Wolfgang - J.S. Bach: Orgelchoräle BWV 659-668, 769 [CD]

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Johann Sebastian Bach (1685 - 1750) Organ Chorales from the Leipzig Manuscript Vol. 2 Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St. Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. As a craftsman obliged to fulfil the terms of his employment, Bach provided music suited to his various appointments. It was natural that his earlier work as an organist and something of an expert on the construction of organs, should result in music for that instrument. At Cöthen, where the Pietist leanings of the court made church music unnecessary, he provided a quantity of instrumental music for the court orchestra and its players. In Leipzig he began by composing series of cantatas for the church year, later turning his attention to instrumental music for the Collegium musicum of the University, and to the collection and ordering of his own compositions. Nunkomm, der Heiden Heiland (Now come, Saviour of the Heathen) appears in three versions. The chorale on which it is based is Martin Luther's adaptation of the original Ambrosian hymn Veni Redemptor gentium. The first of these, for two manuals and pedals, opens with the first measures of the chorale theme in the tenor, imitated at once in the alto register, over a constantly moving pedal bass. The melody is then elaborated in the upper part to form an ornamented line. The second treatment of the chorale is in the form of a Trio, three melodic lines, one for each hand and one for the pedals. Here a contrapuntal imitative opening by the two lower parts is followed by the appearance of the ornamented chorale theme, to which the two lower parts provide a postlude in conclusion. The third version of Nun komm, der Heiden Heiland is described as in organo pleno, il canto fermo nel pedale (for full organ, with the chorale melody in the pedal part). An introductory contrapuntal passage derived from the chorale leads

Nun Komm' Der Heiden Heiland, BWV 659

Trio Super: Nun Komm' Der Heiden Heiland, BWV 660

Nun Komm' Der Heiden Heiland, BWV 661

Allein Gott In Der Hoh' Sei Ehr', BWV 662

Allein Gott In Der Hoh' Sei Ehr', BWV 663

Trio Super: Allein Gott In Der Hoh' Sei Ehr', BWV 664

Jesus Christus, Unser Heiland, BWV 665

Jesus Christus, Unser Heiland, BWV 666

Komm, Gott Schopfer, Heiliger Geist, BWV 667

Einige Canonische Veranderungen Uber Das Weihnachtslied 'Vom Himmel Hoch, Da Komm Ich Her', BWV 769

Choral Vor Deinen Thron Tret Ich, BWV 668