Below is the first verse of this hymn of Johann Lindemann with the English translation by Catherine Winkworth. Ausgewählte Choralvorspiele von Joh. Giovanni Paiseillo - Piano Concertos. The accompaniment in each lower voice is constructed from its own separate motifs, each having its own characteristic rhythm. On the lower manual the two inner voices provide the harmonic accompaniment, moving stepwise in alternating semiquavers. Both Williams (2003) and Stinson (1999) concur with the assessment of Spitta (1899) that "fervent longing (sehnsuchtsvoll Innigkeit) is marked in every line of the exquisite labyrinth of music in which the master has involved one of his favourite melodies." Bach, JS: Meine Seele erhebt den Herren, BWV 648 (02:43) 23. Unlike the inner voices, the pedal part has a wide range: there are two scale-like passages where it rises dramatically through two octaves, covering all the notes from the lowest D to the highest D. The four voices together convey a mood of joyous exultation. In addition to giving a detailed Schenkerian analysis, he notes that the cadences pass between D minor and A until the final cadence to E major; that the modal structure moves between the Dorian mode on D and the Phrygian mode on E through the intermediary of their common reciting note A; and that the key changes are mediated by the chromatic fourths in the accompaniment. In the pedal part this prominent descending motif has been taken to symbolise the "coming down of divine Majesty." The semiquaver motifs, in constant motion upwards and downwards, create what Schweitzer (1905) called "a charming maze," symbolising angels heralding the birth of Christ. Following baroque convention, Bach notated the triplets in the accompaniment as quavers instead of crotchets, to make the score more readable for the organist. Bach's use of the hymn in his choral works includes the Magnificat, BWV 243 and 3 settings in the Christmas Oratorio, BWV 248. The twisting inner parts have been interpreted as illustrating the words verderbt ("ruined") by Hermann Keller and Schlang ("serpent") by Jacques Chailley. The documents are hand copies made in Böhm's home in tablature format of organ compositions by Reincken, Buxtehude and others. These create constant dissonances with the cantus which are resolved only by the cadence at the close. Although there are a few important departures, the chorale preludes of the Orgelbüchlein were composed with a number of common stylistic features, which characterise and distinguish the so-called "Orgelbüchlein style:". Combined with the unadorned but singing melody and its gentle accompaniment, this produces a mood of tenderness and rapture. Hermann Keller has suggested that Bach might have employed the canon as musical iconography for the plea to be "led" at the end of the first verse: und uns den Weg zu Wahrheit führ ("and lead us on the path of truth").. There is some ambiguity as to whether Bach intended the crotchets in the accompanying motif to be played as a dotted rhythm in time with the triplets or as two beats against three. The type of chorale prelude to which this refers, often called the "Arnstadt type", were used to accompany the congregation with modulating improvisatory sections between the verses: examples that are presumed to be of this form include BWV 715, 722, 726, 729, 732 and 738. The accompanying motif is shared between the two inner voices on the second manual which together provide a continuous stream of semiquavers with two hemidemiquavers on the second semiquaver of each group. Choralvorspiel - Durch Adams Fall ist ganz verderbt\rd-moll BWV 637\rAus dem „Orgelbüchlein\" (BWV 599-644)\r\rChorale prelude - Through Adams fall\rD minor BWV 637\rfrom the \"Little Organ Book\" (BWV 599-644)\r\rcomposed by J.S. Both accompanying motifs serve to propel the chorale prelude forwards, the bass line having a similar function to that in the last movement of the fourth Brandenburg concerto. The accompaniment below the cantus creates an unusually dense texture. In particular the pedal point in the first note of the bass heightens the dramatic effect of the opening by briefly abandoning the usual motivic Orgelbüchlein pattern. Below is the first verse of Caspar Stolshagen's Easter hymn Heut triumphieret Gottes Sohn by Bartholomäus Gesius with the English translation of George Ratcliffe Woodward. Stinson (1999) describes the dissonant suspensions as fitting for "the tragic subject matter." Bach, BWV 637; Ten Chorale Preludes No. - Little Organ Book Bwv 599-644 - Organ Organ Wiener Urtext. A Bach Book for Harriet Cohen: Transcriptions for Pianoforte from the works of J.S. The cantus firmus of this chorale prelude is in the soprano voice and is drawn from the tenor part of the four-part setting of Puer natus by Lossius. The melody, originally for a Reformation battle hymn of 1525, was first published with Spengler's text in 1535. Below is the first verse of Luther's advent hymn "Nun komm, der Heiden Heiland" with the translation in English of George MacDonald. Customarily sung on New Year's Day, the hymn addresses thanks for the past year and prayers for the coming year to Christ. 7 in A Minor, a composition by the baroque composer Ferruccio Busoni. Seb. One of the earliest settings of the hymn was Dieterich Buxtehude's cantata BuxWV 60 for four voices, strings and continuo, composed in the 1680s. Luther's text was his version of the Latin hymn A solis ortus cardine, part of the fifth century abecedarius of Coelius Sedulius; it has been inserted between the two. At a faster tempo, as has become more common, the mood becomes more exultant and vigorous, with a climax at the words Gott loben und dankbar sein ("praise our God right heartily"), where the music becomes increasingly chromatic. The frequent F♮s are a hint of the mixolydian mode. Marks, 1942. Stinson (1999) speculates that the passages ascending through all the notes of the pedalboard might symbolise the word allzugleich ("all together"); and Clark & Peterson (1984) suggest that the widening intervals at the start between the cantus and the descending pedal part might symbolise the opening up of the heavens (schließt auf sein Himmelreich).. 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