Von Gott will ich nicht lassen BWV The tune is of secular origin Ich ging einmal spatzieren and the text by L. Helmbold dates from A problem of interpretation is whether the pedal should use the 8 foot or the 4 foot register. According to the distribution of parts it should be 8 foot or the 4 foot register. According to the distribution of parts it should be 8 foot and in the tenor range, but 4 foot undoubtedly sounds better and one manuscript Oley actually has this direction in the music.
The first BWV is a radiantly beautiful movement with ornamented c f in the treble over imitative voices in the alto and tenor and a gently meandering continuo-like bass part. Introversion and mysticism are suitable A sharp contrast to this introvert beauty is provided by the second setting BWV , an almost grotesquely instrumented trio for two interwoven bass parts left hand and pedal and ornamented c f in the right hand. The two bass parts thus provide a picture of hell.
The four part final chord in the left hand is gamba-like. In this way, the chorale forms a meaningful whole. It is nonetheless clear that in the Leipzig manuscript Bach grouped these pieces together to form a whole. Hans Fagius. Once again we have a triptych, although here the connection is less obvious. The chorale, which is of Gregorian origin and whose text is a paraphrase of the Gloria from the mass, was sung in Leipzig on every Sunday except for special festivals. In the fist setting BWV we find a dreamlike and intimate mood with a richly ornamented c f allotted to a solo stop in the treble.
Bach has certainly been struck by the eternal peace described in the text. The dominant motif consists of three falling intervals of a third, so that the distance between the highest and lowest note Radulescu, for example, sees everything more in terms of number symbolism: the thirds symbolise the Trinity and the seventh the Holy Spirit. The second setting BWV is a quartet movement in chamber music style, where for the first and last time Bach has a richly ornamented c f in the tenor part.
Since the chorale is a Trinity hymn and this piece is the third in the triptych, the placing of the melody between the treble and the bass may perhaps be seen as an image of Christ as mediator between God and man. The piece is marked Cantabile and the music is gentle and tender. The c f is so enveloped in ornaments that ist is difficult to distinguish. Here too, the c f appears in the pedal, but not until the very end and then only with the two first phrases. Instead, Bach lets the music flow onwards exquisitely with the c f making fleeting appearances in the formation of motifs, but then only as a suggestion.
The first has always received great attention from scholars. This is not so much for its structure — all the phrases are treated identically, in a slightly old-fashioned manner, clearly separated from each other with the same sequence of entries among the parts — but more for the variation Bach shows in the countersubject to the different phrases. This is the last chorale in the collection written out by Bach himself and the majestic cadence over a pedal The piece is for manuals only, the only one of its kind among the 18 chorales.
It is interesting to note that the music becomes increasingly complicated with each phrase, and that the last phrase comprises more than a third of the whole piece.
This chorale is believed to be among the oldest in the collection. Again we are given a vivid picture of the miracle of the first Whitsun. This chorale could also be the final point in the collection since the circle has been completed by a new invocation of the Holy Spirit, and because the sequence of chorales is interrupted by the canonic variations on Vom Himmel hoch. According to tradition, it was dictated by Bach on his deathbed to a good friend, but left unfinished when death came between. This version differs in certain details from the fragment found with the 17 other chorales and is moreover complete, which presumably shows that the piece was composed earlier, probably as early as The simple idiom in the style of Pachelbel with pre-imitations to each phrase suggest this.
In its exalted calm and simplicity we have a worthy keystone to the unique collection of organ chorales edited by Bach to form the 18 chorales. Six chorales of different kinds for an organ with 2 manuals and pedals, composed by J. May be obtained in Leipzig from Kapellmeister Bach, from his sons in Berlin and Halle, and from the publisher in Zella. The date of publication is not known, but the earliest possibility is April 16th, — the day when Wilhelm Friedemann took up his post as organist at the Liebfrau-kirche in Halle.
There is much to suggest, however, that the collection was not published until much later, perhaps as late as Five of the six chorales are transcriptions from the Leipzig cantatas. The sixth Wo soll ich fliehen hin seems to be an original composition with its more typically organ-like figures even in the bass part, which in the other chorales has more of a continuo character. The chorales are generally written for two manuals and pedal, and the cantus firmus always appears in even notes against a finely chiselled obligato melody.
Various directions for registration also suggest that Bach had envisaged a wider circulation. Are there any links between the contents of the various chorale texts, and is there any symbolism present in the collection? There is a certain symmetry — two quartet movements are framed on each side by two trio movements, the first and last chorales each containing 54 bars, the three movements in major keys forming an Eb major triad Eb-G-Bb , the three movements in minor keys forming the interval of a major third c, d, e.
The texts point to the end of the Church year and Advent — in the last chorale Bach has taken from the cantata the unusual Advent text Kommst du nun Jesus, vom Himmel herunter instead of Lobe den Herren, a far better known text — and emphasize a number of fundamental Christian ideas.
Lists of compositions by Johann Sebastian Bach
There are also some interesting details of number symbolism in the original edition: Wachet auf. No other collection of organ chorales has won comparable popularity among both listeners and players, and the form itself has remained timeless and constantly relevant in new composition and improvisation. Wachet auf, ruft uns die Stimme BWV The piece is taken from Cantata Wachet auf.
The obligato melody is scored for violins and violas in unison and the c f is sung by the tenors of the choir, all over a figured bass. In his transcription Bach has removed the figures, changed some of the phrasing and taken away the echo effect present in the original score. It is sometimes presumed to have originated from some lost cantata, but it is probably an original composition since the figurations are more organ-like and the bass part less continuo-like with imitations more typical of the organ. We have two alternative texts — the penitential hymn Wo soll ich fliehen hin Whither shall I flee with my sins?
Perhaps the second text is an answer to the first? The piece has a rather agitated character and suits the first text particularly well.
This piece is taken from Cantata 93 Wer nun. In this chorale Bach has indicated that the bass and the two obligato parts be played on the same manual although the music itself cries out for separate manuals. Probably practical considerations proved paramount in this instance. The theme of the obligato parts is clearly derived from the chorale melody. A restrained, radiant The original is to be found in Cantata 10 Meine Seele erhebt. It is scored for vocal duet contralto and tenor with the c f in unison oboes and trumpets. The short central motif that dominates the piece includes additional elements and has a sighing quality.
Originally a trio for obligato violoncello piccolo, soprano and bass continuo, taken from Cantata 6 Bleib bei uns, denn es will Abend werden , written for the second Sunday after Easter, The Cantata movement has the same text as the Organ chorale. The obligato melody is derived from the c f and is played in the left hand.
Against this rapid, lively melody the c f is played in minims in the right hand. This chorale, better known by the text Lobe den Herren, comprises the second movement of Cantata Lobe den Herren. The c f is sung by the contralto voice and the obligato melody is played on the violin. There are two problems connected with this piece. In the original edition on two staves the c f is written in the middle and begins on g1 without any indication of what is to be played in the pedal or the left hand.
In a copy believed to have belonged to Bach himself there are directions for the distribution that we are used to hearing, that is to say c f in the pedal with 4 foot registration. The happy violin-like figurations in the obligato melody are far better suited to the song of praise in the original text than to the serious Advent text Bach has placed as the title of the organ chorale.
This shows that Bach, in spite of his great sensitivity to the contents of a text with relation to the music, could also choose something apparently unsuitable in character for a certain text, and instead make the mood of the chorale melody decisive. Hans Fagius Unfortunately, however, two important things were altered: the original bellows system was replaced by self-regulating bellows and equal temperament was introduced.
The pipes have nevertheless been kept in their entirety and today the Leufsta organ remains as a magnificent monument to the quality of Swedish organ building in the 18th century. These composers were active in the area round Hamburg and developed a form of composition that was partly Italian in origin toccatas by Frescobaldi, Froberger etc , where rhythmically and harmonically very free passages stylus phantasticus contrasted with strictly contrapuntal sections stylus canonicus. The commonest arrangement of a North German prelude was in five parts: prelude — fugue — interlude — fugue — postlude.
The two fugues are often thematically related. A tripartite arrangement with prelude — fugue — postlude is also common. This festive work is in three parts with a magnificent prelude begun by a pedal solo and dominated by brilliant runs and arpeggios. The fugue has an energetic theme with broken octaves and alternating notes and is composed for manual, with the exception of two short pedal passages, the first with the theme much simplified, the second with the theme unaltered — something which is technically rather awkward. The fugue glides almost imperceptibly into the postlude, and the festive C major character is furt A fragment of the work has survived in a manuscript in an older and shorter version.
The prelude is basically melancholy in character and begins with broken chords over a pedal point. The fugue, with the unusual addition of a temp marking allegro , has a theme with several typically North German features such as repeated and alternating notes. But here Bach displays all his mastery in a powerful movement with a steadily expanding effect. As in the C major fugue, this piece also moves almost imperceptibly into the final free section, including a pedal solo which leads to an unexpected Neapolitan sixth chord.
This composition probably originated in Arnstadt in the middle of the first decade of the 18th century. With the prelude and fugue in D major BWV we have reached the beginning of the productive Weimar period — c. The prelude is in three parts after the North German pattern, but the fugue has been replaced by a homophonous Allabreve in the Italian style. The fugue is rounded off by a free toccata section and one can, if one wishes, regard the whole work as in five parts with the Allabreve corresponding to the first fugue. The work has been readily associated with the Easter period, partly because of its jubilant nature and partly because of the rising pedal scale at the beginning of the prelude which could be regarded as a ressurection motif.
The two dominating musical styles during the first part of the 18th century were the French and the Italian, and Bach keenly studied important works from both countries. The Canzona in d minor BWV appears to be a direct fruit of the latter, with a formal structure which links it to the Italian model.
Here one can find models in Corelli, a composer whose works had on several occasions been a subject of study for Bach. It is not impossible that the Allabreve was once preceded by a now lost prelude. The five concertos also have an Italian background and, together with the concerto transcriptions for harpsichord and J. Bach was organist in the palace chapel and the young prince, Johann Ernst, had then just returned from two years of study in Holland.
There he had doubtless been able to hear a certain amount of new Italian concerto music and moreover be influenced by the organ concertos which could be heard in the more important churches, a practice he also wanted to introduce to Weimar. Johann Ernst himself composed several concertos which were subjected to revision by Bach, including the G major concerto BWV also transcribed for harpsichord.
The model has been lost, but it is probably a concerto grosso for strings -—not a profound work, but pleasant to listen to and quite impressive bearing in mind that the prince died at the early age of In the first two movements the music is divided into tutti and solo passages, whilst the cheerful progressions of the last movement are played without a change of manual.
A number of more or less independent chorales are also included in this recording. The chorale Liebster Jesu, wir sind hier was sung before the sermon at mass, and Bach has left a large number of organ arrangements, all of a fairly simple and popular character. The first of the two settings BWV is a four to five part harmonisation without interludes. After the repeat, the straight cantus firmus line is fragmented by expressive ornamentation only to become peaceful once again.
The other setting BWV has the cantus firmus richly ornamented on a solo stop in the treble. Both of these pieces are probably from an early date Arnstadt and have actually been regarded by certain scholars as being of doubtful authenticity. The movement has a continuous flow and the melody is treated in stretto on several occasions.
At the end, the piece is extended to five parts when the pedal enters with the cantus firmus in double note values. It is probable, however, that the five movement work is from a considerably earlier date when Bach was still more strongly influenced by the North German tradition where double pedal was not unusual. The four part piece is more modern in style and structure, and is reminiscent of a French tierce en taille piece.
Perhaps Bach rearranged the harmonically richer five part version because the custom of playing double pedal was becoming increasingly obsolete. The two arrangements of the funeral hymn Valet will ich dir geben provides an interesting insight into how a baroque composer can treat a chorale melody on different occasions. Both have the cantus firmus in the pedal, but they are very different in character. The fantasia BWV exists in an older version, presumably from the Arnstadt period, with a simpler arrangement particularly in the final phrases.
The piece moves gently with fairly restrained ornamentation after the North German pattern. It is possible that the final ascending movements are a picture of the soul rising to heaven. The piece finishes quite abruptly and it seems natural to continue with the numbered chorale harmonies which follow in one of the manuscripts. The short arrangement for manual of Vater unser in Himmelreich BWV is probably of early origin and an example of a motet-like organ style that one finds, for example, in Scheidt in his Tabulatura Nova from Here the composer is working completely after the model of Buxtehude with the five part form, and with a thematic structure and harmony that are completely North German in style.
The piece was doubtless written as a stylistic study and was perhaps actually composed before With the fantasy and fugue in G minor BWV we have reached one of the greatest creations in the organ literature and a unique culmination of the stylus phantasticus. An important detail contradicting the theory that the work was written for the Hamburg visit is the fact that almost all the organs in the city had mean tone temperament until the middle of the 18th century. The incredible harmonic boldness of the fantasy is impossible on an instrument with mean tone temperament, where the central keys are quite pure whilst the peripheral keys sound very bad.
The fantasia and fugue were probably composed on different occasions — they are also found separately in many manuscripts — in which case the fugue with its perpetuum mobile character is probably older, perhaps contemporary with the prelude and fugue in D major. The fantasia, with its advanced enharmonic effects and its clear form, presumably originated much later.
We can never obtain any definitive answers to these questions, but we may affirm that in the fantasia Bach has succeeded in creating an overwhelming tension which grips the listener from the anguished exclamations of the introductory chords and which is not resolved until the redeeming major chord at the end of the fugue. The six trio sonatas are a unique example of chamber music for organ, where the model is more probably provided by instrumental trio sonatas — for two violins and continuo for example — than the sort of organ trio one The two manual parts are equally important and are much based on imitation, whilst the pedal part generally has the character of a bass continuo.
A number of movements from the trio sonatas reoccur in other contexts, but the first sonata in E flat major contains only original music. Between the two elegant outer movements the first of which is without a tempo marking there is an introvert and melancholy adagio in c minor. An odd single piece is the little fugue in g minor BWV a. It is uncertain who actually made the arrangement but the advanced pedal treatment would suggest that it was Bach himself.
In any case, the fugue is included in the Peters Collected Edition and has its place there — if as nothing more than an interesting curiosum. The idea of varying a chorale line for line by alternating the choir with the congregation has a long history going back to Sweelinck, Scheidt, Scheidemann etc.
In these cases each line was fairly extensive, like a small choral fantasia. Christ der du bist der helle Tag BWV is, like the hymn made up of seven lines, each marked partita A unique detail in the partita is that every line expands to a small fantasia with short interludes and the repeat of certain phrases.
Another unusual feature is the doubling of the pedal and the left hand bass in the last line to emphasize the cantus firmus. A number of the chorales were composed by J. Walther, but previously ascribed to Bach. The first setting of Wer nun. Here, too, the organ chorale is followed by a harmonisation of the chorale in figures. Other preserved Schwan organs were used als models. This manual was the starting-point for the new disposition. For the glory of God on High and for the instruction of my fellow-man. Here Bach allocated places for no less than chorales, of which however only 46 plus a tiny fragment were ever written.
With a few rare exceptions, one chorale occupies one page; there are therefore a large number of blank pages in the manuscript. Only four are known from earlier manuscript at the University of Yale, USA, itself probably a double of a tablature from not later than Thanks to studies of handwriting, keys and other things and by comparing with the manuscripts of church cantatas which were often dated for special occasions, we can fix with some certainty the date of writing of the chorales in the manuscript.
The oldest were written in December , and the subsequent periods of composition stretch until the first part of Around , Bach returned to the manuscript and made a few revisions as well as composing some new chorale arrangements. Another idea is that no individual collection lies behind it, and that Bach himself gathered those chorales which he found most important. It is also uncertain why Bach wrote this collection of organ chorales, and why he left it unfinished. The often high register denies the idea that these pieces were used as preludes or interludes or simply to accompany congregational singing, since they are not composed for an appropriately low organ.
This contract describes in minute detail the manner in which the organist should accompany a congregation. Bach never moved to Halle, and his tasks at Weimar were partially transferred to the Court Orchestra. Part of the collection may have come into being as a result of gentle rivalry with Johann Gottfried Walther, organist at the Weimar municipal church, a cousin and a good friend of Bach as well as being an assiduous composer of organ music. There are exceptions, but these features dominate clearly.
There are many canons, especially in the Passiontide chorales, and some possess a richly ornamented cantus firmus. Additionally, the incredibly concentrated form in sometimes no more than bars is a feature throughout. The motifs which give different chorales arrangements their special character are important. In most cases they can be traced back to the rhetorical figures of the contemporary theory of musical form as for example J.
Walther: Praecepta der musicalischen Composition, In the wake of Schweitzer, speculation has been wide-ranging in the extreme, and some evaluations appear, to put it mildly, individual. A novel contribution Speculation about the collection will doubtless be carried on, according to the latest discoveries. For us, these speculations are not important. An organist can work throughout his life on this one collection without ever solving all its problems. The meditative atmosphere is typical of baroque arrangements of this hymn, which tells of the miracle of the virgin birth.
Here, contrary to his usual practice, Bach prescribed registrations: Principal 8 in the manual, Trumpet 8 in the pedal. The setting is dominated by a so-called suspirance motif, here with an energetic, challenging character. The main motif in the pedal consists again of falling scale passages. Gelobet seist du, Jesu Christ, BWV , is a simple setting with the cantus firmus in a solo part above an accompaniment in which great leaps in the pedal are striking. Likewise, the melody in Der Tag ist so freudenreich, BWV , lies in the solo part in even note values.
The accompanying figures bring an energetic motif with dotted rhythms and figura corta. Because of lack of space in the manuscript, Bach was constrained to conclude this chorale in tabulation at the bottom of the The virtuoso setting of Vom Himmel kam der Engel Schaar BWV offers an almost literal image of the multitude of angels bringing the joyous message to the shepherds. Scale movements dominate the tenor part — in semiquavers over the entire keyboards — whilst the pedal has the corresponding scales in crotchets.
In dulci jubilo, BWV , has the cantus firmus in canon between the soprano and tenor, and the accompanying voices are also partly in canon. The question of how the rhythm should be played is a matter of keen interpretative debate: should it be as written with triplets against crotchets, or should the triplet note values be maintained throughout?
Opinions are strongly divided, but the second of these two solutions seems to me to be more probable. Lobt Gott, ihr Christen allzugleich, BWV , has the typical constant quavers in the pedal, often in falling motion against the semiquavers of the middle parts. The setting, with the tempo indication Largo, is dense and intense.
Also introverted and mystical is Christum wir sollen loben schon, BWV The setting begins remotely and becomes more dense. Its dominant motif is the descending scale motion. The last in the series of Christmas chorales is Wir Christenleut, BWV , a setting reminiscent of a gigue with quavers in the pedal and falling semiquaver motion possibly deriving from the cantus firmus in the manual. The Christmas chorales are followed by three chorales for the New Year. Das alte Jahr vergangen ist, BWV , has become very famous with its thoughtful melancholy, which is emphasized by the expressive use of ornamentation and the abundance of rising and falling chromaticism so—called passus duriusculus.
The setting concludes with a kind of dreamy perspective of eternity. The message of Candlemas is treated in two characteristic settings. This gives the chorale an eager Cantus firmus is played on the manual in an unusual two-part setting, against the semiquavers of the tenor part and the rhythmic quavers in the pedal. This setting is characterised by a sighing motif suspiratio , which might be regarded as a symbol of suffering. Grigny with their five-part fugues. Christus, der uns selig macht, BWV , has the melody in canon between soprano and bass and an accompaniment in which cutting chromaticism and winding semiquaver figures are to the fore circulatio , possibly as an image of the prison chains binding the falsely-accused Jesus.
Several of its motifs can be regarded as Cross motifs notes are connected to each other by means of lines which produce the shape of a cross , and the unending Good Friday is possibly symbolised by the complete lack of cadences at the ends of phrases. The music simply continues without a pause. By means of the tempo indication Adagio assai and an infinitely beautifully decorated cantus firmus Bach here achieves a setting which possesses almost unsurpassed inner warmth.
Wir danken dir, Herr Jesu Christ BWV is a setting flavoured by warmth and thankfulness, and the pedal motif contributes an almost joyous atmosphere. In the manuscript, Bach always wrote the chorales on two lines of music. Because this chorale requires three lines, the pedal part was written in tabulation between the other two lines. Jesus Christus unser Heiland, BWV , is appreciably more restrained, a conceivably gigue-like character being kept in check by the shout of Kyrie at the end.
Christ ist erstanden, BWV , is throughcomposed, in other words each of the three verses has its own characteristic motif, that in the third verse creating an almost ecstatic impression. Erschienen ist der herrliche Tag, BWV , is formed as a canon between the soprano and the bass, and its joyful character is imparted by the figura corta of the middle parts. At the very end Bach supplies an additional call of Hallelujah, with a pedal passage over the entire pedal range.http://wowow-campaign.com/wp-content/cloroquina-comprar-online-el-transporte-martimo-mundial.php
seven days Manual
Up to and including the Easter chorales, Bach had been rather thorough in his compositional task. From Whitsun onwards, the holes — empty pages in the manuscript — become larger and larger. The unusual allocation of three part entries within the short space of a dotted crotchet can assuredly be regarded here as a symbol of the Trinity, in which the soprano represents the Father, the alto and tenor represent the Son and the bass represents the Holy Ghost. This chorale is also known from older manuscripts.
Her Jesu Christ, dich zu uns wend, BWV , with its quasicanon between soprano and bass and its dominant chordal motif, and the two almost identical versions of Liebster Jesu, wir sind hier, BWV and , with their canonic melody between the soprano and alto, can be regarded as Whitsun chorales, also however as chorales sung in preparation for the reception of the Word. Against this is set a semiquaver motion. In this case there has often been speculation concerning connections between the ten commandments and motifs or notes in the setting.
A simple, inward setting of Vater unser in Himmelreich, BWV , almost creates the impression of a split up four-part chorale harmonisation. The violent Durch Adams Fall, BWV , has achieved special fame and is characterised by harsh leaps saltus duriusculus in the pedal and winding chromaticism in the middle parts circulatio , the latter possibly an image of the human fallen into sin. As an answer to this cry of anguish there follows Es ist das Heil uns kommen her, BWV , with the promise of grace through mercy. Steady quavers dominate in the pedal against semiquavers in the middle parts.
The melody is stated by a solo part above a string-like alto imitatio violinistica and a continuo-like bass. This chorale may also be found in the newly-discovered Yale manuscript. In BWV , however, the cantus firmus is played in even note values, and moreover the phrases are separated by means of interludes. Here Bach demonstrated his comforting attitude towards death. It is important that the figures are constructed in a satisfactory manner — if it is then easy to play or not is a matter of secondary importance.
The Eight Little Preludes and Fugues, BWV , were previously regarded as youthful works by Bach himself, which however now seems unlikely, as the style in some cases indicated a date around If, however, they date from this period, it is impossible that Bach, at the summit of his creative power, could have written pieces which are compositionally so imperfect simply to make them easy to play. A very plausible theory is that the pieces were composed by various pupils of Bach after the latter had set down the outlines.
Eustache, Paris]. Badinerie — Suite for Orch. Basse et Dessus de Trompette. Recitativo - Adagio. Concerto in D major: I. Concerto in D major: II. Concerto in D major: III. Largo e spiccato. Concerto in D minor: I. Allegro non molto. Concerto in D minor: II. Concerto in D minor: III.
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Fantasy and Fugue on the name "B. Fantasy in F Minor, K. First Movement from Symphony No. Hautbois d'Amour from "Jeux d'Orgue". Hornpipe from the Water Music.
Wir Christenleut, from Kirnbergers Collection, BWV710
Improvisation on the theme, "Greensleeves". March from "The Love of Three Oranges". Pantomime: a Pulcinella. Sepulcrum romanum. Cum mortuis in lingua mortua. Pictures at an Exhibition: Promenade II. Pictures at an Exhibition: Promenade IV. Pictures at an Exhibition: Promenade V. Pictures at an Exhibition: The Marketplace at Limoges.
Requiem: Introit et Kyrie. Sonata for Piano in B-flat Minor I. Allegro Maestoso. Allegro Assai. Symphonie Concertante for Organ and Orchestra, op. Molto vivo. Lento misterioso. Allegro moderato. Symphony no.
Three Dances From Petrouchka: Danse russe. Toccata de la 5e Symphonie pour orgue, op.
Toccata en fa majeur, BWV Toccata, adagio et fugue en ut majeur, BWV Trumpet Tune in D major. Tutti Ostinati from "Jeux d'Orgue". Allegro Jean Guillou's transcription for organ. Larghetto Jean Guillou's transcription for organ. Allegro non molto Jean Guillou's transcription for organ. Andante Jean Guillou's transcription for organ. Minuetto Jean Guillou's transcription for organ.
Pictures at an Exhibition for organ, Guillou. Pictures at an Exhibition: I. Gnomus for organ, Guillou. However, there are a few reviewers who consider Weinberger about perfect with his strong and unmannered readings. Weinberger was born in and did his basic music study at the Munich Academy of Music specializing in organ and church music. He is currently a professor of organ at the Detmold Academy of Music and has edited the complete edition of Robert Schumann's and J. Kreb's organ works. Marien, Freiberg. This organ was built from to and had its most recent significant overhaul in the early 's.
Currently, it is the largest surviving Silbermann organ except for one in Dresden. The Kirnberger Collection of miscellaneous Bach chorales ranges in time from Bach's Arnstadt period into his Leipzig years. For comparison with Weinberger's performances, I used the sets from Herrick, Rubsam, Rogg, and Jacob in addition to a few chorales from other recorded artists. Weinberger's Kirnberger performances are not among the better sets. Out of eighteen chorales, seven are not at all satisfying: BWV , , , , , , and His problem is a mixture of severity, slow tempo, poor registrations, and solemnity.
Related Wir Christenleut, from Kirnbergers Collection, BWV710
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