130:: "His grace's delight in his playing fired him to attempt everything possible in the art of how to treat the organ. Here he also wrote most of his organ works." During Bach's time at Weimar, the chapel organ there was extensively improved and enlarged; occupying a loft at the east end of the chapel just below the roof, it had two manual keyboards, a pedalboard and about a dozen stops, including at Bach's request a row of tuned bells. It is probable that the longer chorale preludes composed then served some ceremonial function during the services in the court chapel, such as accompanying communion.
243:, where Bach pushed his compositional techniques for the organ to new limits, the chorale settings of Bach's Great Eighteen represent "the very quintessence of all he elaborated in Weimar in this field of art;" they "transcend by their magnitude and depth all previous types of choral prelude"; and they display a "workmanship as nearly flawless as we have any right to expect of a human being." The eighteen are characterized by their freely developed and independent accompaniment filling the long intervals between the successive lines of the
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31:
611:, this jubilant and lively concerto-like chorale prelude echos the "eternal joy and blissful light" of the last verse. The chorale prelude's progression through the keys of G, D, E minor, B minor, D and finally G, is reminiscent of Vivaldi concertos. The two manual solo parts and pedal continuo are based on elements from the cantus firmus, which is heard in its entirety in the pedal part of the recapitulation.
990:, inventive, scintillating, joyous and concerto-like; the two independent solo parts and the pedal continuo are based on elements from the cantus firmus, the first two phrases of which are only heard right at the end of the piece in the pedal before the final pedal point and coda. The chorale prelude is in three parts: six fugal statements of the ritornello; a series of brilliant violinistic episodes with
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prelude closing with a seemingly timeless bell-like coda over a pedal point, perhaps illustrating the final lines of the hymn, "after death we will be buried deep in the earth; when we have slept, we will be awoken by God." In this "bell" coda, the note c1 sharp is heard 7 times consecutively, within a fourth voice, outside of the three accompaniment voices. This is indicative of the German funeral bell.
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573:, in the soprano alternates with the dance-like ritornellos of the two intertwining lower parts above a pedal bass; the unearthly counterpoint between the four parts creates an air of great serenity, a "rapturous meditation" on the rite of communion. The adornment in the title is illustrated by the French-style ornamentation of the upper parts.
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The three-part imitative accompaniment in the pedal and lower keyboard of this chorale prelude is based on figures derived from the 4 different lines of the melody and their inversions; each line of the cantus firmus itself is heard in the simple soprano line, stripped of any embellishment, after its
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The accompanying ritornello of this chorale prelude takes the form of a trio sonata, the two fantasia-like upper parts, with their lively constantly varying contrapuntal quaver figurations, matched by a solid pedal continuo; the aria-like ornamented cantus firmus is heard in the long tenor part, with
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There have been various accounts of the circumstances surrounding the composition of this chorale. The biographical account from 1802 of Johann
Nicolaus Forkel that Altnikol was copying the work at the composer's deathbed has since been discounted: in the second half of the eighteenth century, it had
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The first thirteen chorale preludes BWV 651–663 were added by Bach himself between 1739 and 1742, supplemented by BWV 664 and 665 in 1746–7. In 1750 when Bach began to suffer from blindness before his death in July, BWV 666 and 667 were dictated to his student and son-in-law Johann
Christoph Altnikol
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The ornate three-part keyboard accompaniment is derived from the opening notes of the hymn and a separate "joy motif" that permeates the piece, exquisitely "winding above and around like a luxurious garland of amaranth." Only four lines of the cantus firmus are heard in the tenor pedal, the chorale
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This chorale prelude is unusually scored as a two-part invention for pedal and bass, with the ornamented cantus firmus in the soprano line following the original hymn melody fairly closely. The opening ritornello, played imitatively in canon, contains the notes of the cantus firmus—g, g, f♯, bâ™, a,
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In this choral prelude, each of the four lines of the cantus firmus passes through the four different voices, accompanied by a counter-subject giving the musical colour appropriate to that line: the carrying of the Cross; God's anger; Christ's bitter suffering; and resurrection from the torment of
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hymn, is a subdued prelude in four parts based on the cantus firmus, which appears explicitly in the soprano line over the flowing quaver accompaniment; in the second verse the cantus firmus moves to the alto line and the quaver figures become more lively; in the final verse, the pedal finally
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Beneath a three-part keyboard fugue, typical of Bach's large scale free organ fugues, with an angular quaver theme derived from the melody, the cantus firmus is heard in the pedal; the fugal theme, its counter-subject and their inversions are combined in numerous ways in the course of the
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In the ornamental chorale, a form invented and popularized in
Northern Germany by Scheidemann, the chorale melody is taken by one voice in an elaborate and highly embellished form. Buxtehude was one of its most celebrated exponents, with his individual expressive "vocal" ornamentation.
1228:: Schumann recalled Mendelssohn confessing after one performance that, "If life were to deprive me of hope and faith, this single chorale would replenish me with them both." Following Mendelssohn's popularization of these works, the definitive Bach-Gesellschaft edition, edited by
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appears to take up the cantus firmus, beneath a four-part fugal counter-subject in triplets, first in a forthright angular figuration, then in hammered repeated notes leading to an anguished chromatic passage, indicative of the crucifixion, and finally in peaceful flowing quavers.
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are numbered BWV 651a, 652a, etc. When there are two or three earlier versions, the numbering uses other letters of the alphabet, for example BWV 655a, 655b and 665c. The variant BWV 668a is the complete version of the chorale prelude that was published as an appendix to the
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The Great
Eighteen were known throughout Germany by the turn of the nineteenth century, but only the last chorale prelude was available in print, in several editions, thanks to its reputation as the "deathbed chorale". Prior to the two Leipzig editions of
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style, forms the model for the chorale motet, used in BWV 665 and 666. Each line of the chorale is established as a point of imitation for the different parts, which keep to a common rhythm. This style, the earliest used by Bach, was that employed in his
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and copied posthumously into the manuscript. Only the first page of the last choral prelude BWV 668, the so-called "deathbed chorale", has survived, recorded by an unknown copyist. The piece was posthumously published in 1751 as an appendix to the
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62:, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the
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of the accompanying parts in the two upper parts and pedal of this sarabande anticipate the ornamented chorale in the tenor, evoking the mournful tone of the hymn, the "organs and harps, hung up on willow trees", based on
304:, who provided the model for Bach. Bach, however, broke the norm in the two chorale preludes of this genre, BWV 656 and 667, which each have only a small number of variations (3 and 2). This might be a homage to
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This short chorale prelude for keyboard alone is a simple form of the chorale motet, with the cantus firmus again passed between parts and a different counter-subject for each of the four lines of the hymn.
1127:, with an uninterrupted cantus firmus in the soprano line; in the second, the four lines of the cantus firmus are heard in the pedal, beneath a flowing imitative ritornello accompaniment on the keyboard.
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The chorale partita is a set of variations on a chorale melody. Normally each variation repeats the chorale melody and is essentially a separate movement. This style goes back to the Dutch composer
903:. It has two ornate fugal inner parts over a continuo-like pedal, with a florid and melismatic cantus firmus in the soprano, its figurations reminiscent of those for obligato violin or oboe in the
239:), but the parallel influence of the Italian concerto tradition is equally visible. It is a mid-eighteenth century salute to the musical traditions of the previous century. Unlike Part III of the
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Komm
Heiliger Geist, Herre Gott, BWV 651; An WasserflĂĽssen Babylon, BWV 653b; SchmĂĽcke dich, o liebe Seele, BWV 654; Nun danket alle Gott, BWV 657; Vor deinen Thron tret ich hiermit, BWV 668
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Die
Achtzehn Grossen Orgelchoräle BWV 651–668 und Canonische Veränderungen über "Vom Himmel Hoch" BWV 769. Faksimile der Originalhandschrift mit einem Vorwort herausgegeben von Peter Wollny
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This chorale prelude closely follows the model of
Pachelbel, with a diversity of imitative elements in the lower parts, beneath the unadorned cantus firmus of the soprano line.
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994:, semiquavers and prolonged trills, punctuated twice by the ritornello in the minor mode; and a return of the ritornello over the cantus firmus ending in a long pedal point.
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chorale: The melody of the chorale is sounded in long notes throughout the piece, was established and popularized in central
Germany by Pachelbel. One of his students was
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183:, with the title "Wenn wir in höchsten Nöthen sein" (BWV 668a), instead of the original title "Vor deinen Thron tret ich hiermit" ("Before your throne I now appear").
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360:: it is probably his single most original innovation in the repertoire of organ chorales. The three virtuosic chorale preludes of this type are BWV 655, 660 and 664.
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in 1723, his obligations did not specifically include compositions for the organ. The autograph manuscript of the Great
Eighteen, currently preserved as P 271 in the
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Simon
Preston, in J.S. Bach: The Organ Works · Das Orgelwerk, Deutsche Grammophon. Recorded on the Metzler Organ of Trinity College, Cambridge in December 1999.
122:
and music lover, Bach developed secular and liturgical organ works in all forms, in what was to be his most productive period for organ composition. As his son
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Over the pedal chorale melody sweeps an exuberant toccata, conveying the "rushing mighty wind" of the Holy Spirit; a second ornamented subject symbolises the
336:, Bach's older brother, who in turn taught Bach keyboard technique. There are six examples of the cantus firmus chorale: BWV 651, 657, 658, 661, 663 and 668.
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1411:, Germany, dating from 1714. The recording also includes the Preludes and Fugues BWV 546 and 547, and the Canonic Variations on "Vom Himmel hoch", BWV 769a.
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Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and
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1417:, L'Oeuvre pour Orgue (15 discs), Calliope, CAL 3703–3717 (budget edition 2008). The chorale preludes, recorded in 1990 on the G. Westenfelder organ in
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The single surviving page of the manuscript of "Vor deinen Thron tret ich", BWV 668, recorded by an unknown copyist in the last year of Bach's life.
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783:". The beautiful melody, endlessly prolonged and never fully perceptible amid the freely spiraling arabesques, evokes the mystery of the
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BWV 664, which appeared in 1803 as one of the 38 chorale preludes in J. G. Schicht's four-volume anthology. The two chorale preludes
272:, BWV 106. A common distinctive feature is the use of musical figures to illustrate particular lines or even words in the hymn text.
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for the keyboard. The pieces are on a large and often epic scale, compared with the miniature intimacy of the choral preludes of the
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1955:
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and Roitzsch in 1847 (which was complete), the only other published chorale prelude of the Great Eighteen was the brilliant trio
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part is played on the pedals. Bach elevated this form to the status of contemporary Italian trio sonatas or double concertos of
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779:" in the pedal, the two inner parts move forward meditatively in canon, beneath the florid and melismatic cantus firmus of "
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Orgelchoralvorspiele von Johann Sebastian Bach: Auf das Pianoforte im Kammerstyl ĂĽbertragen von Ferruccio Benvenuto Busoni
1119:" consists of two variations linked by a bridging interlude: the first is a miniature chorale prelude almost identical to
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The ornate chorale melody sings out above a lyrical and calm three-part sarabande, with flowing semiquavers marking the
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Bernard Foccroulle, Leipzig Chorales, Ricercar, RIC212 (2 discs). Recorded in 2002 on the large Silbermann organ in
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Five chorale preludes of the Great Eighteen were written in this style: BWV 652, 653, 654, 659 and 662.
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1427:, SchĂĽbler and Leipzig Chorales, Teldec, 1999 (2 discs). Recorded on the Christian MĂĽller organ in
1261:
Choralvorspiele fĂĽr die Orgel von Johann Sebastian Bach: FĂĽr das Clavier ĂĽbertragen von Carl Tausig
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227:. Many of the chorale preludes pay homage to much older models in the German liturgical tradition (
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The breadth of styles and forms represented by the Great Eighteen is as diverse as that of Bach's
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Hell, for which Bach provides the longest and most elaborate pedal point of the whole collection.
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Ausgewählte Choralvorspiele von Joh. Seb. Bach: Für Klavier zu 2 Händen übertragen von Max Reger
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unpublished; first performed in London on December 28, 1956, in honour of the 80th birthday of
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BWV 769 added at the same time as the chorale preludes (1739–1750); and an early version of
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major ("St. Anne"), BWV 552, Chorale preludes, BWV 669–689, Duets, BWV 802–805
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1303:; Jesus Christus, unser Heiland, BWV 665; Komm, Gott Schöpfer, Heiliger Geist, BWV 667
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The brief descriptions of the chorale preludes are based on the detailed analysis in
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Schmücke dich, o liebe Seele, BWV 654; Komm, Gott Schöpfer, Heiliger Geist, BWV 667
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where Bach was court organist. The organ loft is visible at the top of the picture.
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in which the upper parts are played on the two keyboards of the organ and the
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247:, a feature of their large scale which has not pleased all commentators.
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Choralvorspiele von Joh. Seb. Bach instrumentiert von Arnold Schoenberg
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17:
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Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769
1349:
Musik des Barock und Rokoko, fĂĽr Klavier ĂĽbertragen von Wilhelm Kempff
672:), a 2 Clav. e Pedale, canto fermo in Soprano (cantus firmus chorale)
2059:: either search for individual works or download the whole collection
1264:
1179:
935:, a 2. Clav. e Pedale, Canto fermo in Tenore (cantus firmus chorale)
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111:
97:
59:
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1421:, are contained on the last 2 discs, which are available separately.
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This is another chorale prelude similar to movements from the organ
875:, a 2. Clav. e Pedale, Canto fermo in Soprano (ornamental chorale)
78:, they represent the summit of Bach's sacred music for solo organ.
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Free downloads of the complete Leipzig Chorales ("Great Eighteen")
735:
367:
256:
210:
85:
29:
840:, in Organo Pleno, Canto fermo in Pedale (cantus firmus chorale)
292:; the tradition was continued at the turn of the 18th century by
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395:
58:
in his final decade (1740–1750), from earlier works composed in
2066:
1220:, BWV 654, had nevertheless become favourites. Mendelssohn and
1993:, Bach. Essays on his Life and Music, Harvard University Press
1900:
The reception of Bach's organ works from Mendelssohn to Brahms
1863:
J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology
468:
s of the coda, in this, the longest of the chorale preludes.
1928:, Cambridge Studies in Music, Cambridge University Press,
1926:
The Organ Music of J.S. Bach, Volume II: BWV 599–771, etc.
372:
Autograph manuscript of BWV 651 with Bach's motto "J.J.",
1865:, Contextual Bach Studies, vol. 3, Scarecrow Press,
1204:
in 1846 (which omitted BWV 664, 665, 666 and 668) and of
1187:, possibly to compensate for the unfinished final fugue,
187:
become an apocryphal legend, encouraged by Bach's heirs,
1087:, in Organo pleno con Pedale obligato (chorale partita)
167:
Canonic Variations on "Vom Himmel hoch da komm' ich her"
787:; it is matched by the perfection of the accompaniment.
161:
in 1739. The manuscript is made up of three parts: the
118:. As a result of encouragement from the Duke, a devout
2798:
759:, a 2 Clav. e Pedale (ornamental chorale) in G minor
519:. In a famous concert in 1720 on the great organ in
448:, alio modo a 2 Clav. e Pedale (ornamental chorale)
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2111:
1965:
2183:Eight Short Preludes and Fugues, BWV 553–560
1836:. Facsimile of original manuscript, P 271 in the
2741:Concerto transcriptions, BWV 592–596 and 972–987
2158:Fantasia and Fugue in G minor ("Great"), BWV 542
2148:Toccata and Fugue in D minor ("Dorian"), BWV 538
822:g, a, g— distributed between the two bass parts.
706:, Canto fermo in Pedale (cantus firmus chorale)
410:, canto fermo in Pedale (cantus firmus chorale)
2641:Capriccio on the departure of a beloved brother
2211:Prelude (Toccata) and Fugue in E major, BWV 566
2178:Prelude and Fugue in E minor ("Wedge"), BWV 548
607:Similar in texture to movements from the organ
2216:Fantasia ("Pièce d'Orgue") in G major, BWV 572
1365:unpublished, first performed on April 7, 1934
2778:List of compositions by Johann Sebastian Bach
2197:Toccata, Adagio and Fugue in C major, BWV 564
2078:
1469:List of compositions by Johann Sebastian Bach
531:and his celebrated fantasy on the same theme.
8:
2783:List of fugal works by Johann Sebastian Bach
1112:
2000:Johann Sebastian Bach. The Learned Musician
805:, a due Bassi e canto fermo (chorale trio)
510:, a lament in exile in Babylon. The gentle
2788:List of concertos by Johann Sebastian Bach
2085:
2071:
2063:
1845:Organ Music. The Bach-Gesellschaft edition
1178:The original chorale preludes composed in
549:, a 2 Clav. e Pedale (ornamental chorale)
486:, a 2 Clav. e Pedale (ornamental chorale)
173:(1714–1717), appended after Bach's death.
133:When Bach moved to his later positions as
2831:Chorale preludes by Johann Sebastian Bach
2226:Passacaglia and Fugue in C minor, BWV 582
2119:Fugue in G minor, BWV 131a
2036:International Music Score Library Project
1881:J.S. Bach's Great Eighteen Organ Chorales
1777:
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1509:
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1249:Original chorale prelude and BWV number
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891:This chorale prelude, unusually marked
775:Over the quavers of the continuo-like "
386:
2580:Fantasia and Fugue in C minor, BWV 906
2192:Fantasia and Fugue in C minor, BWV 562
2143:Fantasia and Fugue in C minor, BWV 537
1385:SchmĂĽcke dich, o liebe Seele, BWV 654
1368:Nun komm' der Heiden Heiland, BWV 659
1354:Nun komm' der Heiden Heiland, BWV 659
1291:Nun komm, der Heiden Heiland, BWV 659
1162:pre-imitation in the ritornello parts.
268:cantatas, such as the funeral cantata
2346:Overture in the French style, BWV 831
2307:English Suites, BWV 806–811
2302:Inventions and Sinfonias, BWV 772–801
2202:Toccata and Fugue in D minor, BWV 565
2173:Prelude and Fugue in C minor, BWV 546
2168:Prelude and Fugue in B minor, BWV 544
2163:Prelude and Fugue in A minor, BWV 543
2153:Toccata and Fugue in F major, BWV 540
2138:Prelude and Fugue in D major, BWV 532
2133:Prelude and Fugue in C major, BWV 531
2009:Bach and the Meanings of Counterpoint
1991:The Deathbed Chorale: Exposing a Myth
1581:
1435:versions of the chorales sung by the
970:, a 2. Clav. e Pedale (chorale trio)
284:and was adopted by his German pupils
27:Organ pieces by Johann Sebastian Bach
7:
2312:French Suites, BWV 812–817
2221:Fugue in G minor ("Little"), BWV 578
1812:
1270:O Lammes Gottes unschuldig, BWV 656
1232:, was published in Leipzig in 1875.
1084:Komm, Gott, Schöpfer, Heiliger Geist
591:, a 2 Clav. e Pedale (chorale trio)
398:recording, please click on the link.
2284:Wo Gott der Herr nicht bei uns hält
1145:(fragment) (cantus firmus chorale)
1115:Komm, Gott Schöpfer, Heiliger Geist
344:The chorale trio has the form of a
2634:Aria variata alla maniera italiana
2355:Well-Tempered Clavier, BWV 846–893
1142:Vor deinen Thron tret' ich hiermit
914:Ich hatte viel BekĂĽmmernis, BWV 21
588:Herr Jesu Christ, dich zu uns wend
116:Wilhelm Ernst, Duke of Saxe-Weimar
25:
430:s at the culmination of the hymn.
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899:", a German version of the hymn
861:
826:
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727:
692:
654:
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535:
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434:
197:Wenn wir in höchsten Nöthen sein
2685:Prelude, Fugue and Allegro in E
2585:Toccatas, BWV 910–916
2317:Partitas, BWV 825–830
2253:Great Eighteen Chorale Preludes
2032:Great Eighteen Chorale Preludes
1843:Bach, Johann Sebastian (1970),
1402:Bach – The Complete Organ Works
967:Allein Gott in der Höh' sei Ehr
932:Allein Gott in der Höh' sei Ehr
872:Allein Gott in der Höh' sei Ehr
40:Great Eighteen Chorale Preludes
2011:, Cambridge University Press,
1972:, Cambridge University Press,
1284:, Leipzig, 1898 (dedicated to
952:its quaver melismas and sighs.
897:Allein Gott in der Höh sei Ehr
703:Von Gott will ich nicht lassen
1:
1944:The Organ Music of J. S. Bach
1243:Arranger and instrumentation
1050:Jesus Christus, unser Heiland
1010:Jesus Christus, unser Heiland
629:, 3 Versus (chorale partita)
165:BWV 525–530 (1727–1732); the
2574:Chromatic Fantasia and Fugue
1218:SchmĂĽcke dich, o liebe Seele
1214:Nun komm' der heiden Heiland
1053:, alio modo (chorale motet)
1018:, Pedaliter (chorale motet)
837:Nun komm' der Heiden Heiland
802:Nun komm' der Heiden Heiland
781:Nun komm, der Heiden Heiland
756:Nun komm' der Heiden Heiland
571:SchmĂĽcke dich, o liebe Seele
565:The soberly ornamented, but
546:SchmĂĽcke dich, o liebe Seele
364:Chorale Preludes BWV 651–668
171:Nun komm' der heiden Heiland
126:mentions in his obituary or
42:, BWV 651–668, are a set of
2698:Prelude in C minor, BWV 999
2231:Concertos, BWV 592–597
1883:, Oxford University Press,
34:Johann Sebastian Bach, 1746
2852:
2748:KlavierbĂĽchlein W. F. Bach
2705:Fugue in G minor, BWV 1000
2605:Harpsichord solo concertos
1968:J.S. Bach: A Life in Music
1948:Cambridge University Press
189:Carl Philipp Emmanuel Bach
163:six trio sonatas for organ
2773:
2678:Suite in C minor, BWV 997
2663:Suite in E minor, BWV 996
2658:Suite in G minor, BWV 995
2002:, Oxford University Press
1998:Wolff, Christoph (2000),
1897:Stinson, Russell (2006),
1879:Stinson, Russell (2001),
334:Johann Christoph Bach III
124:Carl Philipp Emanuel Bach
2728:: Prelude and Fugue in E
2262:Sei gegrĂĽĂźet, Jesu gĂĽtig
2007:Yearsley, David (2002),
1964:Williams, Peter (2007),
1942:Williams, Peter (2003),
1103:This chorale prelude on
750:Drone & Bach Quartet
645:The first verse of this
626:O Lamm Gottes unschuldig
504:An WasserflĂĽssen Babylon
483:An WasserflĂĽssen Babylon
90:The court chapel at the
70:, the third book of the
2593:, BWV 933–938
1905:Oxford University Press
1437:Amsterdam Baroque Choir
1263:. Berlin (dedicated to
405:BWV 651 Fantasia super
110:(director of music) in
2836:Compositions for organ
2763:Twelve Little Preludes
1828:Bach, Johann Sebastian
1461:Classical music portal
1374:Ralph Vaughan Williams
1113:
901:Gloria in excelsis Deo
751:
746:BWV 659 played by The
376:
216:
193:Wilhelm Friedmann Bach
101:
35:
2104:Johann Sebastian Bach
2057:Katholische Hofkirche
2053:Zacharias Hildebrandt
745:
521:St Catherine's Church
506:" is a paraphrase of
371:
324:Cantus firmus chorale
221:Well Tempered Clavier
214:
89:
52:Johann Sebastian Bach
33:
2277:, BWV 1090–1120
2128:Sonatas, BWV 525–530
2049:Gottfried Silbermann
1950:, pp. 336–386,
1861:Leahy, Anne (2011),
1838:Berlin State Library
1431:, interspersed with
1376:(cello and strings)
1286:José Vianna da Motta
665:Nun danket Alle Gott
445:Komm, Heiliger Geist
407:Komm, Heiliger Geist
207:Compositional models
155:Berlin State Library
2755:Notebook A. M. Bach
2611:Goldberg Variations
2591:Six Little Preludes
2275:Neumeister chorales
1392:Selected recordings
965:BWV 664 Trio super
907:cantatas (e.g. the
800:BWV 660 Trio super
586:BWV 655 Trio super
529:Johann Adam Reinken
306:Dieterich Buxtehude
199:(BWV 641) from the
2255:, BWV 651–668
2247:, BWV 645–650
2239:, BWV 599–644
2093:Compositions for
1652:, pp. 55–56,
1409:Freiberg Cathedral
752:
377:
312:Ornamental chorale
217:
114:, at the court of
102:
76:Canonic Variations
36:
2796:
2795:
2726:Clavier-Ăśbung III
2671:
2627:
2620:
2565:
2563:No. 24 in B minor
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2517:No. 12 in F minor
2512:
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2425:No. 16 in G minor
2420:
2418:No. 10 in E minor
2413:
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2387:
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2339:
2332:
2325:
2282:Chorale fantasia
2245:SchĂĽbler Chorales
2207:
2188:
2124:
2099:keyboard and lute
1979:978-0-521-87074-0
1872:978-0-8108-8181-5
1780:, p. 365–366
1654:Albert Schweitzer
1419:Fère-en-Tardenois
1389:
1388:
1360:Leopold Stokowski
1326:Arnold Schoenberg
1202:Felix Mendelssohn
1189:Contrapunctus XIV
743:
68:SchĂĽbler Chorales
16:(Redirected from
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2034:: Scores at the
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1987:Wolff, Christoph
1982:
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1216:, BWV 659, and
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383:Williams (1980)
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276:Chorale partita
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1593:Yearsley 2002
1589:
1586:
1583:
1578:
1575:
1571:
1570:Yearsley 2002
1566:
1563:
1559:
1554:
1551:
1547:
1542:
1539:
1535:
1530:
1527:
1523:
1518:
1515:
1512:, p. 79.
1511:
1510:Williams 2007
1506:
1503:
1500:, p. 124
1499:
1498:Williams 1980
1494:
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1125:OrgelbĂĽchlein
1122:
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1105:Martin Luther
1102:
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330:cantus firmus
323:
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318:
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309:
307:
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299:
295:
291:
287:
283:
275:
273:
271:
267:
262:
258:
251:Chorale motet
250:
248:
246:
245:cantus firmus
242:
241:Clavier-Ăśbung
238:
234:
230:
226:
225:OrgelbĂĽchlein
222:
213:
206:
204:
202:
201:OrgelbĂĽchlein
198:
194:
190:
184:
182:
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174:
172:
168:
164:
160:
159:Clavier-Ăśbung
156:
152:
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144:
140:
136:
135:Kapellmeister
131:
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117:
113:
109:
108:
99:
95:
94:
88:
81:
79:
77:
73:
72:Clavier-Ăśbung
69:
65:
64:OrgelbĂĽchlein
61:
57:
53:
49:
45:
41:
32:
19:
2761:
2725:
2639:
2632:
2609:
2597:
2590:
2572:
2353:
2344:
2283:
2274:
2261:
2252:
2251:
2244:
2236:
2047:on the 1755
2045:James Kibbie
2043:recorded by
2008:
1999:
1990:
1967:
1943:
1925:
1899:
1880:
1862:
1844:
1831:
1808:
1801:Stinson 2001
1796:
1790:Stinson 2001
1785:
1773:
1763:Stinson 2001
1758:
1752:Harvey Grace
1748:Stinson 2001
1743:
1732:
1725:Stinson 2001
1720:
1713:Stinson 2001
1708:
1701:Stinson 2001
1696:
1689:Stinson 2001
1684:
1677:Stinson 2001
1672:
1665:Stinson 2001
1660:
1650:Stinson 2001
1645:
1639:Harvey Grace
1635:Stinson 2001
1630:
1620:Stinson 2001
1615:
1605:Stinson 2001
1600:
1588:
1577:
1565:
1558:Stinson 2001
1553:
1548:, p. 30
1546:Stinson 2001
1541:
1534:Stinson 2001
1529:
1522:Stinson 2001
1517:
1505:
1493:
1487:Stinson 2001
1482:
1401:
1381:Pablo Casals
1362:(orchestra)
1348:
1331:
1328:(orchestra)
1314:
1281:
1260:
1230:Wilhelm Rust
1225:
1217:
1213:
1209:
1198:
1188:
1177:
1165:
1141:
1139:
1130:
1083:
1081:
1072:
1049:
1047:
1038:
1008:
1006:
997:
988:trio sonatas
966:
964:
955:
931:
929:
920:
912:
892:
871:
869:
860:
836:
834:
825:
801:
799:
790:
777:walking bass
755:
753:
726:
702:
700:
691:
664:
662:
653:
625:
623:
614:
609:trio sonatas
587:
585:
576:
570:
545:
543:
534:
482:
480:
471:
465:
444:
442:
433:
427:
406:
404:
393:
380:
373:
343:
340:Chorale trio
327:
319:
315:
279:
254:
244:
218:
196:
185:
178:
175:
170:
147:Thomaskirche
141:in 1717 and
132:
127:
105:
103:
91:
50:prepared by
39:
37:
2717:collections
2618:discography
2550:No. 22 in B
2537:No. 18 in G
2524:No. 13 in F
2445:No. 22 in B
2432:No. 21 in B
1803:, Chapter 5
1595:, p. 4
1425:Ton Koopman
1415:André Isoir
1404:(1966–1970)
1255:Carl Tausig
1210:Allein Gott
1206:Griepenkerl
1195:Publication
992:suspensions
785:incarnation
647:Good Friday
569:, chorale,
512:ritornellos
346:trio sonata
290:Scheidemann
2825:Categories
2490:No. 4 in C
2477:No. 3 in C
2405:No. 7 in E
2392:No. 4 in C
2379:No. 3 in C
2286:, BWV 1128
2206:(doubtful)
2187:(doubtful)
2123:(doubtful)
1821:References
1582:Wolff 1993
1433:a cappella
1429:Leeuwarden
567:melismatic
502:The hymn "
294:Georg Böhm
266:MĂĽhlhausen
229:Georg Böhm
203:(c 1715).
2264:, BWV 768
1847:, Dover,
1813:Bach 1970
1309:Max Reger
517:Psalm 137
508:Psalm 137
466:Halleluja
428:Halleluja
374:Jesu juva
302:Thuringia
298:Pachelbel
282:Sweelinck
237:Pachelbel
233:Buxtehude
2731:♭
2688:♭
2553:♭
2540:♯
2527:♯
2493:♯
2480:♯
2448:♭
2435:♭
2408:♭
2395:♯
2382:♯
2295:Keyboard
1989:(1993),
1924:(1980),
1830:(1999),
1737:Acts 2:2
1447:See also
1345:(piano)
1311:(piano)
1278:(piano)
1257:(piano)
1222:Schumann
1174:Variants
1140:BWV 668
1082:BWV 667
1048:BWV 666
1007:BWV 665
930:BWV 663
909:sinfonia
870:BWV 662
835:BWV 661
754:BWV 659
748:Melodica
701:BWV 658
663:BWV 657
624:BWV 656
544:BWV 654
481:BWV 653
443:BWV 652
261:madrigal
128:nekrolog
120:Lutheran
74:and the
2669:Bourrée
2458:Book 2
2360:Book 1
1123:in the
1121:BWV 631
525:Hamburg
286:Scheidt
151:Leipzig
145:at the
93:Schloss
82:History
56:Leipzig
18:BWV 659
2801:Portal
2204:
2185:
2121:
2015:
1976:
1954:
1932:
1911:
1887:
1869:
1851:
1265:Brahms
1180:Weimar
905:Weimar
893:adagio
857:piece.
143:cantor
139:Köthen
112:Weimar
98:Weimar
66:, the
60:Weimar
2715:Mixed
2556:minor
2543:minor
2530:major
2496:minor
2483:major
2451:minor
2438:major
2411:major
2398:minor
2385:major
2337:No. 6
2330:No. 4
2323:No. 2
2112:Organ
2095:organ
1475:Notes
1400:, in
300:from
259:, in
257:motet
48:organ
2651:Lute
2013:ISBN
1974:ISBN
1952:ISBN
1930:ISBN
1909:ISBN
1885:ISBN
1867:ISBN
1849:ISBN
1297:play
1151:play
1109:hymn
1093:play
1059:play
1024:play
976:play
941:play
881:play
846:play
811:play
765:play
712:play
678:play
635:play
597:play
555:play
492:play
454:play
416:play
396:MIDI
385:and
356:and
328:The
296:and
288:and
235:and
191:and
46:for
38:The
2101:by
1107:'s
911:of
523:in
149:in
137:in
96:in
54:in
2827::
2097:,
1907:,
1903:,
1288:)
1267:)
1191:.
1014:,
917:).
231:,
2803::
2086:e
2079:t
2072:v
2051:/
1439:.
668:(
389:.
20:)
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