Wolff refers to Bach's collection of four-part chorales that charted the course for For this reason, apart from the easily-printable pdf format, these pieces are. The important historical collections have their own collection pages, and only selected copies are here ( chorales supervised by C.P.E. Bach for Breitkopf). Vierstimmige Choralgesänge (Bach, Johann Sebastian) . Editor, Carl Philipp Emanuel Bach () .. Listing of Bach's Chorale Settings.
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Nun danket alle Gott (from BWV ) · *# - MB, 1 pp. - /10 2 4 6 8 10 (-) -!N/!N/!N - ×⇩ - wrshannon · PDF. By JS Bach. Public domain. From aracer.mobi% 20Chorale%20Harmonisations%20%28Part%% Bach J.S. - aracer.mobi - Ebook download as PDF File .pdf) or view presentation slides online.
The book was received with indignation by C. Bach in Hamburg, who proceeded to write an article condemning the new work in the Staats- und Gelehrlezeilung des Hamburgischen unparlheye- when Correspondenten on May 30, He claimed that the volume was full of mistakes and even contained chorales not composed by his father.
The manu- script to be used once beionged to C. Bach, who sold it to the music-loving Princess Amalia through Kirnberger for twelve louis d'ar. The greatest calamity in the history of these chorales is that the one who made this collection of chorales in manuscript did not think to include the texts and perhaps some reference to the larger work from which each chorale was taken. Just after Kirnberger died in without seeing the fruit of his labours, C.
Bach wasind uced by Breitkopf to under- take the editing of these chorales.
He accom- plished the work in four parts, one part appear- ing in each of the following years: Becker was called upon after the music was in type to write the preface. Atten- tion has previously been called to the change of format and the change in the numbering beginning with No.
Becker and A. Another edition was sponsored by E. Naumann in That C. Bach's edition, issued so early, should have faults and shortcomings can readily be understood in view of the lack of critical editorial standards existing at the time.
Erk, in his splendid edition of the chorales issued by Peters in two volumes in and respec- tively, calls attention to these errors in such a comprehensive manner that they need not be enumerated here.
Bach himself in writing the chorales was undertaken. Bach's own scores. For some reason, however, Becker chose to publish all of the harmonizations of the same melody in the same key. He, moreover, did not think of adding the words. An important contribution was made by Ludwig C. Erk in his two volumes published by C. Peters in and He therefore supplied the text to the chorales taken from all of the larger works that could still be located. Later he attempted to supply the missing words to those chorales taken from the larger works which had been lost.
His work here was very valuable, 'but modern investigation based upon the methods of Andre Pirro should be able to improve upon his efforts to 9. Erk's very excellent edition was thoroughly revised by Friedrich Smend in and republished by Peters. The work of the Bachgesellschaft in publish- ing the compositions of Bach was a tremendous and heroic task. In this great edition every chorale of which the originally associated words are known was given its- natural place in the larger composition of whichoit formed a part.
This left chorales that found no place be- cause the works to which they originally belonged had been lost. Franz Wiillner collected these on the basis of their publication in the edition, and issued them in Volume XXXIX of the Bachgesellschaft edition. His work does not represent any particular advance over the researches of Erk. Richter edited the chorales. This edition consisted of harmonized chorales supplied with texts based largely upon the work of Erk.
He had in mind furnishing material for score—1'eading for the classes of the Hochschule fiir Musik at Her- lin. References to the place of each chorale in its larger work were also supplied. An interesting work is that edited by H. Elliot Button and published a few years ago by Novello and Company, Ltd. No words were supplied for this edition. A man to whom modern Bach research owes much is Dr. Charles Sanford Terry. His three- 9.
His J. Four-Part Chorales, published by the Oxford University Press in , is perhaps the most comprehensive work covering the subject of the chorales. They appear in short score. For each harmonization, Dr. Terry has furnished several stanzas of the hymn, both in the original German and in English translation. Among these is. In furnishing these additional stanzas, Dr. Terry has proceeded upon the assumption that the Bach chorales are hymn-tunes for congregational use at religious services.
It is very doubtful whether this assumption is correct. With the exception of the Schemelli songs, which were never harmonized for general use, and possibly a few other melodies, Bach never intended that the chorales should be sung by the congregation Mat least in harmonized versions. There are numerous other selections of J. Bach's chorales issued by various publishers. They are largely only compilations for practical use and contain very little of information or further research.
However, one collection, complete in thatit contains at least one-example of each of J. A It is published by G. Sclairmer, Inc. Charles N. Boyd and the writer. It was compiled for the educational work of the National Associa- tion of Schools of Musicand is primarily designed to supply material for score reading. It appears in two volumes. The first contains 91 chorales of the motet type; and the second, 29 chorales with independent orchestra obbligato.
The chorales appear in open score using the original C—clefs and also in close score using the familiar treble and bass clefs. In the last named edition the editors have attempted to furnish a text most true to the original, both in meaning and place- ment of the words.
It is recom- mended, however, that the original text be con- sulted for purposes of exact research. In the notes at the end of the present collection will be found data valuable for a detailed ex- amination of the chorales in this volume. It is the hope of the writer that these details will be the means of inspiring students to independent study withza consequently deepened understand- ing of these masterpieces, which may aptly be "described as multum in parvo.
Director, Baldwin-Wallace Conservatory In several instances it seemed desirable to translate also a word or phrase farther along in the "original text. In none of the entries does the English line pretend to represent a translation for singing purposes. References to good singing translations will be found on pages to An index to the Chorales according to their number in the collection will be found on page Page- Ach bleib bei uns, Herr Jesu Christ.
Ach Gott, erh6r' mein Seufzen. Allein zu clir, Herr Jesu Christ. I From the depths of my heart Aus tiefer Not schrei' ich zu dir. Entrust thy ways. Den Vater dort oben. Dies sind die heil'gen zehn Gebot'.
Herr Jesu Christ. Ein' feste Burg ist unser Gott;.
So take, Lord Es ist gewisslich an der Zeit. Jesus, hidden Thy countenance Heilig, heilig. Ich bin ja, Herr, in deiner Macht. Come, blessed Rest Kommt her zu mir, spricht Gottes Sohn. Nun freut euch, lieben. Christen, g-7mein. God the Lord glue Ihauk: Thou good God 0 grosser Gott von Macht.
S7 0 Jesus, Thou my bridegroom 0 Jesulein sliss, o Jesulein mild. Sanctus Dominus Deus Sabaoth. Jesus kind Sei Loh und Ehr' dem hlichsten Gut. Singen wir aus Herzens Grund. Vater unser im Himmelreich. Was bist du doch, o Seele, so bet: Was Gott tut, das ist wohlgetan. I am tired of thee Weltlich Ehr' und zeitlich Gut. Zeuch ein zu deinen Toren. Those chorales in which corrections have been made beyond the mere removal of meaningless slurs are marked with asterisks.
C opyriglzl, , by G. Schtrmer, Inc. I C Til J. TT, T 1. TTn u M Muclfs mit mir. It' mein Gott T —T Tun. Eula in-. I TT m J2l , T. Liebster Immanuel I-[erzo Wie schiin leuchtet der Mo: T T Du der Herr Chl- It min T. Ta Tm T.
T an -IT. Weltlich Ehr- 8' said doch, ihr Froeu 0 wie sell T1 T in, TT AT, W " Gelobet seist du Es ist das Hail uns kommen her T 4; Das alto Jahr vegungen ist Vom Himmel hoch, du. In 6 dz. Christ lag in Todesbanden Her A. Der Tag mit seinem isl Iin. Essa ,. Sn gulls! Josus, u 1. T ich singen Dir. Es gliinzol der Christen r. An, T. Li0bsl -r Golhwunn w -rd'icl: All of the chorale harmonizations, as far as can be ascertained, were designed to be sung with instrumental support.
Even those that appeared in the motets had the support of harpsichord or organ. The three wedding chorales, which were not parts of a larger work, are supported by instruments and instrumental obbligati.
The singing of these harmonized chorales a capjhella is based upon a wrong conception, and much of the real character of the harmonization is lost by such a procedure. These sturdy,4masculine. They are not congregational hymns. Bach's audiences may have attempted to sing along on the melody in unison, but the har- monizations were never furnished to the congre- gation.
Modern research has proved that the study of the harmonizations of the Bach chorales is incomplete without considering the words of the text to which the harmonizations were placed.
Chorales were shortened; instrumental obbligati, instrumental parts, and instrumental interludes were omitted by a reduction process which robbed the chorale of its true character. The most common error in the old edition was a very frequent substitution of the instrumental bass for the vocal bass. Bach always desired his Continua, or instrumental bass, to sound both at the pitch written e. This lower bass line often corrected the seemingly faulty results caused by the crossing of the bass over the tenor part.
It also gave greater dignity to the chorale. Another carelessness evident in the early edition resulted from the complete dis- regard of the words. Ties common to the in- strumental parts were carried over into the vocal parts, and the slur-indications were extremely confusing to anyone wishing to fit the words to the music. Within the music the following matters have been corrected: One of the greatest solo jazz guitarists, the late Ted Greene released one album that displayed the heavy influence of the chorales on his unique jazz guitar style.
He confirms their importance to him in his books as well as in a few arrangements he did for solo guitar which are now shared with the world by his widow and former students.
Alexander shows points of resolution he calls them hit points and suggests working backwards from those as many jazz arrangers do in their writing. He goes on to isolate the two outer voices, then adds alto and tenor but not before he analyzes the intervals along with their relationship to to the bassline. By using these approaches as well as others he suggests, he gives the student a template for how to:. Some may be initially disappointed that he didn't analyze each of these works and spoon feed us with the fruits if his labor - at the end of the day, the student will be more likely to internalize most of what he learns if he does the work himself.
What the author has done is given you a number of refined paths to use when approaching these chorales. Finally, by creating this 'street smart guide' Mr Alexander has taken some of the intimidation out of studying these works, which are IMO the musical equivalent of the Shakespearean Sonnets to a student of Shakespeare's oeuvre.
This book belongs in any arranger's or composer's library! All Rights Reserved.
Please Wait Featured Categories On Sale! Category Cove On Sale! Curiosity Corner Video Placeholder. Street Smart Guides. Alexander Publishing. Customers who downloadd this item also downloadd these items: The Instant Composer: Scoring Stages 1: Bruckner and Film Orchestration.