As organist at Weimar, Johann Sebastian Bach was
charged with providing a harmonic underpinning for the
singing of Lutheran chorale tunes chosen for each day.
Bach wrote out many of these harmonizations, in part as
instruction for younger composers (they are still used
for this purpose). A derivation of this practice,
Bach's conception of the organ chorale, as manifested
in the chorale preludes, dates from 1713 -1714, about
the time he became familiar with Vivaldi's
concertos.
Bach's Or...(+)
As organist at Weimar, Johann Sebastian Bach was
charged with providing a harmonic underpinning for the
singing of Lutheran chorale tunes chosen for each day.
Bach wrote out many of these harmonizations, in part as
instruction for younger composers (they are still used
for this purpose). A derivation of this practice,
Bach's conception of the organ chorale, as manifested
in the chorale preludes, dates from 1713 -1714, about
the time he became familiar with Vivaldi's
concertos.
Bach's Orgelbüchlein (Little Organ Book) contains
chorale preludes for the church year written during the
composer's service at Weimar (1708 - 1717). In about
1713, Bach began assembling the Orgel-Büchlein, and
his earliest entries seem to be Her Christ, der ein'ge
Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ
ist erstanden, BWV 627, and Heut' triumphieret Gottes
Sohn, BWV 630. These were very original compositions,
highly expressive miniatures based on a chorale melody,
supported with refined counterpoint, and featuring
highly condensed motivic writing.
Bach's Orgelbüchlein was essentially complete by 1716.
Only the fragment O Traurigkeit and the chorale
prelude, Helft mir Gottes Güte preisen, BWV 613, were
added later. "Complete" is used with some reservation
here, because Bach originally projected 164 pieces but
completed fewer than 50. In Bach's manuscript, pages
with finished pieces alternate with blank ones intended
for other chorale preludes. The later pieces differ
from Bach's earlier chorale elaborations, in that they
contain only one statement of the melody and are
intended to demonstrate how to accompany a chorale with
contrapuntally proper figurations that support the
meaning of the text.
In the early 1740s Bach assembled a number of chorale
preludes, possibly with the intention of publishing
them as a set. These Achtzehn Choräle (Eighteen
Chorales) BWV 651 - 668 were almost certainly written
before 1723 and revised later. The Fantasia super Komm,
heiliger Geist, BWV 651 is an especially impressive,
extended elaboration of the chorale melody, which is in
the pedal. The tune is treated in a less ornate fashion
in the next prelude of the set (BWV 652). The highly
convoluted Von Gott will ich nicht lassen, BWV 658 also
contains the chorale melody in the pedal.
The six Schübler chorales (BWV 645 - 650) are derived
from Bach's cantatas and contain one of his most
popular chorale preludes, on the melody Wachet auf,
ruft uns die Stimme, BWV 645.
The third part of Bach's Clavier-Übung, published in
Leipzig in 1739, contains 21 chorale preludes (not all
appear in every publication), many of which are for
manuals only. Nine of these are meant for use during
the Mass, while the others are for the catechism. Among
the most impressive is Kyrie, Gott heiliger Geist, BWV
671, which is in five voices with the chorale melody in
the pedal. More complex is the first of two preludes on
Aus tiefer Not schrei ich zu dir, BWV 686, which is in
six parts, including two pedal parts.
This work is based on the chorale tune "Ach Gott vom
Himmel sieh darein" (Oh God of heaven look upon us). Of
course, Bach did not merely do take-offs on the source
themes in his chorale preludes and chorale fantasias,
for he also attempted to capture the character
suggested by the chorale's text. Here, the mood is
rather somber throughout in its rather stately and
grandiose treatment of the theme. But Bach imparts a
celestial sense to the music as well, wringing from its
chord-drenched textures, bass-laden sonorities, and
often austere-sounding tones a reverence and religious
sense whose fervor achieves an almost trance-like
bliss. The work opens with the chorale theme mostly
played in solemn chords that invoke a mood of
contemplation, the music slowly moving along in an
almost march-like manner. The mood brightens somewhat
around midway through, as sonorities rise higher on the
keyboard, but the sense of deep reverence and religious
meditation remain. As the music proceeds, it develops a
greater sense of ecstasy, Bach's contrapuntal writing
deftly underscoring the rapturous atmosphere. This
chorale prelude gloriously ends with a series of
powerful, sustained chords that grandly ring out.
Source: Allmusic
(http://www.allmusic.com/composition/wir-glauben-all-an
-einen-gott-iv-chorale-prelude-for-organ-by-j-l-krebs-n
ot-jsb-bwv-740-mc0002379185).
Although originally written for Pipe Organ, I created
this Interpretation of the Chorale Prelude (BWV 741)
"Ach Gott vom Himmel sieh darein" (Oh God of heaven
look upon us) for String Quintet (2 Violins, Viola,
Cello & Bass).
SHEET MUSIC