The Orgelbüchlein ("Little Organ Book") BWV 599-644 is
a collection of 46 chorale preludes for organ written
by Johann Sebastian Bach. All but three of them were
composed during the period 1708–1717, while Bach was
court organist at the ducal court in Weimar. The
remaining three, along with a short two-bar fragment,
were added in 1726 or later, after Bach's appointment
as cantor at the Thomasschule in Leipzig.
The collection was originally planned as a set of 164
chorale preludes spa...(+)
The Orgelbüchlein ("Little Organ Book") BWV 599-644 is
a collection of 46 chorale preludes for organ written
by Johann Sebastian Bach. All but three of them were
composed during the period 1708–1717, while Bach was
court organist at the ducal court in Weimar. The
remaining three, along with a short two-bar fragment,
were added in 1726 or later, after Bach's appointment
as cantor at the Thomasschule in Leipzig.
The collection was originally planned as a set of 164
chorale preludes spanning the whole liturgical year.
The chorale preludes form the first of Bach's
masterpieces for organ with a mature compositional
style in marked contrast to his previous compositions
for the instrument. Although each of them takes a known
Lutheran chorale and adds a motivic accompaniment, Bach
explored a wide diversity of forms in the
Orgelbüchlein. Many of the chorale preludes are short
and in four parts, requiring only a single keyboard and
pedal, with an unadorned cantus firmus. Others involve
two keyboards and pedal: these include several canons,
four ornamental four-part preludes, with elaborately
decorated chorale lines, and a single chorale prelude
in trio sonata form. The Orgelbüchlein has a four-fold
purpose: it is a collection of organ music for church
services, a treatise on composition, a religious
statement, and an organ-playing manual.
In these chorale preludes, the traditional Lutheran
hymns are subjected to various types of polyphonic
treatment, with different types of countersubjects and
imitative devices. The two pieces chosen by Mr. Escaich
show two different compositional approaches: in the New
Year chorale In dir ist Friede ("In You is Peace"), the
melody is heard in close four-part imitation,
elaborating on the very first two measures of the tune
in particular. The Easter hymn Christ ist erstanden
("Christ Has Risen"), by contrast, is given in three
variations; what is remarkable is that not only the
countersubjects change from one variation to the next
but the melody itself undergoes slight modifications.
However, the chorale melody doesn't wander from voice
to voice but stays in the treble all the way through.
In the chorale prelude BWV 642, the unadorned cantus
firmus in 4/4 time is in the soprano voice. The two
inner voices, often in thirds, are built on a motif
made up of two short beats followed by a long beat—an
anapaest—often used by Bach to signify joy (for
example in BWV 602, 605, 615, 616, 618, 621, 623, 627,
629, 637 and 640). The pedal has a walking bass which
also partly incorporates the joy motif in its responses
to the inner voices. For Schweitzer (1905) the
accompaniment symbolised "the joyful feeling of
confidence in God's goodness." BWV 642 has similarities
with the earlier chorale prelude BWV 690 from the
Kirnberger collection, with the same affekt of a
delayed entry in the second half of the cantus firmus.
The compositional structure for all four voices in BWV
642 is close to that of BWV 643
Source: Wikipedia
(https://en.wikipedia.org/wiki/Orgelb%C3%BCchlein).
Although originally created for Organ, I created this
Interpretation of Choral Prelude (BWV 642) "Wer nur den
lieben Gott läßt walten" (He who allows dear God to
lead him) for Oboe & Strings (Violin, Viola & Cello).
SHEET MUSIC