Gottes Sohn ist kommen, BWV724
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In Leipzig he began by composing series of cantatas for the church year, later turning his attention to instrumental music for the Collegium musicum of the University, and to the collection and ordering of his own compositions. In Bach had visited Buxtehude in Lubeck, walking there on foot, anxious to hear the greatest organist of the older generation and perhaps interested in seeking to succeed him, something that would have involved unacceptable marriage to Buxtehude's thirty-year-old daughter, an honour he preferred to decline.
The Prelude and Fugue in A minor are thought, on internal evidence, to pre-date this visit.
The Prelude opens with scale-like figuration for the right hand, joined by the left in sixths and thirds, before the entry of the pedals, ending the opening and leading at once, in the twelfth bar, to the Fugue , its subject stated in the soprano, answered in the second soprano, followed by alto, tenor and finally bass, in the pedals.
A slower five-part passage leads to a second chromatic fugal subject, starting with the descending notes of the tonic triad, before ascending chromatically. The work is something in the early style of toccata, with its prelude, first fugue, intervening section, second fugue and postlude. The organ chorale Christ lag in Todesbanden, BWV , Christ lay in the bonds of death may again be dated to the period before Bach's employment as organist at Weimar. It is based on Martin Luther's hymn, itself derived from the Latin Victimae paschali laudes. Descent to Hell is depicted in the descending bass line with which the chorale opens, followed by an ornamented version of the chorale theme.
This two-part texture continues until the fifteenth bar, with its added third voice. The melody is treated in triplets, followed by a passage that allows echo effects between manuals.
The final section brings an augmented version of the end of the chorale, at first on the manuals and then in the pedals. It has been conjecturally dated to the period Bach spent at Weimar between and The text by Luther, published in , has a melody from the same date. Here the chorale melody is given in seven separate phrases on the pedals, with a preceding imitation in one or other of the four other parts. It ends with a double pedal part. The opening is improvisatory in nature, followed by a passage in which chords on the manuals are answered on the pedals, which take a more active role in the final section.
The fugue subject is stated in the tenor, to be answered in the voice immediately below. A soprano entry follows, answered in the alto, leaving the pedals to conclude the five-voice exposition. A brief episode leads to a tonic entry in the tenor, duly answered in the soprano, followed by the subject in the alto. A further episode leads to the final pedal entry. It opens with a fugal subject in the lower part, answered above, before the appearance of the chorale melody itself in the top part as a cantus firmus. This version of the chorale belongs to the Weimar period.
Ein' feste Burg ist unser Gott, BWV , A firm stronghold is our God takes one of the best known of Martin Luther's hymns, for which he himself adapted the melody from plainchant. For three manuals and pedals, the organ chorale opens with a decorated version of the beginning of the chorale, to which an upper part replies, with another version of the melody, now with contrasted registration.
BACH COMPLETE ORGAN WORKS: RECITAL 12 at Wells Cathedral
There follows a short section of two-part imitation, with pedal accompaniment, before the appearance of the chorale as a cantus firmus in the pedals. A section of two-part imitation with pedal accompaniment treats another line of the melody, followed by a plainer version of the last line of the hymn, with accompanying counterpoint.
The chorale ends with a four-voice texture in which the last line of the hymn appears again, leading to a conclusion over a tonic pedal-point. It opens over a tonic pedal, which, with the leap of an octave, provides a figure that re-appears throughout the work, with a four-note rhythmic figure that assumes equal early importance. Affinity has been suggested with the chaconne, a dance-variation form. The text is a German adaptation by Luther of the Christmas Grates nunc omnes reddamus Let us now all give thanks , with a melody derived from the original plainchant.
Written on only two staves, it can be played on manuals only. An ornamented chordal version of the chorale allows a brief, rapid flourish between each line and there is a rather more elaborate treatment in the last four bars of the Kyrie eleison with which Luther's hymn ends.
Nun freut euch, lieben Christen g'mein, BWV , Now rejoice, dear Christians together , comes, presumably, from the Weimar period, although its authenticity has been doubted. It can be played on the manuals and has a chorale melody that is an adaptation by Luther from a secular song, associated by him with the text of his Advent hymn, which takes some elements from the Dies irae.
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The outline of the first line of the chorale melody is suggested in the semiquavers of the introduction, before the entry of the chorale itself in the tenor. It seems to belong to the Weimar period.
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