The Clavier-Übung III, sometimes referred to as the
German Organ Mass, is a collection of compositions for
organ by Johann Sebastian Bach, started in 1735–36
and published in 1739. It is considered Bach's most
significant and extensive work for organ, containing
some of his musically most complex and technically most
demanding compositions for that instrument.
In its use of modal forms, motet-style and canons, it
looks back to the religious music of masters of the
stile antico, such ...(+)
The Clavier-Übung III, sometimes referred to as the
German Organ Mass, is a collection of compositions for
organ by Johann Sebastian Bach, started in 1735–36
and published in 1739. It is considered Bach's most
significant and extensive work for organ, containing
some of his musically most complex and technically most
demanding compositions for that instrument.
In its use of modal forms, motet-style and canons, it
looks back to the religious music of masters of the
stile antico, such as Frescobaldi, Palestrina, Lotti
and Caldara. At the same time, Bach was
forward-looking, incorporating and distilling modern
baroque musical forms, such as the French-style
chorale.
The work has the form of an Organ Mass: between its
opening and closing movements—the prelude and "St
Anne" fugue in E-flat, BWV 552—are 21 chorale
preludes, BWV 669–689, setting parts of the Lutheran
mass and catechisms, followed by four duets, BWV
802–805. The chorale preludes range from compositions
for single keyboard to a six-part fugal prelude with
two parts in the pedal.
The purpose of the collection was fourfold: an
idealized organ programme, taking as its starting point
the organ recitals given by Bach himself in Leipzig; a
practical translation of Lutheran doctrine into musical
terms for devotional use in the church or the home; a
compendium of organ music in all possible styles and
idioms, both ancient and modern, and properly
internationalised; and as a didactic work presenting
examples of all possible forms of contrapuntal
composition, going far beyond previous treatises on
musical theory.
The dominant tone of this carefree chorale trio is one
of jubilation. This is logical, as the hymn that lies
at the heart of this piece is based partly on the
singing of the angels from the Nativity. The melody is
constantly present, and the opening theme is in fact an
embellished version of the first line. Moreover, Bach
weaves the whole melody into the piece line by line, in
long notes, and at a certain point even repeatedly in a
short canon between the bass part and one of the upper
parts.
The hymn held special significance for Lutherans and
was sung every Sunday. The words and the melody are
based on an older hymn: the Gloria – one of the
regular hymns in the Latin Mass. Luther himself said
that the words of the Gloria were not written by human
hand, “because they did not originate on earth, but
were brought down from heaven”. After all, according
to Luke the Evangelist, they are the words sung by the
angels after the birth of Jesus: “Glory be to God in
the highest, and on earth peace, good will toward
men”. At the end of his compositions, Bach often used
a shortened version of these words, ending his score
with the letters “SDG”; an abbreviation of the
Latin Soli Deo Gloria.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III).
Although originally created for Organ, I created this
Interpretation of the Trio (BWV 676) "Allein Gott in
der Höh'" (All glory be to God on high) for Flute,
Oboe & Cello.
PARTITION