By Bach, Johann Sebastian; Bach, Johann Sebastian; Stinson, Russell
At the 250th anniversary of the composer's loss of life, this quantity bargains an in-depth examine the "Great Eighteen" organ chorales, one of the such a lot celebrated works for organ, and a milestone within the heritage of the chorale. Addressed to organists, students, and basic listeners alike, this lucid and fascinating publication examines the song from a large spectrum of historic and analytical perspectives.
Stinson examines the types utilized by Bach in conceiving the unique items, his next compilation of those works right into a assortment, and his compositional method as preserved through the autograph manuscript. Himself an complete organist, Stinson additionally considers a number of problems with functionality perform and concludes with a dialogue of the music's reception--its dissemination in manuscript and published shape, its functionality historical past, and its effect on later composers. thoroughly up to date and proposing a wealth of latest fabric, a lot of it translated into English for the 1st time, this learn will open up clean views on a few of the composer's maximum creations
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Extra info for J.S. Bach's great eighteen organ chorales
He is not in any way bound by the chorale melody or its harmonic implications but is able to modulate to any key and to offer as many statements of the rilornello as he wishes. 26 Both manual parts are also in the treble register, like 22 J. S. Bach's Great Eighteen Organ Chorales the vast majority of Baroque trio sonatas. With respect to texture, form, range, and figuration, the parallels to Bach's six trio sonatas for organ are clear. Zehnder argues convincingly that the specific Italian models for these two works arid several others from Bach's Weimar period include the Opus 8 concertos of Giuseppe Torelli, published posthumously in 1709.
That he Compositional Models and Musical Style 17 also employed it at a rather late date is attested to by the presence of five such works in Part 111 of the Clavierubung, published in 1739. The Great Eighteen contain five cantus firrnus chorales proper. "Nun danket alle Cott" and "Vor deinen Thron tret ich hiermit" are both clear-cut specimens of the Pachelbel type in their use of pre-imitation (or all phrases of the chorale tune, which is stated in both works by the soprano voice. ) Still, Bach easily surpasses this model in several respects.
These two melodies also have roughly the same shape as those in the third "Allein Gott" setting. As the texture thickens to three parts, a fugal exposition occurs. And yet the hands remain on the same manual. Only after the opening fugal passage is a second keyboard engaged, for the phrase-by-phrase presentation of the chorale tune in the tenor register, in a highly embellished form. This last feature means, of course, that this work is also a clear-cut example of an ornamental chorale. Zehnder hazards no guess about a composition date.