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.
BWV 669 is a chorale motet for two manuals and pedal in
4/2 time. The four lines of the cantus firmus in the
phrygian mode of G are played in the top soprano part
on one manual in semibreve beats. The single fugal
theme of the other three parts, two in the second
manual and one in the pedal, is in minim beats and
based on the first two lines of the cantus firmus. The
writing is in alla breve strict counterpoint,
occasionally departing from the modal key to B flat and
E flat major. Even when playing beneath the cantus
firmus, the contrapuntal writing is quite elaborate.
The many stile antico features include inversions,
suspensions, strettos, use of dactyls and the canone
sine pausa at the close, where the subject is developed
without break in parallel thirds. Like the cantus
firmus, the parts move in steps, creating an effortless
smoothness in the chorale prelude.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III).
I created this transcription of the Chorale Motet (BWV
669) "Kyrie, Gott Vater" (Kyrie, O God, Eternal Father)
for Pipe Organ.
PARTITION