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Download Booklet BACH, Johann Sebastian(108b-1?b0) The CompleteOrgan Music, Volume 5 cD-379 75'OO E Praeludiumin a-mollBWV569 4',O8 E DerTag, der ist sofreudenreich oder Ein Kindelein so l0belichBWV719 1.',46 tr Wir ChristenleutBWV1090 r'43 tr Dasalte Jahr vergangenist BWV1091 2'34 tr Herr Gott, nun schleussden Himmel auf BWV1092 2',t7 tr Praeludiumet Fuga in c-moll BWV549 5'04 6/1.Praeludium 1'55 - 6/2.Fuga 3'09 tr HerzliebsterJesu, was hast du verbrochenBWV1093 2'26 tr O Jesu,wie ist dein GestaltBWV1094 3',09 tr O Lamm Gottesunschuldig BWV1095 2',24 tr Christe,der du bist Tag und Licht oder Wir danken dir, Herr Jesu Christ BWV1096 2',42 tr Ehre sei dir. Christe.der du leidestNot BWV1097 l'47 @ Wir glaubenall einenGott BWV1098 loJ tr Fantasia(Concerto) G-Dur BWV571 7',42 13/1.Ohne Bezeichnung 3'27 - 1312.Ad,aglo 2'2O 13/3.Allegro 1'52 tr Aus tiefer Not schreiich zu dir BWV1099 2'00 tr Allein zu dir, Herr Jesu Christ BWV1100 2',02 tr Ach, Gott und Herr BWV714 2',29 F? Ach Herr, mich armen SflnderBWV742 2',29 tr Durch Adams FalI ist ganzverderbt BWV1101 2',57 @ Praeludiumper Organopleno BWV567 t'07 @ Kleinesharmonisches Labyrinth BWV591 E Du Friedefilrst, Herr Jesu Christ BWV1102 2',20 @ Erhalt uns, Hen, bei deinemWort BWV1103 1',38 @ Wenn dich UnglUcktut greifen an BWV1104 t'40 tr Jesu,meine Freude BWV1105 1',40 tr Gott ist mein Heil, meinHilf und Trost BWVl106 1',39 tr Jesu,meines Lebens Leben BWV1107 1',31 tr Fantasiain C BWV570 2',03 tr Fuqain C BWV946 2'38 cD-380 69'OO tr AIs Jesus Christus in der Nacht BWVl108 t/a( tr Ach Gott, tu dich erbarmen BWV1109 3',O8 lllj O Herre Gott, dein gottlich Wort BWV1110 2',06 L1l Nun lasst uns den Leib besraben BWV1l11 2',06 tr Christus.der ist mein LebenBWVl112 r'45 tr Praeludium et Fuga in e-moli BWV533 1',27 6/1. Praeludium 2'05 - 612.Ft:,s,a2'16 tr lch hab mein SachGott heimsestelltBWVl1l3 2'29 t'l Herr Jesu Christ, du hochste;Gut BWVI l l4 2'36 tr Herzlich lieb hab ich dich, o Herr BWV1115 2's2 E Was Gott tut, das ist wohlgetan BWV1116 1',s0 Llll Alle Menschenmiissen sterben BWV1117 loo tr Machs mit mir. Gott. nach deiner Giit BWV957 2',OO E Werde munter, mein Gemiite BWVl118 1',38 l11l Wie nach einer WasserquelleBWV1119 r'23 tr Christ, der du bist der heile Tag BWV1120 1',38 L1q Praeludium et Fuga in G BWV550 6',30 16/1. Praeludium 2'33 - 1612.Fuga 3'57 Triosonate Nr.3 in d-moll BWV527 t3't2 E Andante 5',06 @ Adasio e dolce 4',t2 l1?l Vivace 3',43 E Passacagliaet Fuga in c-moll BWV582 12'32 20/1. Passacaglia7'll - 20l2.Ftga 5'21 HANS FAGIUS, organ Total pLaring litN CD-379/:l8o The already wide-ranging repertoire of The manuscript contains 82 chorales,of chorale arrangements by J.S. Bach was which 38 are ascribed to J.S. Bach (five sigrificantly enriched by the discovery were previously known and two partly announced in December 1984 of no less known), 25 are ascribedto Johann Michael than 33 hitherto unknown compositions. Bach (the father-in-law of Johann Sebas- This collection not only increas€s the tian) and the rest to Johann Christoph total of preserved compositions by Bach Bach (Johann Michael's elder brother), J. but also caats new light on his development Pachelbel, F.W. Zachow, D. Erich, G.A. as a eomposer during his youth. Sorge and to unknown hands. The collec- The manuscript containing this collec- tion is arranged for a start in the same tion was found in the library of Yale Uni- manner as the Orgelbiichlein, the first versity (LM 4708) and formed part of the part constructed in accordanc€ with the manuscript collection bequeathed to Yale church year, but the content becomes by Lowell Mason in 1873. Mason had increasingly varied as one progressesthrough come acloss the manuscript in the course the book. Johann Michael Bach is respon- of a European visit in 1852, when he sible for most of the introductory chorales bought the manuscript collection belonging whereas the later part is dominated by to Christian Heinrich Rinck. Rinck was Johann Sebastian. We may speculate that among the foremoet German organists in Johann Michael initiated a collection of the first half of the nineteenth century, organ arrangements of usable chorales a pupil of Bach's pupil Kittel and a faithful constructed according to a contemporary defender of Bach's traditions. He was also psalm book, but that this project was never a keen collector of 18th century manu- completed. Via Maria Barbara (daughter of scripts. The manuscript in question bears Johann Michael and Bach's first wife), the title "Choriile ohne Text" (Chorales Johann Sebastian came to take up this without tert) with no more exact descrip- work, filling in his own compositions and tion of its contents but with an indication some by other composers of the time, that Rinck had obtained it from the organ- but gradualy he gave up the idea of a ist Neumeister from Homburg vor der fixed order and wrote down his arrange- Hiihe, a pupil of Sorge in Lobenstein. The ments without regard for the content. All evidence points clearly to the fact that this of the composers with the exception of J.G. Neumeist€r,who during the 1790s was Sorge are concentrated in the period from an organist and schoolteacher in Friedberg/ about 1690 until 1710, but we can assume Wetterau, wrote this manuscript after an that Neumeister is responsible for adding original, probably a tablature, from not Sorge's contribution, his pieces being later than 1?05-10. Ttre manuscriot found confined to the end of the book and to its way via Rinck and Mason to the library pages left blank to avoid page-turns. All at Yale. where it remained unnoticed on of this is pure speculation but in the account of its unassuming title. context it seemsnot unlikelv. It is naturally easy to suspect a discovery Two further chorales were previously of such great dimensions, especially if the partly known - Ach Gott und Herr, BWV musical language is different from what we 7I4, a fuee and harmonically rich setting have grown accustomed to expect from after the model durezza e ligatura before Bach's mature works and resembles more the known arrangement with cantus fir- closely that of Johann Michael Bach or of mus carried through in canon; and Machs Johann Pachelbel. Moreover the collection mit mir Gott, nach deiner Giit, BWV957, is noticeably less unified and more goping earlier known as a short keyboard fugue than we are used to, But if we study this but here identified as a chorale arrange- collection more closely we discover a ment because of its simple concluding brilliant diversity and an exciting experi- chorale setting. All of this can be seen as mentation with different styles and forms, proof that the collection is authentic, and the experiments being immediately superior that a1l that remains is to receive it gladly to the models upon which they are based. and incorporate it into the repertory. This also gives us a glimpse of Johann The form of chorale arrangement which Sebastian Bach's "schooling" - how, by we encounter most frequently is the form means of his own studies of the works of directly carried over from Johann Michael other composers, he gradually developed his Bach and Johann Pachelbel, with an intro- own st5lle, a process which we know from ductory fugato on the first phrase followed the Weimar years for example, when he by the whole chorale, phrase by phrase, studied de Grigny and Vivaldi, but one with the melody in the soprano line and which we may here observe for the firet short interludes in the lower parts. An time - moreover with the study models example of this is Wir danken dir, Herr in the same book! The five previously Jesu Christ, BWV1096 (a setting of the known chorales are also essential. Two of first 25 bars of which appears in an edition these are included in the Orgelbiichlein by Max Seiffert, where Pachelbel is given as (Herr Christ, der einig Gottes Sohn, BWV the composer and the comment that this 601, and Ich ruf zu dir, Herr Jesu Christ, was probably the first part of a longer BWV639 (Volume 3)). The authenticity piece), or Ach Gott, to dich erbarmen, of Vater unser im Himmelreich, BWV?37 BWV1109. The introductory fugato is (Volume 2) has always been in doubt, and however often omitted and Bach starts in this collection it is found along with a directly with the chorale. As examples we series of similar arrangements. The two may take expressive settings with skilfully remaining movements - Der Tag der ist woven lower parts such as Das alte Jahr so fteudenrcich, BWV719, and Ach Her vergangen ist, BWV1091, O Lamm Gottes mich armer Siinder, BWV742 - have pre- unschuldig, BWV1095 or Wenn dich Un- viously been regarded as spurious and are gliick tut greifen an, 8WV1104. In some not included at all in the New Bach Edition, cases (where the chorale melody is too They are included in the present recording, long to be carried through in its entirety) Bach has contented himself with a fugue part chorale harmonisation in which the based on the first phraee and, as a conclu' music becomes more and more sponta- eion, a brief demongtration of the laet neous and fascinating.
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