2 Amongst Bach's immediate predecessors, Dieterich Buxtehude wrote two settings of the hymn for organ—a freely composed chorale prelude in three verses (BuxWV 207) and a chorale prelude for two manuals and pedal (BuxWV 219); and Georg Böhm composed a partita and two chorale preludes (previously misattributed to Bach as BWV 760 and 761). BWV 615, In dir ist Freude, where the cantus is heard in canon in all the voices over the accompanying motifs. 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). 6 Baltimore Consort Christmas Music (Bright Day Star - Music for … $19.95 / (Konzert fur Sopran, Trompete und Orgel). pro. BWV 640 is the only occasion he used the melody in the minor key, which can be traced back to an earlier reformation hymn tune for Christ ist erstanden and medieval plainsong for Christus iam resurrexit. The closing phrase, with its mounting chromatic bass accompanying bare unadorned crotchets (quarter notes) in the melody to end in an unexpected modulation to C♭ major, recall but again go beyond earlier compositions of Pachelbel, Frohberger and Buxtehude. … *#111283 - 2.01MB, 2 pp. The accompaniment in the three lower voices is built up from two motifs each containing the repeated notes that characterise the theme. 4 On the lower manual the two inner voices provide the harmonic accompaniment, moving stepwise in alternating semiquavers. *#254394 - 0.06MB, 1 pp. 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. Considered to be amongst his most expressive compositions—Snyder (1987) describes it as "imbued with sorrow"—Buxtehude's setting employs explicit word-painting.[57][58][59]. J. S. Bach: In dir ist Freude. As Spitta (1899) comments, "What tender melancholy lurks in the chorale, Alle Menschen müßen sterben, what an indescribable expressiveness, for instance, arises in the last bar from the false relation between c♯ and c', and the almost imperceptible ornamentation of the melody!". The piece was turned into a jolly Lutheran hymn by Johann Lindemann (In dir ist Freude) and the music then became an English hymn based on Lindemann with words by Catherine Winkworth (In Thee is gladness). As in all his other organ settings, Bach changed the rhythmic structure of the melody by drawing out the initial upbeats to long notes. BWV 617, 618, 619 and 637, where the accompaniment starts before the … Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears. More than a simple accompaniment, the push the harmonies forward, revealing it unexpectedly at every turn. [46] The chorale prelude is in four parts for single manual and pedals, with the cantus firmus in the soprano voice. PD. Bach, however, goes beyond the previous models, creating a unique texture in the accompaniment which accelerates, particularly in the pedal, towards the cadences. 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).[52][53]. The melody was also composed by Neumark: it and the text were first published in his hymn book of 1657. The documents are hand copies made in Böhm's home in tablature format of organ compositions by Reincken, Buxtehude and others. Below is the first of three verses of Johann Spannenberg's advent hymn with the translation in English of Charles Sanford Terry. A close variant of BWV 639 is catalogued as BWV Anh. 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)). It is less predictable and regular than other settings of the same hymn by Bach or predecessors like Buxtehude, only the second and third lines having any regularity. Similar semiquaver figures had been used in other contemporary settings of this hymn, for example in a set of variations by Böhm[67], and in the first chorus of Bach's cantata BWV 26, but without conveying the same effect of quiet reflection. The reprise of the second part differs from the hymn as it appears in hymnbooks; but the stream of repeated triadic motifs—which Schweitzer (1911a) interpreted as constant repetitions of Herr Jesu Christ—add to the mood of supplication in the chorale prelude. Dem Höchsten Gott allein' zu Ehren, Dem, Title page of autograph of the Orgelbüchlein, The title page of the autograph score reads in English translation:[2], Little Organ Book In which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal, since in the chorales contained herein the pedal is treated entirely obbligato. This chorale prelude is based on a traditional Christmas carol in canon that predates Luther. Similar items. My second YouTube channel https://bit.ly/2nBoZzH 2 It is derived from the final descending notes of the melody: The semiquaver motif runs continuously throughout the piece, passing from one lower voice to another. For Hermann Keller, the running quavers and semiquavers "suffuse the setting with health and strength." Joh. Schweitzer (1905) described the anapaest as a "joy" motif; to Hermann Keller it symbolised "constancy". In dir ist Freude Alt ernative. 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 1524. Bach's title conforms to a later 1681 hymnbook from Weimar which inverted the order throughout. Dissonant suspensions as fitting for `` the bonds of death '' 16th notes ) followed two! 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