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Schübler and Leipzig Chorales Canonic Variations Kåre Nordstoga Schnitger Organ St

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Schübler and Leipzig Chorales Canonic Variations Kåre Nordstoga Schnitger Organ St BACH SCHÜBLER AND LEIPZIG CHORALES CANONIC VARIATIONS KÅRE NORDSTOGA SCHNITGER ORGAN ST. MARTIN’S CHURCH OF GRONINGEN BACH ORGAN WORKS ‡ ‡ DA BACH VILLE OPPSUMMERE Mot slutten av sitt virke hadde blir demonstrert og uttømt med Bach-eleven Lorenz Mizler, og Den overlegne beherskelsen av Samlingen «Orgelbüchlein» med utsmykket melodi som en vug- J.S. Bach bedre tid enn i de en uovertruffen kunstferdighet. medlemslisten omfattet allerede kanonteknikken er beslektet med korte koralbearbeidelser fra gende sarabande. første årene i Leipzig fra 1723. Telemann og Händel. matematiske løsninger. Det er Weimar får i dette Leipzig-verket Han hadde bygget opp et re- EINIGE CANONISCHE hevdet at hvis ikke Bach hadde en avansert parallell. Teknikker 3. An Wasserflüssen Babylon, pertoar innen mange genrer han De musikalske bidragene skulle blitt musiker, hadde han kanskje fra tysk tradisjon (Pachelbel og BWV 653 VERÄNDERUNGEN ÜBER DAS kunne gripe tilbake til, ikke minst ha vitenskapelig kvalitet, men vært matematiker på høyeste nivå. Buxtehude) finslipes og bringes biblioteket av kantater til sønda- WEYNACHT-LIED «VOM HIMMEL ikke som «en unyttig teori». De Det kan også være en opplevelse opp til nye dimensjoner. Den tyske salmeteksten bygger gens gudstjenester. HOCH, DA KOMM ICH HER» skulle «vekke eller tilfredsstille å studere de skrevne notene med på jødenes klagesang ved Baby- PER CANONES Á 2 CLAVIERS ET menneskers lidenskap». sin kunstferdige kontrapunktikk. Manuskriptet åpner med boksta- lons floder i Salme 137. På norsk Den kortsiktige arbeidsinnsatsen Det er ikke bare «øremusikk», men vene «J.J.», «Jesu juva»: «Hjelp, (og også på tysk) er koralen PÉDALE, BWV 769 med nye verker fra uke til uke Sammen med sitt portrett, det også «øyemusikk»! Jesus». brukt til pasjonsteksten «Her ser ble avløst av en mer langsiktig. kjente av Haussmann, rådsma- jeg tålmodig lam» («Ein Lämm- Martin Luther er både forfatter ler i Leipzig, leverte Bach som Bachs geni var å kombinere intel- 1. Fantasia super Komm, Heiliger lein geht»). og komponist til «Vom himmel Arbeidet med privatundervis- opptaksprøve variasjonene over lekt og musikalsk temperament. Geist, BWV 651 hoch» (1535). De første versene ning for begavete studenter «Fra himlen høyt». I ordet «ka- Slik ble han et verdig medlem Det var over denne salmen Bach er lagt i munnen til engelen krevde et repertoar til studium nonisk» ligger det at stemmene av Mizlers selskap: ikke unyttig 2. Komm, Heiliger Geist, improviserte i en halv time i julenatt. Så svarer menigheten av komposisjonens og polyfoni- følger hverandre helt likt i kanon, teori, men lidenskap. BWV 652 Hamburg slik at Reinken, den med takk og et velkommen til ens edle kunst. Og han hadde men i ulik avstand fra variasjon store veteranen i nordtysk kirke- Jesusbarnet som gjest til vår selv en trang til systematisk og til variasjon. Pinsesalmen «Kom Hellige Ånd, musikk, sa: «Jeg trodde at denne jord. Landstad oversatte slik: LEIPZIGER CHORÄLE helhetlig utforsking av et mate- Herre Gud, gyd dine nådegaver kunsten var utdødd. Men nå ser «Fra himlen høyt jeg kommer (ACHTZEHN CHORÄLE VON riale. På denne CD-utgivelsen er Variatio 1. Canone all’ ottava ut» (Landstads overs.) går til- jeg at den lever i Dem.» her med hilsen både god og et slikt repertoar representert (kanon i oktaven) VERSCHIEDENER ART) bake til den gregorianske «Veni kjær, det glade budskap om med tre verker med koraler som Variatio 2. Alio Modo in Canone sancte spiritus», en av de sen- I likhet med den foregående og Guds fred, det bringer jeg til utgangspunkt. alla Quinta (kanon i kvinten) I Leipzig (1723–50) tok Johann trale sekvensene i pinsemessen. I også den neste utformes koralen jorden ned.» Variatio 3. Canone alla Settima, Sebastian Bach for seg orgelko- likhet med mange andre middel- med melodisk ornamentikk i «Orgelbüchlein» fra Weimar- cantabile (kanon i septimen) raler fra sine år som hofforganist alderske gudstjenestesanger fant sarabanderytme. Bach hadde bearbeidet koralen tiden hadde et pedagogisk for- Variatio 4. Canon per augmen- i Weimar (1708–17). Utgangs- den sin vei inn i den lutherske flere ganger, og på slutten av sitt mål: «dem höchsten Gott allein tationem (bassen spiller i oktav i punktet for noen av dem kan kirke etter reformasjonen. I den 4. Schmücke dich, o liebe Seele, liv tok han den opp igjen. I 1747 zu Ehren, dem Nächsten, draus forlengete noteverdier) være enda eldre, dvs. fra ung- første orgelkoralen, «fantasia», BWV 654 skulle han bli medlem i «Kor- sich zu belehren» («Gud alene Variatio 5. L’altra Sorte domstiden i Arnstadt eller Mühl- ligger melodien i pedal under respondierende Societät der ære, vi av det kan lære»). del’Canone all’rovercio (omvend- hausen. Nr. 16 og 17 er notert ned «ildtunger» av overstemmer, en «Jesus, livets sol og glede» musikalischen Wissenschaften» Slik er også Bachs sene koral ing), 1) alla Sesta, 2) alla Terza, mellom 1744 og 1747 av eleven pinsefest verdig. En helt annen (overs. Ellingsen) har vært en («De musikalske vitenskapers verker kompendier, lærebøker, der 3) alla Seconda è 4) alla Nona. og svigersønnen J.C. Altnikol, og lyrisk karakter får salmen i den viktig nattverdsalme siden forening»). Initiativtaker var mulighetene til å variere en koral Dimunitio. Alla Stretta nr. 18 enda senere. neste trestemmige satsen, en Johann Crüger skrev tekst og melodi på midten av 1600-tallet. naturlig i åtte avsnitt. I tradis- De tre svært ulike måtene å påminnelse om koralen til slutt büchlein» før han lar pedalen Leipzig og litt sør for Bachs jonen fra Pachelbel, men i større behandle koralen på viser spenn- i pedal. hamre ut den ruvende fødeby Eisenach. Ikke rart at Robert Schumann dimensjoner, fugerer Bach hver vidden i Bachs mesterskap, fra pinsesalmen med full helligånds kalte Bachs vakre sats «en del i understemmene før melo- himmelstemningen i den første, 15. Jesus Christus, unser Heiland, kraft. Det ble en del trykkfeil i utgiv- forgyllet bladkrans». Og Men- dien setter inn i sopran. som en meditasjon over at Gud BWV 665 elsen, så Bach har antakelig ikke 18. Vor deinen Thron tret’ ich selv overvåket notesettingen. delssohn mente at hvis troen kommer ned til jorden, til de 16. Jesus Christus, unser Heiland, hiermit, BWV 668 og håpet forsvant i livet, kunne 8. Von Gott will ich nicht lassen, komplekst polyfone i de to siste. BWV 666 denne Bachs koral gjenskape alt BWV 658 Tittelen og informasjonen om på nytt. 12. Allein Gott in der Höh’ sei Ehr, «Jesus Christus nostra salus» Bachs øyeoperasjoner og distribusjon presenterer Bach Den franske 1500-tallsmelodien BWV 662 går tilbake til Johannes Hus svekkede helse forhindret ikke korrekt som «kongelig polsk og 5. Trio super Herr Jesu Christ, brukes i Norge til teksten «O (på norsk «Jesus Kristus er vår at han var aktiv til det siste. kursaksisk hoffkomponist, ka- 13. Allein Gott in der Höh’ sei Ehr, dich zu uns wend, BWV 655 Gud som tiden vender». Bach frelse»), og under tittelen skrev På dødsleiet tok han frem en pellmester og director musices BWV 663 har komponert til en annen Bach «sub communione», «under orgelkoral fra «Orgelbüchlein», i Leipzig. Er å få i Leipzig hos 1600-tallssalmen «O Herre Krist, tekst som handler om tro og 14. Trio super Allein Gott in der nattverden». Bach ser tydeligvis «Wenn wir in höchsten Nöten herr kapellmester Bach, hos hans deg til oss vend» jubles ut i over- løfter, kraftfullt formidlet av Höh’ sei Ehr, BWV 664 nattverden som en gledesfest sein» («Når i vår største nød vi sønner i Berlin og Halle, og hos stemmene, og først mot slutten tenorstemmen, som bærer siden den første kraftfulle varia- ser»), og dikterte en utvidelse. forleggeren i Zella». kommer koralen i pedal. koralen. Englesangen julenatt ble til sjonen med pedal er temmelig Så valgte han en annen tittel som gudstjenestens Gloria og til kraftfull til å være nattverd- på en gripende måte forteller om I 1747 hadde Schübler trykt «Das 6. O Lamm Gottes unschuldig, 9. Nun komm’ der Heiden Hei- en lovsalme, på norsk «Alene musikk. Så kommer en «lillebror» hans situasjon: «Nå trer jeg for Musikalische Opfer». Utgivelsen BWV 656 land, BWV 659 Gud i himmerik». Som ved den for manual i rytmen til en elegant din trone frem». av de seks koralene skjedde foregående adventssalmen dansende gigue. sannsynligvis i 1748, og forleg- 10. Trio super Nun komm’ der Det gamle «Agnus Dei», «O, presenterer Bach lovsalmen på Som sunget salme fortsetter den geren har i ettertid fått sitt navn Heiden Heiland, BWV 660 Guds lam uskyldig», har lang tre forskjellige måter. 17. Komm, Gott, Schöpfer, slik: «Ta min sjel i din hånd så jeg knyttet til verket. tradisjon både i nattverdliturgien 11. Nun komm’ der Heiden Hei- heiliger Geist, BWV 667 kan se deg i evighet!» og som en pasjonssalme. Bach land, BWV 661 Den første har uvanlig nok De seks satsene (nr. 2 er usikker) Med den opprinnelig siste gjennomfører salmens tre vers, betegnelsen «Adagio», og SECHS CHORÄLE VON er orgelversjoner av kantatesat- «Veni redemptor gentium» er mediterer som BWV 659 over koralen i samlingen knyttes ser fra de første årene i Leipzig, med en stigning i det siste. Da VERSCHIEDENER ART overtar pedalen koralen, og tek- den store adventshymnen til Am- sammenhengen mellom det tråden tilbake til den innledende 1724–31, og med koralmelodien sten om Jesu lidelse skildres med brosius fra 300-tallet. «Folkefrel- himmelske og det jordiske, med pinsesalmen i BWV 651 og 652. (SCHÜBLER-KORALENE) i fokus. krass, uttrykksfull harmonisering. sar, til oss kom» heter den i den et lovsangsutbrudd mot slutten. «Kom, Hellig Ånd med skaper- norske salmeboken etter Luthers Den andre er i fransk stil med makt» (overs. Landstad) er en Samlingen er blant de få verkene 1. Wachet auf, ruft uns die som ble trykt i Bachs levetid.
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