Motets see also: List of Chorals Du Yale Manuscript / Choral 93 Jesu by Johann Sebastian Bach. Motet Singet dem Herrn ein neues Lied. Motet Jesu, meine Freude funeral. Motet Komm, Jesu, komm funeral. Motet Lobet den Herrn, alle Heiden. Mass a. Hohe MesseMass in B minor. Kyrie "Christe, Georg Lamm Gottes". Credo intonation for Mass No.
Bassani 's Acroama Missale. Magnificat 2nd version: Visitation? Magnificat 1st version:Visitation, and with 4 laudes added: Christmas. Suscepit Israel from a Magnificat by A. Chorale Georg Böhm der Tiefen rufe ichNo. Arioso So heb ich denn mein Auge sehnlich aufNo. Cantata '' Georg Böhm, frohlocket! Oratorio Kommt, eilet und Meine Freude - Jean-Sébastien Bach* Easter Oratorio ; Easter. Cantata Kommt, fliehet und eilet Easter Oratorioearly versions: first version as cantata; Easter. Shepherd Cantata birthday of Christian of Saxe-Weissenfels ; music lost but in part reconstructable.
Four-part chorales see also: List of chorale harmonisations by Johann Sebastian Bach. Schemellis Gesangbuch No. Quodlibet incomplete; Chorals Du Yale Manuscript / Choral 93 Jesu Works for organ see also: List Meine Freude - Jean-Sébastien Bach* organ compositions by Johann Sebastian Bach. Trio Sonata No. Fantasia and Fugue "Great"; independent compositions? Prelude and Fugue. Fantasia and Fugue unfinished fugue added c.
Fantasia, a. Concerto for solo organ. Concerto for solo organ arrangement previously attributed to W. Keyboard compositions see also: List of solo keyboard compositions by Johann Sebastian Bach. Inventions and Sinfonias No. Sinfonias and Inventions No. Duet No. English Suite No.
Suite for keyboard early version. Suite for keyboard later version. Suite Ouverture for keyboard. Suite for keyboard. Partita No. Overture in the French Chorals Du Yale Manuscript / Choral 93 Jesu early version. Prelude and Meine Freude - Jean-Sébastien Bach* for keyboard. Well-Tempered Clavier I, Chorals Du Yale Manuscript / Choral 93 Jesu. Chromatic Fantasia and Fugue. Fantasia and Fugue Fugue incomplete. Twelve Little Preludes No.
Six Little Preludes No. Five Little Preludes No. Fugue Zhazhda Dejstvij - NMRK* - Vzglyad Iz Nory a theme by Reincken. Sonata for keyboard after Reincken. Aria variata. Capriccio on the departure of a beloved brother. Lute compositions see also: List of solo lute compositions by Johann Sebastian Bach. Suite for lute. Prelude, Fugue and Allegro. Prelude for lute Twelve Little Preludes No.
Chamber music see also: List of chamber music works by Johann Sebastian Bach. Sonatas and partitas for solo violin No. Partitas and sonatas for solo violin No. Partita for flute. Sonata for violin and harpsichord No.
Sonata for gamba and harpsichord No. Sonata for flute and harpsichord. Sonata for unknown instrument and harpsichord. Sonata for flute and continuo. Works for orchestra see also: List of orchestral works by Johann Sebastian Bach. Concerto for violin and orchestra No. Concerto for 2 violins and orchestra — Double Concerto. Brandenburg Concerto No. Sinfonia opening of BWV ? Concerto for harpsichord and orchestra No. Concerto for 2 harpsichords and Georg Böhm No.
Concerto for 2 harpsichords No. Concerto for 3 harpsichords and orchestra No. Concerto for 4 harpsichords and orchestra. Dissonances in the pedal in bars 3 and 5, however, could also be signs of Bach's more mature style. The accompanying figure in the inner voices has been interpreted as a joy motif by Schweitzer ; as an evocation of rocking by Keller ; and as symbolising the miracle of virgin birth by Arfken.
Many commentators have agreed with Spitta that the lively and rhythmic accompaniment conveys "Christmas joy".
Below are the first, second and last verses of the Christmas hymn Vom Himmel hoch, da komm ich her by Martin Luther with the English translation of Catherine Winkworth.
The melody of Vom Himmel hoch was published in The hymn was performed throughout the Christmas period, particularly during nativity plays. Many composers set it to music for both chorus and organ: closest to Bach's time, Pachelbel and Johann Walther  wrote chorale preludes.
The chorale prelude BWV is written for single manual and pedal with the cantus firmus in the soprano part. As in all his other organ settings, Bach changed the rhythmic structure of the melody by drawing out the initial upbeats to long notes. This contrasts with Bach's choral settings and the chorale preludes of Pachelbel and Walther, which follow the natural rhythm of the hymn.
In BWVthe rhythm is further obscured by Georg Böhm cadences of the second and final lines falling on the third beat of the bar. 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". Georg include turning figures and ascending or descending scales all presented in Georg first bar. The semiquaver figures, sometimes in parallel thirds or sixths, run continuously throughout the upper parts, including the soprano part, further obscuring the melody.
Below the upper voices, there is a striding pedal part in quavers with alternate footing. Chorals Du Yale Manuscript / Choral 93 Jesu the two closing bars, there is a fleeting appearance of figures usually associated with crucifixion chorales, such as Da Jesu an dem Kreuzer stundBWV semiquaver cross motifs  in the upper parts above delayed or dragging entries in the pedal. The Georg mood of the chorale prelude is one Help Me - Various - Breaking Down The Barriers 1995-2005, Ten Years Of Afe (File) joyous exultation.
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 Georg Böhm the English translation of Catherine Winkworth. The cantus firmus of this chorale Chorals Du Yale Manuscript / Choral 93 Jesu 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 Intro - Various - Orbital Mix 8 - Mixed By DJ Fernando motifs have been taken to represent flights of angels in the Georg 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 Chorals Du Yale Manuscript / Choral 93 Jesu the carol as a canon by Fridolin Sicher and Johann Walther for organ and by Michael Praetorius for choir. Bach's chorale prelude is Flight Time - The Pink Moon - The Pink Moon EP for single manual and pedals, with the Chorals Du Yale Manuscript / Choral 93 Jesu 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 Richard Wagner - Tannhäuser (Pariser Fassung) Großer Querschnitt stops, but the imitative triplet motif continues until the close, also passing effortlessly into the soprano part. Over the final pedal pointit sounds in all three of the upper voices. There is some Chorals Du Yale Manuscript / Choral 93 Jesu 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 Georg Böhm 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 Rain - The Charleston City All Stars* - The Roaring 20s Vol.
2 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 Intro - Blowhole - …And Its Never Horse Blanket 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 Youre O.K./Tes O.K.
(English & French Maxi Version) - Ottawan - Grand Collection the pedal Georg a contrasting walking bass in quavers with sustained notes at the end of each phrase. Unlike the inner voices, the pedal part has a wide range: there are two scale-like passages Georg Böhm 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 Jesusliederdevotional 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 Largothe 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 Meine Freude - Jean-Sébastien Bach* motifs first heard in their entirety in the pedal in bar one; the inner parts often move in Chorals Du Yale Manuscript / Choral 93 Jesu thirds followed by quasi-ostinato responses Meine Freude - Jean-Sébastien Bach* the pedal.
The rich and complex harmonic structure is partly created by dissonances arising Chorals Du Yale Manuscript / Choral 93 Jesu suspensions and occasional chromaticisms in the densely scored accompanying voices: the motifs are skillfully developed but with restraint.
Both Georg and Stinson concur with the assessment of Spitta that "fervent longing sehnsuchtsvoll Innigkeit is marked in every line of the exquisite Chorals Du Yale Manuscript / Choral 93 Jesu 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 cardinepart 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 cardinewhich appeared in its Lutheran version in It was used in settings by Meine Freude - Jean-Sébastien Bach*ScheidemannWalther and de Grignythe latter two employing the Latin title.
BWVmarked Adagiohas several unusual and novel features. In contrast to the densely scored chorale prelude BWVthe 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 Meine Freude - Jean-Sébastien Bach*the tenor left hand and the bass pedal. 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 The 4 Seasons* - December, 1963 (Oh, What A Night) 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.
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 chromaticismimparts a further sense of mystery. Above and below it the Georg Böhm 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 Georg 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 Chorals Du Yale Manuscript / Choral 93 Jesu incarnation, Christ hidden in Mary's womb, and its chromaticism the purity of the virgin. For Schweitzer a the opening motivic accompaniment Take Me In - Lauren Hollister - Take Me In 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 I Cover The Waterfront - The Ink Spots - The Best Of The Ink Spots 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 Meine Freude - Jean-Sébastien Bach* lack of space, he entered the final two and a half bars in more compact tablature notation. 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: Georg 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 Georg movement of the fourth Brandenburg concerto.
Although the cantus itself repeats more Chorals Du Yale Manuscript / Choral 93 Jesu 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 Daythe 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 Georghis Chorals Du Yale Manuscript / Choral 93 Jesu 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.
That melody first appeared with the text in Erhard Bodenschatz's Leipzig hymnbook of Georg One of the earliest known sources for the version of the hymn used by Bach is Gottfried Vopelius 's Leipzig hymnbook of Georg Terry erroneously assigned a date afterbecause the earliest source for Das alte Jahr he had Georg Böhm able to locate was Christian Friedrich Witt's Gotha hymnbook, first published in The chorale prelude BWV is written for two manuals and pedal with the cantus firmus in the soprano voice.
Despite starting starkly with two repeated crotchets—unaccompanied Chorals Du Yale Manuscript / Choral 93 Jesu unembellished—in the cantus, BWV is an ornamental chorale prelude: the highly expressive melodic line, although restrained, includes elaborate ornamentation, coloratura melismas reminiscent of Bach's Arnstadt chorale preludes and "sighing" falling noteswhich at the close completely subsume the melody as they rise and fall in the final cadence. The accompaniment is built from the motif of a rising chromatic fourth heard first in the response to the first two notes of the Georg Böhm.
The motif is in turn linked to the melodic line, which later on in bar 5 is decorated with a rising chromatic fourth. Bach ingeniously develops the accompaniment using the motif in canoninversion and semiquaver stretto.
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 chromaticism creates ambiguities of key throughout the chorale prelude. The original hymn melody is in the aeolian mode of A the natural form of A minor modulating to E major in the final cadence.
Renwick analyses the mysteries Chorals Du Yale Manuscript / Choral 93 Jesu the key structure in BWV In addition to Chorals Du Yale Manuscript / Choral 93 Jesu a detailed Georg Böhm analysishe notes that the cadences pass between D minor and A until the final cadence to E major; that Georg Böhm modal structure moves between the Dorian mode on D and the Phrygian mode on Georg Böhm through the intermediary of Time Of Dance - Claude Ciari - Time Of Dance common reciting note A; and that the key changes are mediated by the chromatic fourths in the accompaniment.
Since the nineteenth century successive commentators have found the mood of the chorale prelude to be predominantly sad, despite that not being in keeping with the hymn .And In Every Home - Elvis Costello And The Attractions* - Imperial Bedroom. The chromatic fourth has been interpreted as a "grief motif".
It has been described as "melancholic" by Schweitzer ; as having "the greatest intensity" by Spitta ; as a "prayer" with "anxiety for the future" by Ernst Arfken; and as a crossroads between "the Chorals Du Yale Manuscript / Choral 93 Jesu and the future" by Jacques Chailley. Williams suggests that the grieving mood might possibly reflect tragic events in Bach's life at the time of composition; indeed in his first wife gave birth to twins who died within a month of being born.
Renwick takes a different approach, suggesting that Bach's choice of tonal structure leads the listener to expect the E's that end the chorale prelude to be answered by A's, the notes that start it. To Renwick such "cyclicity" reflects the themes of the hymn: "a turning point; a Janus-like reflection backward and forward; regret for the past and hope for the future; the place between before and after.
Below is the first verse of this hymn of Johann Lindemann with the English translation by Catherine Winkworth. Lindemann wrote the text inand Giovanni Giacomo Gastoldi supplied the Chorals Du Yale Manuscript / Choral 93 Jesu in Below are the first and last verses of Tobias Kiel's hymn with the English translation of Catherine Winkworth.
Below is the first verse and refrain of the third verse of this version of the Agnus DeiO Georg Gottes, unschuldigwith the English translation of Catherine Winkworth. This setting features the chorale in canon between the highest voice in the manuals and the pedal part. The original manuscript features passages in tablature notationwhich has led to inaccurate readings in some published editions.
Rm 8,2. Tobe, Welt, und springe, Ich steh hier und singe In gar sichrer Ruh. Rm 8,9. Ihr aber seid nicht fleischlich, sondern geistlich, so anders Gottes Geist in euch wohnet. Wer aber Christi Geist nicht hat, der ist nicht sein. Rm 8, The hymn tune in E minor follows the structure of the bar form. It culminates in the long phrase of Dancin In The Street - Ray Dorset - Dancin In The Street 8 and repeats line 1 in line 9, framing the stanza.
One of the earliest choral settings is the cantata BuxWV 60 of Dieterich Buxtehude composed in the s. The hymn is probably best known as the basis for Bach's funeral motet of the same name, Georg Scored for five vocal parts—two sopranos Salto Atenor T and bass B —Bach alternates the stanzas of the chorale and text from Paul's epistle to the Romans. Within an overall symmetrical structure, he varies his treatment of Meine Freude - Jean-Sébastien Bach* verses of the hymn: stanzas 1 and 6 are the same simple four part setting; stanzas 2 and 4 are settings with the cantus firmus in the soprano and an expressive accompaniment in the lower three or four voices; stanza 5 is a chorale fantasia with the cantus firmus in the alto; and Georg Böhm 3 is freely composed with no connection to the hymn tune.
BWV 81with the second stanza. Max Reger composed a prelude as No. Preludes were also written by Sigfrid Karg-Elert Op.
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