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

6808 Partitions
7461 MP3
1288 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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Bach, Johann Sebastian: Prelude: "Aus tiefer Not schrei ich zu dir" for Woodwind Quintet

Prelude: "Aus tiefer Not schrei ich zu dir" for Woodwind Quintet
BWV 686
Johann Sebastian Bach




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EcouterTélécharger MP3 : Prelude: "Aus tiefer Not schrei ich zu dir" (BWV 686) for Woodwind Quintet 26x 317x VoirTélécharger PDF : Prelude: "Aus tiefer Not schrei ich zu dir" (BWV 686) for Woodwind Quintet (4 pages - 141.18 Ko)167x
 

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

Quintette ą vent : Flūte, Clarinette, Hautbois, Cor, Basson

  1 autre version
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.

The chorale prelude Aus tiefer Not schrei ich zu dir BWV 686 is a monumental chorale motet in the phrygian mode of C. The climax of Clavier-Übung III, it is composed in the strict polyphonic stile antico of Palestrina using florid counterpoint. This is Bach's unique six part composition for organ, if the Ricercar a 6 from the Musical Offering BWV 1079 is discounted. German organ writing for double pedal (doppio pedale) can be traced back to Arnolt Schlick and Ludwig Senfl in the 16th century; to Samuel Scheidt in two settings from his Tabulatura Nova in the early 17th century; and in the baroque period to Buxtehude, Reincken, Bruhns, Tunder, Weckmann and Lübeck. In France, among the composers to have written double pedal parts were Franēois Couperin, in his organ mass des paroisses, and Louis Marchand.

The first verse of Luther's hymn had already been set by Bach in the cantata Aus tiefer Not schrei ich zu dir, BWV 38 (1724). The fact that the setting in BWV 686 flows more easily, has more countersubjects, has more novel features and has typically organ figurations in the final section has suggested that in this case the whole of Luther's text was taken into account and that it is a purer version of the stile antico. Following the huge scale of the opening, Bach highly inventively incorporates motifs from the cantus firmus into the countersubjects of the seven sections (counting the repeat), resulting in a constantly changing musical texture. The widest range in pitch between upper and lower parts occurs exactly halfway through at bar 27. At the end of each line the cantus firmus is taken up in the left (lower) pedal, which, without break, then plays the countersubject while above the right (upper) pedal concludes the section by playing the cantus firmus in the tenor register in augmentation (i.e., with doubled note lengths). The proliferation of dactyl "joy" motifs (a crotchet followed by two quavers) in the last section of the prelude reflects the optimism in the last verse.

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 686) "Aus tiefer Not schrei ich zu dir" (Out of the depths I cry to Thee) for Woodwind Quintet (Flute, Oboe, Bb Clarinet, French Horn & Bassoon).
Source / Web :MuseScore
Ajoutée par magataganm le 2016-09-22
Partition centrale :Chorale Préludes, 669-689 (36 partitions)

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Collection Mel Bay pour Flute
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Cette partition est associée ą la collection de magataganm :
flûte
flûte
Dispositions Flute
Liste des partitions :
› Élévation from 30 Pièces pour Orgue for Flute & Strings
› "Matribus suis dixerunt" for Woodwind Quintet
› "2 Alma Redemptoris Mater" for Woodwinds & Strings - Vents et Quintet ą cordes
› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent






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