Orgelbüchlein: Difference between revisions
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{| class="sortable wikitable" border="1" | {| class="sortable wikitable" border="1" | ||
|+ Click to sort by BWV number, Title, or Season | |+ Click to sort by BWV number, Title, or Season | ||
|+ *Information is entered concerning this work | |||
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! scope="col" | BWV | ! scope="col" | BWV | ||
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| 601 ||*|| [[Herr Christ, der ein'ge Gottes-Sohn (Herr Gott, nun sei gepreiset) (BWV 601)|Herr Christ, der ein'ge Gottes-Sohn (Herr Gott, nun sei gepreiset)]] || Advent || 3 | | 601 ||*|| [[Herr Christ, der ein'ge Gottes-Sohn (Herr Gott, nun sei gepreiset) (BWV 601)|Herr Christ, der ein'ge Gottes-Sohn (Herr Gott, nun sei gepreiset)]] || Advent || 3 | ||
|- | |- | ||
| 602 || || [[Lob sei dem allmächtigen Gott (BWV 602)|Lob sei dem allmächtigen Gott]] || Advent || 3 | | 602 ||*|| [[Lob sei dem allmächtigen Gott (BWV 602)|Lob sei dem allmächtigen Gott]] || Advent || 3 | ||
|- | |- | ||
| 603 || || [[Puer natus in Bethlehem (BWV 603)|Puer natus in Bethlehem]] || Christmas || 3 | | 603 || || [[Puer natus in Bethlehem (BWV 603)|Puer natus in Bethlehem]] || Christmas || 3 | ||
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| 613 || || [[Helft mir Gottes Güte preisen (BWV 613)|Helft mir Gottes Güte preisen]] || New Year || 4 | | 613 || || [[Helft mir Gottes Güte preisen (BWV 613)|Helft mir Gottes Güte preisen]] || New Year || 4 | ||
|- | |- | ||
| 614 || || [[Das alte Jahr vergangen ist (BWV 614)|Das alte Jahr vergangen ist]] || New Year || 5 | | 614 ||*|| [[Das alte Jahr vergangen ist (BWV 614)|Das alte Jahr vergangen ist]] || New Year || 5 | ||
|- | |- | ||
| 615 || || [[In dir ist Freude (BWV 615)|In dir ist Freude]] || New Year || 4 | | 615 || || [[In dir ist Freude (BWV 615)|In dir ist Freude]] || New Year || 4 | ||
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| 618 || || [[O Lamm Gottes, unschuldig (BWV 618)|O Lamm Gottes, unschuldig]] || Lent || 3 | | 618 || || [[O Lamm Gottes, unschuldig (BWV 618)|O Lamm Gottes, unschuldig]] || Lent || 3 | ||
|- | |- | ||
| 619 || || [[Christe, du Lamm Gottes (BWV 619)|Christe, du Lamm Gottes]] || Lent || 2 | | 619 ||*|| [[Christe, du Lamm Gottes (BWV 619)|Christe, du Lamm Gottes]] || Lent || 2 | ||
|- | |- | ||
| 620 || || [[Christus, der uns selig macht (BWV 620)|Christus, der uns selig macht]] || Lent || 4 | | 620 || || [[Christus, der uns selig macht (BWV 620)|Christus, der uns selig macht]] || Lent || 4 | ||
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| 624 || || [[Hilf Gott, daß mir's gelinge (BWV 624)|Hilf Gott, daß mir's gelinge]] || Lent || 4 | | 624 || || [[Hilf Gott, daß mir's gelinge (BWV 624)|Hilf Gott, daß mir's gelinge]] || Lent || 4 | ||
|- | |- | ||
| 625 || || [[Christ lag in Todesbanden (BWV 625)|Christ lag in Todesbanden]] || Easter || 2 | | 625 ||*|| [[Christ lag in Todesbanden (BWV 625)|Christ lag in Todesbanden]] || Easter || 2 | ||
|- | |- | ||
| 626 || || [[Jesus Christus, unser Heiland (BWV 626)|Jesus Christus, unser Heiland]] || Easter || 3 | | 626 || || [[Jesus Christus, unser Heiland (BWV 626)|Jesus Christus, unser Heiland]] || Easter || 3 | ||
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| 636 || || [[Vater unser im Himmelreich (BWV 636)|Vater unser im Himmelreich]] || || 3 | | 636 || || [[Vater unser im Himmelreich (BWV 636)|Vater unser im Himmelreich]] || || 3 | ||
|- | |- | ||
| 637 || || [[Durch Adams Fall ist ganz verderbt (BWV 637)|Durch Adams Fall ist ganz verderbt]] || || 3 | | 637 ||*|| [[Durch Adams Fall ist ganz verderbt (BWV 637)|Durch Adams Fall ist ganz verderbt]] || || 3 | ||
|- | |- | ||
| 638 || || [[Es ist das Heil uns kommen her (BWV 638)|Es ist das Heil uns kommen her]] || || 3 | | 638 || || [[Es ist das Heil uns kommen her (BWV 638)|Es ist das Heil uns kommen her]] || || 3 | ||
|- | |- | ||
| 639 || || [[Ich ruf' zu dir, Herr Jesu Christ (BWV 639)|Ich ruf' zu dir, Herr Jesu Christ]] || || 1 | | 639 ||*|| [[Ich ruf' zu dir, Herr Jesu Christ (BWV 639)|Ich ruf' zu dir, Herr Jesu Christ]] || || 1 | ||
|- | |- | ||
| 640 || || [[In dich hab' ich gehoffet, Herr (BWV 640)|In dich hab' ich gehoffet, Herr]] || || 3 | | 640 || || [[In dich hab' ich gehoffet, Herr (BWV 640)|In dich hab' ich gehoffet, Herr]] || || 3 | ||
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| 642 || || [[Wer nur den lieben Gott läßt walten (BWV 642)|Wer nur den lieben Gott läßt walten]] || || 2 | | 642 || || [[Wer nur den lieben Gott läßt walten (BWV 642)|Wer nur den lieben Gott läßt walten]] || || 2 | ||
|- | |- | ||
| 643 || || [[Alle Menschen müssen sterben (BWV 643)|Alle Menschen müssen sterben]] || || 2 | | 643 ||*|| [[Alle Menschen müssen sterben (BWV 643)|Alle Menschen müssen sterben]] || || 2 | ||
|- | |- | ||
| 644 || || [[Ach wie nichtig, ach wie flüchtig (BWV 644)|Ach wie nichtig, ach wie flüchtig]] || || 4 | | 644 || || [[Ach wie nichtig, ach wie flüchtig (BWV 644)|Ach wie nichtig, ach wie flüchtig]] || || 4 | ||
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==Background and General Perspectives== | ==Background and General Perspectives== | ||
These 46 short chorales were composed while he was court organist at the ducal court in Weimar (1708–1714). | These 46 short chorales were composed while he was court organist at the ducal court in Weimar (1708–1714). | ||
Orgelbüchlein (literally translated, "Little Organ Book")--a collection of 46 of the most commonly-used Lutheran chorales. 164 settings were planned, but completed only 46. Most of them were composed during his Weimar period (c. 1713-1716), where he was a Chamber musician and later Concertmeister to Grand Duke Wilhelm Ernst. Weimar (1708-1717) was his most productive period in organ composition | |||
Organization of the planned collection: 2 halves: | |||
Part one traces the path of the Liturgical Year (Starting with Advent, Christmas, Epiphany, etc.). Part two uses chorales based on events of Christian life. Thus, the title "The Liturgical Year" is inappropriate. It may have been conceived of as a complete yearly cycle of chorale preludes. The entire book was laid out (164 settings), the pages ruled, and the titles placed. The layout of the book required that the pieces be short. | |||
Factors contributing to the historical importance of the collection: | |||
*A. Limitation of size ruled out the large "for-imitation" style of the past--had to be a more economical format | |||
*B. Motifs are often fragments of the chorale tune itself | |||
*C. Pictorial motifs brought the message of the text forward in the music. Examples: "Durch Adams Fall ist ganz verderbt [corrupted]" dissonant, descending sevenths in the pedal refer to mankind's fall and "Puer Natus in Bethlehem" includes rocking cradle motif. | |||
*D. Substantial, self-sustaining pedal part was rather unique | |||
*E. The collection served several functions: 1. Pedagogical--practice material for up-coming organists, 2. Service music--introductions for congregational hymns, 3. Examples for advanced pupils on how to improvise a chorale prelude. | |||
For details, see the [http://en.wikipedia.org/wiki/Orgelb%C3%BCchlein Wikipedia article] | For details, see the [http://en.wikipedia.org/wiki/Orgelb%C3%BCchlein Wikipedia article] | ||
Latest revision as of 04:38, 8 February 2017
Choosing a piece
The Orgelbüchlein collection represents a wide range of technical difficulty: any piece, or level, is appropriate for the service playing exam. The table below assigns a difficulty grouping for each piece, 1 being the most accessible, 5 being the most challenging. (The groupings are adapted from Quentin Faulkner. [1])
The Chorales
Background and General Perspectives
These 46 short chorales were composed while he was court organist at the ducal court in Weimar (1708–1714).
Orgelbüchlein (literally translated, "Little Organ Book")--a collection of 46 of the most commonly-used Lutheran chorales. 164 settings were planned, but completed only 46. Most of them were composed during his Weimar period (c. 1713-1716), where he was a Chamber musician and later Concertmeister to Grand Duke Wilhelm Ernst. Weimar (1708-1717) was his most productive period in organ composition
Organization of the planned collection: 2 halves: Part one traces the path of the Liturgical Year (Starting with Advent, Christmas, Epiphany, etc.). Part two uses chorales based on events of Christian life. Thus, the title "The Liturgical Year" is inappropriate. It may have been conceived of as a complete yearly cycle of chorale preludes. The entire book was laid out (164 settings), the pages ruled, and the titles placed. The layout of the book required that the pieces be short.
Factors contributing to the historical importance of the collection:
- A. Limitation of size ruled out the large "for-imitation" style of the past--had to be a more economical format
- B. Motifs are often fragments of the chorale tune itself
- C. Pictorial motifs brought the message of the text forward in the music. Examples: "Durch Adams Fall ist ganz verderbt [corrupted]" dissonant, descending sevenths in the pedal refer to mankind's fall and "Puer Natus in Bethlehem" includes rocking cradle motif.
- D. Substantial, self-sustaining pedal part was rather unique
- E. The collection served several functions: 1. Pedagogical--practice material for up-coming organists, 2. Service music--introductions for congregational hymns, 3. Examples for advanced pupils on how to improvise a chorale prelude.
For details, see the Wikipedia article
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
Registration and Organs
Replace this text any information on registration and organs that might be pertinent to the whole set of pieces
See the footnote in the "Notes" section at the bottom of the page. [2]
Fingering and Pedaling
Replace this text with any information on fingering and pedaling that might be pertinent to the whole set of pieces
Articulation and Phrasing
Replace this text with any information on articulation and phrasing that might be pertinent to the whole set of pieces
Ornamentation
Replace this text with any information on ornamentation that might be pertinent to the whole set of pieces
Tempo and Meter
Replace this text with any information on tempo and meter that might be pertinent to the whole set of pieces
Recordings
Replace this text with any information on recordings that might be pertinent to the whole set of pieces
Free Online
Replace this text with any information on online recordings that are available free
Pay to Listen
William Porter at the 1723 Hildebrandt at Störmthal., including 10 other pieces from Das Orgelbuchlein.
Other Resources
Replace this text with any information on other resources pertinent to performing these works
Notes
This space is for automatic insertion of footnotes. To enter a footnote from anywhere in the article, start by typing the tag <ref> and then enter the text, and type the tag </ref> to end the footnote. The footnote will then appear in this "Notes" section automatically.
