Der Finanzrat: räsonniert nicht, sondern bezahlt! The chorale prelude BWV 605 is written for two manuals and pedal with the cantus firmus in the soprano part. The combination of the four parts conveys a joyous mood, similar to that of BWV 606 and 609. The canon is itself disguised, in crotchets in the first half with the same rhythm as the soprano; but in the second half it is heard in fragmentary form at double the speed in quavers. Diese graue Patina schützt das Haus besser vor Witterungseinflüssen als eine Lasur. 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. Some commentators, aware that the number "ten" of the Ten Commandments has been detected in the two chorale preludes of Clavier-Übung III, have endeavoured to find a hidden numerology in BWV 635. Usually sung on Good Friday, the hymn has as its theme the Seven Last Words from the Cross, each of the seven intervening verses meditating on a different Word. As with the most of the collection, Bach had allotted one page for the chorale prelude. Despite starting starkly with two repeated crotchets—unaccompanied and unembellished—in the cantus, BWV 614 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 notes, which at the close completely subsume the melody as they rise and fall in the final cadence. The cantus firmus, composed in 1525 by Matthias Greitter and associated with Whitsuntide, was also later used with the same words for the closing chorale of the first part of the St Matthew Passion, taken from the 1725 version of the St John Passion. 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 Bach scholar Hermann Keller has described the resulting musical texture as the most ethereal in the Orgelbüchlein. It is the only time Bach that used this hymn tune. Below are the first and last two verses of the funeral hymn of Johann Georg Albinus with the English translation of Catherine Winkworth. The chorale prelude BWV 635 is in the mixolydian mode with the cantus firmus in the soprano voice in simple minims. [15] The cross motifs are followed by suspended crochets, falling in steps. 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. Warum Sie das teurere Ticket buchen sollten! The highly ornate ornamentation is rare amongst Bach's chorale preludes, the only comparable example being BWV 662 from the Great Eighteen. Similarly for Schweitzer (1911b), the pedal line symbolises "the drooping of the exhausted body of Jesus on the cross." The melody of Vom Himmel hoch was published in 1539. A Bach Book for Harriet Cohen: Transcriptions for Pianoforte from the works of J.S. For Hermann Keller, the running quavers and semiquavers "suffuse the setting with health and strength." of a wonderfully true aesthetic feeling" [in Bach], since "that enforced quietude of direst anguish was no real calm." Many commentators have interpreted the compositional form and motifs of BWV 621 in terms of the themes of the Passiontide hymn, primarily concerned with the crucifixion. These novel features mark a departure from the more standard settings of the hymn by Bach's predecessors such as Fischer which conform more closely to the stile antico. Der Grund der Forderung scheint dabei schlicht zu sein, dass die Zeit des Herbstes gekommen ist („es ist Zeit“, V. 1), dass der Sommer vergangen ist. Var. It is unusual in that in most published versions no repeats are marked. In der Tat, es ist alles inszeniert. The same type of bass line was used much later by Bach in the chorale prelude Wir glauben all an einen Gott”, BWV 664 in Clavier-Übung III. More than a simple accompaniment, the push the harmonies forward, revealing it unexpectedly at every turn. 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." The chromaticism creates ambiguities of key throughout the chorale prelude. Over the final pedal point, it sounds in all three of the upper voices. Dabei ist es durchaus erstaunlich, wie groß die Identifikation vieler Mitarbeiter mit ihrem Unternehmen heute erfreulicherweise ist. Below is the first verse of this hymn of Johann Lindemann with the English translation by Catherine Winkworth. Although there is some ambiguity in the autograph manuscript, the crossing of parts suggests that the intended scoring is for single manual and pedals. As the piece progresses the motifs become more concentrated, with the alto taking up some of the tenor motifs towards the close. 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. In addition to giving a detailed Schenkerian analysis, he notes that the cadences pass between D minor and A until the final cadence to E major; that the modal structure moves between the Dorian mode on D and the Phrygian mode on E through the intermediary of their common reciting note A; and that the key changes are mediated by the chromatic fourths in the accompaniment. 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. Amedeo de Filippi, string quartet/orchestra. The chorale prelude BWV 610 is scored for single manual and pedal, with the cantus firmus unadorned in the soprano voice. Bach's ingenious writing is constantly varying. 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. Bach: Für Klavier zu 2 Händen übertragen, Universal Edition, 1900. The mood also reflects the first two lines of the third verse, "O love of the father, O gentleness of the newborn!" The last line repeats the first but with the suspirans suppressed and the dotted rhythms of the bass replaced by a long pedal note, possibly reflecting the wonder described in the third and fourth lines of the first verse. This emphatic hammering motif is passed imitatively between the lower voices as a form of canon. 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. Below are the first and last verses of Nikolaus Herman's Christmas hymn with the English translation by Arthur Tozer Russell. Below are the first and fourth verses of Martin Luther's Easter hymn Christ lag in Todesbanden with the English translation of Paul England.[40]. These include the chorale partitas BWV 766-768 and 770, all sets of variations on a given chorale. Below is the text of the first and last verse of the Passiontide hymn with the English translation of John Christian Jacobi. Despite the harmonious thirds and sixths in the inner parts, the second semiquaver of the motif produces a momentary dissonance that is instantly resolved, again contributing to the mood of joy tinged by sadness. After Orgelbüchlein, Bach returned to the hymn with a pair of chorale preludes (BWV 682 and 683) in Clavier-Übung III. Below is the traditional fourteenth century German/Latin Christmas carol In dulci jubilo with the English/Latin translation of Robert Lucas de Pearsall. The accompaniment in the three lower voices is built up from two motifs each containing the repeated notes that characterise the theme. There is a precursor of the musical style of BWV 611—the plainchant melody A solis ortus cardine/Hostis herodes impie accompanied by polyphonic scale motifs—in the 1667 Deuxième Livre d’Orgue of Nivers. The hymn tune was later set to other words, notably "Wer weiß, wie nahe mir mein Ende" ("Who knows how near is my end?"). They are in four parts, with three accompanying voices. The abrupt leaps in the pedal part create unexpected changes in key; and halfway through the chorale prelude the tangled inner parts are inverted to produce an even stranger harmonic texture, resolved only in the final bars by the modulation into a major key. Der alt böse Feind mit Ernst er's jetzt meint, groß Macht und viel List sein grausam Rüstung ist, auf Erd ist nicht seins gleichen. Below are the first and third verses of the Lutheran hymn Herr Jesu Christ, dich zu uns wend by Wilhelm, Duke of Saxe-Weimar (1648) with the English translation of John Christian Jacobi. To Spitta (1899) the scales "hurry by like misty ghosts." 73, an expanded arrangement for organ, attributed to the composer's son C.P.E. Philips is a diversified health and well-being company, focused on improving people’s lives through meaningful innovation. Transcriptions from Machaut to J.S. 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. BILD-Reporter Peter Tiede erklärt den Zahlen-Trick von Gesundheitsminister Jens Spahn. The accompaniment in the inner parts and pedal is based on a four-note semiquaver suspirans motif (i.e. The chorale prelude has generated numerous interpretations of its musical imagery, its relation to the text and to baroque affekt. BWV 612 is written for single manual and pedal with four voices. 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 twisting inner parts have been interpreted as illustrating the words verderbt ("ruined") by Hermann Keller and Schlang ("serpent") by Jacques Chailley. express this through musical means." 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 earliest surviving autograph manuscript of a chorale prelude is BWV 739, Wie schön leuchtet der Morgenstern, based on an Epiphany hymn. After Orgelbüchlein, Bach set the entire hymn in cantata Es ist das Heil uns kommen her, BWV 9; and composed chorales on single verses for cantatas 86, 117, 155 and 186. Williams further suggests that the F♯ major chord at bar 25 might be a reference to leuchtet als die Sonne ("shines like the sun") in the first verse; and the long pedal point at the close to Alpha es et Omega ("You are the Alpha and the Omega") at the end of the first verse. The Orgelbüchlein is simultaneously a compositional treatise, a collection of liturgical organ music, an organ method, and a theological statement. [6] Only a few other organ works based on chorales can be dated with any certainty to this period. 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. Mich erreichen 20, 30 E-Mails am Tag mit Sorgen. The second motif is passed from voice to voice in the accompaniment—there are two passages where it is adapted to the pedal with widely spaced semiquavers alternating between the feet—providing an unbroken stream of semiquavers complementing the first motif. For Williams (2003) 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 (1905) already described the accompanying triplets as representing a "direct and naive joy." The cantus firmus alto part is in a dotted rhythm shared between the two hands, as if hidden. The accompaniment in each lower voice is constructed from its own separate motifs, each having its own characteristic rhythm. Seb. Each setting takes an existing Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Bach left no indication that the manualiter parts were to be played on two keyboards: indeed, as Stinson (1999) points out, the autograph score brackets all the keyboard parts together; in addition technically at certain points the keyboard parts have to be shared between the two hands. The accompaniment in the two middle voices, often in parallel sixths, and the pedal is derived from the first four notes of the melody.
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