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.
Vater unser im Himmelreich BWV 682 in E minor has long
been considered the most complex of Bach's chorale
preludes, difficult at the levels of both understanding
and performance. Through a ritornello trio sonata in
the modern French galante style, the German chorale of
the first verse is heard in canon at the octave, almost
subliminally, played in each hand together with the
obligato instrumental solo. Bach had already mastered
such a compound form in the choral fantasia opening his
cantata Jesu, der du meine Seele, BWV 78. The canon
could be a reference to the Law, the adherence to which
Luther saw as one of the purposes of prayer.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III).
Although originally created for Organ, I created this
Interpretation of the Chorale Prelude (BWV 682) "Vater
unser im Himmelreich" (Our Father who art in heaven)
for Flute & String Trio (Violin, Viola & Cello).