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Aria da Capo
Free download. Book file PDF easily for everyone and every device. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Access Check. BACH, J. Notes and Editorial Reviews. It is followed by a recitative and an Adagio featuring the usual figura corta, while the third movement consists of a brilliant fantasy on a basso ostinato. BWV, which was probably written in Weimar, is based on the early Gregorian chant of the Magnificat in tonus peregrinus. Positioned between a fugue and an invention, it involves two, three, four and up to five voices, with the cantus firmus in the pedal.
Its concerto structure, rhetorical impact and the rich development of the constituent parts suggest that it was completed in Leipzig.
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The initial dialogue in chords between the right and left hand represents a dramatic exclamatio, followed by quavers, triplets and semiquavers that speed up the movement and heighten the tension. Imposing and severe, the fugue is full of powerful energy that contributes to the growing intensity of expression. Though intrinsically different, the elements that underlie this development all derive from the same nucleus. Tracks 3—13 conclude the cycle of Neumeister chorales. BWV is a ricercare in which the subject is first imitated in all the voices, and then gains in vivacity with imitations in the livelier stretto and the countersubject.
The overall effect is a sense of acceleration with the voices rising to the top end of the keyboard.
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BWV, on the other hand, is chord-based and simple in structure, with echo effects in the second part. In BWV the first verses of the cantus firmus are ornate in the.
gatsbybuild.co.uk/el-collar-de-la-reina.php BWV is divided into several sections, the first of which displays a basso quasi ostinato with the subject in the soprano. BWV is a lively little fugue with a finale featuring harmonisation of the complete chorale and intermediate figures in quavers, along the lines of Pachelbel.
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The reference model for BWV, which features echoes, small imitations, figura corta and cantus firmus in the pedal, is the motet as developed by the Bach family, especially the cousins Johann Christoph and Johann Michael. The Prelude and Fugue BWV, which were only placed together in the 19th century, contrast with each other considerably, to the extent that their authorship is still uncertain, especially the Prelude.
The Fugue, on the other hand, would seem to be a version for the organ of the Fugue in G minor from the Sonata for solo violin BWV, transcribed by Bach himself, or possibly by one of his pupils. The refrain-form, interposed with episodes in semiquavers deriving from the subject in ribattuta notes and by a simple countersubject in staccato quavers, comes across as much richer in harmony and depth on the organ than on the violin, not least thanks to the five-voice tessitura, where the stretto imitations create a complex tapestry of sound.
For me, the outstanding work on CD 1 is BWV ; this is written in a kind of theme and variations format that Bach was very fond of, the theme being a standard Lutheran hymn tune. The trio sonata, one of six, was written as study material for the young Friedemann Bach. Phillips does very well with the piece; about all I could wish for is a slightly faster tempo in the first movement. The concerto gets in a sprightly rendition, while the remaining chorale preludes, mostly contemplative in nature, are played with care and reverence. The second CD was recorded on another famous historic organ, this being the Arp Schnitger organ of enlarged by Hinsz in in the Hervormde Kerk, Noordbrock, Netherlands.
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In both venues, the organs are presented in a natural aural perspective that judiciously combines first-arrival sound with ambient acoustic. A much-appreciated feature of the liner notes is the complete listing of the registrations used for each piece, keyed to the stoplist of the two organs. Weimar, Germany.
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Related 7 Partite diverse sopra: Christ, der du bist der helle Tag, BWV766
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