Half of the harm that is done in this world is due to people who want to feel important. They don't mean to do harm but the harm does not interest them. - T.S. Eliot

Chorales

2010, February 19

BWV 114.7 analyzed again

A revision of the analysis of the cross relation of May 26, 2008

Here is the original post with sound files of the parts, April 22, 2008.

Here is a revision and correction, posted May 26, 2008, of the original analysis.

Today, after a letter from Taylor Morgeson, here is another solution with chord changes only on the beat, so that the harmonic rhythm is consistent:

The cross relation results from the unaccented appoggiatura in the second half of the first beat and the E natural in the bass on the second beat. The E flat in the tenor is in the descending harmonic minor scale (F sharp-E flat-D-C-B flat) playing against the ascending melodic minor in the bass (D-E natural-F sharp-G).

In the same measure there is also a voice crossing between the alto and the soprano resulting from the leap of a seventh by the alto; so this is a very active couple of measures.

Glenn Gould remarks about BWV 54 that suspensions and cross relations were reserved by Bach for "those subjects for which he felt most keenly, most deeply". Only Glenn Gould, with a direct line to Bach's spirit, would know what Bach was feeling. I don't think anyone else would quite dare to make such a statement. The words sung in these measures are:

So sind wir doch des Herren
Der kann dem Satan wehren

Yet we are the Lord's
He can guard against Satan

Perhaps the very active harmonization of these measures was meant to call attention to these sentiments.

Here is Taylor's corrected version of the measures.

2009, December 11

Vom Himmel hoch da komm ich her

For the organ, a favorite Christmas chorale from Bach

 

Hymns and Carols of Christmas: Vom Himmel hoch da komm ich her

From Tim Smith: Vom Himmel hoch da komm ich her

 

BWV 603, 605, 606 Organist: Marie-Claire Alain BWV 606 In the Christmas group of the Orgelbüchlein the hymn records the Angelic annunciation of the new-born Christ. By ascending and descending scale passages Bach indicates the presence of the heavenly host.

 

BWV 700 Organist: Hans Fagius Virtually baroque. The movement is a Fughetta, for the manuals, on the first two phrases of the melody. In more vivid colours Bach paints again the Orgelbüchlein picture. The brilliant scale passages not only represent the ascending and descending angels, but sound joyous peals from many belfries ringing in the Saviour’s birth. Five copies of the movement, an early work, are extant, one of them in the Kirnberger Collection, another in the Schicht mss. Terry.

 

BWV 701 Virtually Baroque Organist unknown A Fugue on the melody, phrase by phrase, without attempt at pictorial treatment. There are seven texts of the movement, a youthful work, in the Kirnberger, Schelble, and other collections. Terry.

 

BWV 738 Virtually Baroque An Organ accompaniment of the melody; many scales. Organist unknown.

 

BWV 769 Virtually Baroque Comments by Charles S. Terry

2009, September 07

Two years

Two year revision completed.

Barenreiter has published all the cantatas in an affordable paperback study edition. This edition is the basis for the current revision. These files have each voice on its own staff.

The revision of the four part chorale sets is now complete and all sets are updated with corrected files. If you find any errors found please contact me. This site has been updated thanks to the vigilance of all readers and users of the files, and I thank everyone who has participated.

The PDF with the standard file name has the chorale with the tenor in octave down G clef. This file is the one linked in the pdf column of the list pages. The PDF with the tenor in bass clef has an 'f' added to the name. It is not linked on the pages but a set is included because it may be easier for keyboard players to read. Examples:
006206.pdf - tenor in octave down G clef
006206f.pdf - tenor in bass or F clef.

Because the sets of the pdf files are quite large, there are two sets, pdf.zip and pdf-f.zip.

mp3 files have been added with this revision; they are found here. Not all the files have an mp3 at this time; I will add more mp3 files and update the longer, more complex chorales as time permits.

mp3s are made with Finale, saved as a midi file, converted to a .mov file with QuickTime 6.5, which requires OS X 10.3 Panther to run. The .mov file is then converted an mp3 in iTunes, and the sound boosted (normalized 80%) in Amadeus Pro.

2009, August 17

BWV 437 We Believe in One God

There are differences in the notation of BWV 437 between editions.

BWV 437, Wir glauben all' an einen Gott (We all believe in one God), is a four part chorale, part of the Credo. It is a modal chorale in Dorian. The melody is also the basis of BWV 680 and 681, part of Bach's German Organ Mass from the Clavierübüng III.

The EMB, the Musica Budapest edition, has a C natural on the 4th beat of the 4th measure in the soprano part. All other editions show a C sharp on this note. I have gone with the C sharp, making the chord A major. I believe this is a typographical error in the EMB. If anybody has information to the contrary, please let me know.

Likewise, in the EMB, the eighth note on the beginning of the 4th beat of measure 30 in the alto is marked C natural. All other editions have a C sharp on this note. I have gone with a C sharp. I think this is less likely to be a typographical error in the EMB, since the note is clearly marked with a natural sign, whereas the note in the 4th measure is simply not marked with a sharp.

I am not sure what to make of all this.

Category Archives

<< Back to homepage