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.
The manualiter chorale prelude BWV 683 in the Dorian
mode of D is similar in form to Bach's earlier
composition BWV 636 on the same subject from the
Orgelbüchlein; the lack of a pedal part allows more
freedom and integration of parts in the latter work.
The cantus firmus is played without interruption in the
uppermost part, accompanied by three part counterpoint
in the lower parts. The accompaniment uses two motifs:
the five descending semiquavers in the first bar,
derived from the fourth line of the chorale "und willst
das beten von uns han" (and wishes us to pray); and the
three quaver figure in the alto part in the second half
of bar 5. The first motif is also inverted. The quiet
and sweetly harmonious nature of the music is evocative
of prayer and contemplation. Its intimate scale and
orthodox style provide a complete contrast to the
previous "larger" setting in BWV 682. At the beginning
of each line of the chorale, the musical texture is
pared down, with more voices added towards the end of
the line: the long very first note of the chorale is
unaccompanied. The prelude comes to a subdued
conclusion in the lower registers of the keyboard.
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 683) "Vater
unser im Himmelreich" (Our Father who art in heaven)
for Oboe & String Trio (Violin, Viola & Cello).
SHEET MUSIC