BWV is remarkable for its harmonic daring and spectacular runs: just as with BWV, this setting of 'Allein Gott' presents the chorale in homophony, with.
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- Johann Sebastian Bach (1685–1750)
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- Johann Sebastian Bach - Allein Gott in der Höh sei Ehr, BWV - Classical Archives
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- Allein Gott in der Höh sei Ehr, BWV 715
Johann Sebastian Bach (1685–1750)
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A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from , about the time he became familiar with Vivaldi's concertos. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes.
Johann Sebastian Bach - Allein Gott in der Höh sei Ehr, BWV - Classical Archives
The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. In the early s Bach assembled a number of chorale preludes, possibly with the intention of publishing them as a set. The Fantasia super Komm, heiliger Geist, BWV is an especially impressive, extended elaboration of the chorale melody, which is in the pedal.
The tune is treated in a less ornate fashion in the next prelude of the set BWV The highly convoluted Von Gott will ich nicht lassen, BWV also contains the chorale melody in the pedal.
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Do not see this window again for the duration of the session. As organist at Weimar, Johann Sebastian Bach was charged with providing a harmonic underpinning for the singing of Lutheran chorale tunes chosen for each day. Bach wrote out many of these harmonizations, in part as instruction for younger composers they are still used for this purpose.
A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from , about the time he became familiar with Vivaldi's concertos. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text.
- Chorale Preludes, BWV 714-765 (Bach, Johann Sebastian).
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In the early s Bach assembled a number of chorale preludes, possibly with the intention of publishing them as a set. The Fantasia super Komm, heiliger Geist, BWV is an especially impressive, extended elaboration of the chorale melody, which is in the pedal.
Allein Gott in der Höh sei Ehr, BWV 715
The tune is treated in a less ornate fashion in the next prelude of the set BWV The highly convoluted Von Gott will ich nicht lassen, BWV also contains the chorale melody in the pedal. Nine of these are meant for use during the Mass, while the others are for the catechism. Among the most impressive is Kyrie, Gott heiliger Geist, BWV , which is in five voices with the chorale melody in the pedal.