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BIBLIOTHÈQUE
Bach, Johann Sebastian Johann Sebastian Bach
Allemagne Allemagne
(1685 - 1750)

6897 Partitions
7588 MP3
1350 MIDI



Arrangeurs :
› Bach, Johann Sebastian Original (2)
› Busoni, Ferruccio (1)
› MACHELLA, MAURIZIO (1)
› Magatagan, Mike (17)
› Tran, Minh Tu (3)
› Non attribuées (12)

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Partitions Hautbois Hautbois, Alto et Violoncelle Johann Sebastian Bach
Bach, Johann Sebastian: Trio: "Allein Gott in der Höh

Trio: "Allein Gott in der Höh'" for Oboe, Viola & Cello
BWV 677
Johann Sebastian Bach



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EcouterTélécharger MP3 : Trio: "Allein Gott in der Höh'" (BWV 677) for Oboe, Viola & Cello 9x 174x VoirTélécharger PDF : Trio: "Allein Gott in der Höh'" (BWV 677) for Oboe, Viola & Cello (1 page - 93.17 Ko)76x
 

 
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Compositeur :Johann Sebastian BachBach, Johann Sebastian (1685 - 1750)
Instrumentation :

Hautbois, Alto et Violoncelle

Genre :

Baroque

Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
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.

Bach's three settings of the German Gloria/Trinity hymn Allein Gott in der Höh' again make allusion to the Trinity: in the succession of keys—F, G and A—possibly echoed in the opening notes of the first setting BWV 675; in the time signatures; and in the number of bars allocated to various sections of movements. The three chorale preludes give three completely different treatments: the first a manualiter trio with the cantus firmus in the alto; the second a pedaliter trio sonata with hints of the cantus firmus in the pedal, similar in style to Bach's six trio sonatas for organ BWV 525–530; and the last a three-part manualiter fughetta with themes derived from the first two lines of the melody. Earlier commentators considered some of the settings to be "not quite worthy" of their place in Clavier-Übung III, particularly the "much-maligned" BWV 675, which Hermann Keller considered could have been written during Bach's period in Weimar. More recent commentators have confirmed that all three pieces conform to the general principles Bach adopted for the collection, in particular their unconventionality and the "strangeness" of the counterpoint. Williams (2003) and Butt (2006) have pointed out the possible influence of Bach's contemporaries on his musical language. Bach was familiar with the eight versions of Allein Gott by his cousin Johann Gottfried Walther as well as the Harmonische Seelenlust of Georg Friedrich Kauffmann, posthumously printed by Bach's Leipzig printer Krügner. In BWV 675 and 677 there are similarities with some of Kauffmann's galant innovations: triplets against duplets in the former; and explicit articulation by detached quavers in the latter. The overall style of BWV 675 has been compared to Kauffmann's setting of Nun ruhen alle Wälder; that of BWV 676 to the fifth of Walther's own settings of Allein Gott; and BWV 677 has many details in common with Kauffmann's fughetta on Wir glauben all an einen Gott.

Source: Wikipedia (https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III).

Although originally created for Organ, I created this Interpretation of the Trio (BWV 677) "Allein Gott in der Höh'" (All glory be to God on high) for Oboe, Viola & Cello.
Source / Web :MuseScore
Ajoutée par magataganm le 2016-09-20
Partition centrale :Chorale Préludes, 669-689 (36 partitions)
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Cette partition est associée à la collection de magataganm :
Viola Arrangements


Liste des partitions :
› "Joy to the World" for String Quartet
› 'Élégie' for Viola & Harp - Alto et Harpe
› "Élégie" from "6 Études pour la Main Gauche" for String Quartet
› "3 Chants Sacrés" for Viola & Piano
› "Ach bleib bei uns, Herr Jesu Christ" for Viola
› "Albinoni's Adagio" for Viola & Harp - Alto et Harpe
› "Album leaf" from Lyric Pieces for String Quartet
› "Album" for String Quartet
› "All They That See Him Laugh Him to Scorn" for Horn & Strings
› "All Through the Night" for Violin, Viola & Harp






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