albert Schweitzer. [15] The cross motifs are followed by suspended crochets, falling in steps. 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 Trascritti dall' organo per orchestra, Universal Edition, 1925. Some commentators have seen this falling figure as representing a descent to earth, but it could equally well reflect a repetition of the words "Nun komm" in the text. Ernst Arfken and Siegfried Vogelsänger have interpreted some of the dissonant F♮s as references to elements of foreboding in the text (for example Ei du süsser Jesu Christ in the second verse). BWV 612 is written for single manual and pedal with four voices. The piano score of this piece was first published in 1909 and is part of Transcriptions by Busoni. Hermann Keller has suggested that Bach might have employed the canon as musical iconography for the plea to be "led" at the end of the first verse: und uns den Weg zu Wahrheit führ ("and lead us on the path of truth").[50][51]. The semiquaver motifs, in constant motion upwards and downwards, create what Schweitzer (1905) called "a charming maze," symbolising angels heralding the birth of Christ. The accompanying arpeggio motifs in the inner parts are not dissimilar to figurations in settings of the hymn by Georg Böhm and Walther (the 6th variation in his partita). 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. The pedal has a walking bass which also partly incorporates the joy motif in its responses to the inner voices. Johann Sebastian Bach Durch Adams Fall ist ganz verderbt (I), chorale prelude for organ, … J.S. While the melody in the upper voice is hidden by coloratura over a wide range, the two inner voices are simple and imitative above the continuo-style bass. Bach's friend and colleague Johann Walther composed an organ partita on the hymn in 1712. Bach, however, goes beyond the previous models, creating a unique texture in the accompaniment which accelerates, particularly in the pedal, towards the cadences. The three lower voices respond to each other and to the melodic line, with the soprano and alto voices sighing in parallel sixths at the close. The two pages of "In dulci jubilo" in the autograph manuscript, harvtxt error: no target: CITEREFJacques_Chailley1974 (, harvtxt error: no target: CITEREFSpitta1999 (, harvnb error: no target: CITEREFOrgelbüchlein_Project (, harvnb error: no target: CITEREFStinson2003 (, harvnb error: no target: CITEREFBenitez (, harvnb error: no target: CITEREFTerry1920 (, harvnb error: no target: CITEREFRichards_&_Yearsley2008 (, harvnb error: no target: CITEREFStinto1999 (, Jesus Christus, unser Heiland, der den Tod überwand, List of compositions by Johann Sebastian Bach, Ich ruf zu dir, Herr Jesu Christ, BWV 177, "Inventing a Melody with Harmony: Tonal Potential and Bach's "Das alte Jahr vergangen ist, "Of Time and Eternity: Reflections on "Das alte Jahr vergangen ist, "Review of The Creative Development of Johann Sebastian Bach, i: 1695–1717. Schweitzer (1905) describes its use by Bach as a motif of "beatific peace", commenting that "the melody of the hymn that speaks of the inevitability of death is thus enveloped in a motif that is lit up by the coming glory." The two inner voices, often in thirds, are built on a motif made up of two short beats followed by a long beat—an anapaest—often used by Bach to signify joy (for example in BWV 602, 605, 615, 616, 618, 621, 623, 627, 629, 637 and 640). 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.". There are three accompanying voices, often closely scored: the alto and tenor voices in the keyboard between them weave a continuous and complex pattern of rising and falling semiquavers, sometimes in parallel thirds; and below them the bass voice in the pedal moves in steady quavers and syncopated crotchets. 24-Bit 96.0 kHz - Stereo. Bach-Busoni: Chorale Prelude Durch Adams Fall ist ganz verdebt, BWV 637, transcribed for piano [2:29] Bach-Busoni: Chorale Prelude Ich ruf zu dir, Herr Jesu Christ, BWV 639, transcribed for piano [4:11] Bach-Busoni: Chorale Prelude Wachet auf, ruft uns die Stimme, BWV 645, transcribed for piano [4:15] Bach-Busoni: Chorale Prelude Nun komm' der Heiden Heiland, BWV 659, transcribed for piano [6:04] Bach … It closely follows the four voices of Bach's earlier harmonisation in the four-part chorale BWV 278, with virtually no changes in the cantus firmus. The accompaniment also has repeated crotchets on the single note of A, which, combined with the A's in the main canon, simulate the drone of a musette sounding constantly through the chorale until the A♯ in bar 25. The plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. Bach, BWV 637; Ten Chorale Preludes No. Williams (2003) records that the dissonances might symbolise original sin, the downward leaps in the pedal the fall of Adam, and the modulations at the close hope and redemption; Terry (1921) described the pedal part as "a series of almost irremediable stumbles"; in contrast Ernst Arfken saw the uninterrupted cantus firmus as representing constancy in faith. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. The accompanying motif is shared between the two inner voices on the second manual which together provide a continuous stream of semiquavers with two hemidemiquavers on the second semiquaver of each group. 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. It was used in settings by Scheidt, Scheidemann, Walther and de Grigny, the latter two employing the Latin title. Bach's ingenious writing is constantly varying. SHARE. 14. Bach: Chorale Preludes, R.D. The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ — one of them is given in two versions — by Johann Sebastian Bach. Eighteenth-century organs are challenging to play,... — Choir & Organ, July 2020, More… Release Date: 27th Mar 2020; Catalogue No: RES10259; Label: Resonus Classics; Length: … Due to lack of space, he entered the final two and a half bars in more compact tablature notation. Bach set two of the more hopeful verses of the song to music in cantatas BWV 18 and 109, but in this revolutionary little organ work he seems to be describing doom instead, and bringing the heavy artillery to bear, no … Bach: Chorale Prelude A (BWV 637) No. These create constant dissonances with the cantus which are resolved only by the cadence at the close. The desired effect was achieved by using a 4′ pedal stop, playing the pedals an octave lower. 9), KiV B27/9 11. The twisting inner parts have been interpreted as illustrating the words verderbt ("ruined") by Hermann Keller and Schlang ("serpent") by Jacques Chailley. Prior to modern scientific methods for dating Bach's autograph manuscripts, scholars had relied on identifying hymnbooks available to him to determine exactly when Orgelbüchlein was written. More than a simple accompaniment, the push the harmonies forward, revealing it unexpectedly at every turn. Both have similar rhythmic structures in the parts, but one is in a minor key with complex chromatic harmonies, the other in a major key with firmly diatonic harmonies.[60][61]. 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 are the first and last verses of Michael Franck's 1652 Lutheran hymn Ach wie flüchtig, ach wie nichtig with the English translation of Sir John Bowring. The hymn was originally written in duple time but, to facilitate the canonic counterpoint, Bach adopted triple time with a minim beat, at half the speed of the bass. 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. It dates from 1705 and possibly was prepared for Bach's visit to Lübeck. ⇒ 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, … Terry (1921) erroneously assigned a date after 1715, because the earliest source for Das alte Jahr he had been able to locate was Christian Friedrich Witt's Gotha hymnbook, first published in 1715. Durch Adams Fall ist ganz verderbt, BWV 637 Es ist das Heil uns kommen her, BWV 638 Ich ruf zu dir, Herr Jesu Christ, BWV 639 In dich hab ich gehofft, Herr, BWV 640 Wenn wir in höchsten Nöten sein, BWV 641 Wer nur den lieben Gott lässt walten, BWV 642 Alle Menschen müssen sterben, BWV 643 Ach wie nichtig, ach wie flüchtig, BWV 644 These chorale preludes are all short, either in variation form or fughettas. Following baroque convention, Bach notated the triplets in the accompaniment as quavers instead of crotchets, to make the score more readable for the organist. In the penultimate line, accompanying the words "ein schwere Bürd" (a heavy burden), the inner parts intensify moving in semiquavers (16th notes) with the upper voice to a climax on the highest note in the prelude. The hymn was previously set as the chorale prelude BWV 710 in the Kirnberger Collection; and it also appears as BWV 1090 in the Neumeister Collection. Many of the preludes are short and in four parts, requiring only a single keyboard and pedal, with an unadorned cantus firmus. 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]. 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. 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. 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 Some have also seen the suspensions between bars as representing "the bonds of death". 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