Johann Sebastian Bach (1685 - 1750) was better known as
a virtuoso organist than as a composer in his day. His
sacred music, organ and choral works, and other
instrumental music had an enthusiasm and seeming
freedom that concealed immense rigor. Bach's use of
counterpoint was brilliant and innovative, and the
immense complexities of his compositional style --
which often included religious and numerological
symbols that seem to fit perfectly together in a
profound puzzle of special codes -- stil...(+)
Johann Sebastian Bach (1685 - 1750) was better known as
a virtuoso organist than as a composer in his day. His
sacred music, organ and choral works, and other
instrumental music had an enthusiasm and seeming
freedom that concealed immense rigor. Bach's use of
counterpoint was brilliant and innovative, and the
immense complexities of his compositional style --
which often included religious and numerological
symbols that seem to fit perfectly together in a
profound puzzle of special codes -- still amaze
musicians today. Many consider him the greatest
composer of all time.
This chorale prelude, Gott, durch deine Güte (God,
Through Your Goodness), is the second of 45 that
comprise Bach's collection entitled Orgelbüchlein
(Little Organ Book). Written during the exact span of
his service as Court organist for the Duke of
Sachsen-Weimar (1708 - 1717), they were designed for
church service as well as for study and performance by
organ students. The ingenious Bach fills both purposes
with remarkable skill, but in the end, also produces a
masterful gem on purely musical terms. (Incidentally,
this work is also known as Gottes Sohn Ist Kommen
[God's Son Is Coming] and is not to be confused with
the later Fughette [BWV 703] of the same title.)
This gentle chorale prelude opens with a bright theme
in the soprano, underneath which there is finely
imagined canonic activity in the tenor. In the lower
ranges, a roaming ostinato figure can be heard further
enhancing the joyous mood of the piece. In the end, the
subtle detail and craftsmanship Bach invests this work
with is a marvel: the listener often notices something
entirely new on each audition. Lasting just over a
minute -- a not uncommonly brief duration in this set
of mostly miniature works -- this chorale prelude will
appeal to most Baroque and serious organ music
aficionados.
Although originally written for Organ, I created this
arrangement for Clarinet Quartet (Bb Clarinets (3) &
Bass Clarinet).
PARTITION