Ich ruf' zu dir, Herr Jesu Christ (BWV 639): Difference between revisions
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Left Hand: Flutes or 18th-century String stops 8' or 8' and 4'; (the slurs are reminiscent of the bowings for the Viol da Gamba in 18th-century music, suggesting the appropriateness of an 8' String stop). | Left Hand: Flutes or 18th-century String stops 8' or 8' and 4'; (the slurs are reminiscent of the bowings for the Viol da Gamba in 18th-century music, suggesting the appropriateness of an 8' String stop). | ||
Pedal: Flutes or 18th-century String stops 16' or 16' and 8'. | Pedal: Flutes or 18th-century String stops 16' or 16' and 8'. | ||
==Fingering and Pedaling== | ==Fingering and Pedaling== | ||
Revision as of 16:39, 7 February 2015
from Das Orgelbüchlein by Johann Sebastian Bach
Background
The five verses of Ich ruf' zu dir, Herr Jesus Christ are a prayer for faith, hope, and love in times of despair. The text was written by Johann Agricola (1494-1566) and published before 1530.[1]
Ich ruf zu dir, Herr Jesu Christ! I call to You, Lord Jesus Christ! Ich bitt, erhör mein Klagen; I beg, hear my complaint! verleih mir Gnad zu dieser Frist, Grant me grace at this time; lass mich doch nicht verzagen. let me not despair! Den rechten Glauben, Herr, ich mein, The pure faith, Lord, I wish den wollest du mir geben, that You would give me: dir zu leben, to live to You mein’m Nächsten nütz zu sein, to help my neighbor, dein Wort zu halten eben. and to keep Your Word faithfully.
This chorale is the only three-voice texture in the collection and could be a transcription of an accompanied aria. The soprano line has a quarter note motion (with written ornamentation), continuous sixteenth note groupings in the middle voice, and eighth notes in the bass.
The music is in the remote key of F minor, described by J. P. Kirnberger, a pupil of Bach, as "the least pure, and thus the saddest."[2]
Registration and Organs
Suggested registration:
Right Hand: Principal 8'; Cornet; 8' and 2-2/3'; Reed and Flute 8'.
Left Hand: Flutes or 18th-century String stops 8' or 8' and 4'; (the slurs are reminiscent of the bowings for the Viol da Gamba in 18th-century music, suggesting the appropriateness of an 8' String stop).
Pedal: Flutes or 18th-century String stops 16' or 16' and 8'.
Fingering and Pedaling
The pedal part contains many repeated notes, some serving as harmonic suspensions.(Footnote)
The pedal may be played with a small separation between each note. (Footnote)
Articulation and Phrasing
The broken-chord figures of the middle voice... Resembling a viola or viola da accompaniment complete with the slurs, the figures supply a subdued harmonic rhythm that sets the foundation for this setting. (Footnote No. 5)
The appoggiatura in the solo line, m. 3, should be played as an eighth-note d-flat precisely on beat two, slurred to the following c. (Footnote)
Ornamentation
Ornaments should be played with flexibility and freedom against the continuous motion in other voices. (Footnote)
In the first half of the setting the tune is somewhat ornamented, while in the second half, curiously, it is plain. This state of affairs may be a signal that the performer is free to devise appropriately similar ornamentation for the second half. On the other hand, it may be an intentional reflection of the shift of emphasis that occurs half way through the text, from a plaintive to a more sturdy and confident character. (Footnote)
Tempo and Meter
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Scores and Editions
- Completely fingered in early fingering styles. Includes helpful information on the original chorales and performing the works.
J. S. Bach: Orgelbuchlein (ed. Robert Clark and John David Peterson)
- Includes helpful information on the original chorales and performing the works.
IMSLP, Bach Gesellschaft edition
- Free download
Recordings
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Free Online
James Kibbie, 1717 Trost organ, St. Walpurgis, Großengottern, Germany, using _____.
Pay to Listen
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Other Resources
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Notes
- ↑ Mark Steven Bighley, "The Lutheran Chorales in the Organ Works of J. S. Bach" (D.M.A.diss., Arizona State University, 1985),185.
- ↑ Johann Phillip Kirnberger, Die Kunst des reinen Satzes in der Musik, vol. 1, 1771; vol. 2, part 1, 1776; trans. David Beach and Jurgen Thym, The Art of Strict Musical Composition (New Haven: Yale University Press, 1982), 341.
