Chorale Prelude, BWV 676: Allein Gott in der Höh sei Ehr
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And at the other end of the sonic spectrum lies Sigfrid Karg-Elert 's Harmonies du soir which highlights this versatile instrument's gentler side. I've heard thousands of recordings in my life, and very rarely have I heard anything as beautiful as the quality of sound this pipe organ produces on the soft, goosebump inducing, final chord of this work. And if you thought that you had heard this organ's full force in the Cochereau, wait 'til you hear the "monster" exposed during the Prelude and Fugue on BACH by Franz Liszt.
The final chords alone will make you glad to be alive. The recording engineers at Pro Organo have very well captured this organ's power as well as the space it occupies. With impressive stops including a 32' Contre Bombarde, this instrument moves great volumes of air.
The third setting, a fughetta, proves to be a true double fugue of only 20 measures that gives a preview of the highly complex and minimalistic compositional forms of the second Viennese School. The ascent in tonality of these three chorale settings F Major, G Major and A Major is supported and embellished by increasingly light, clear registrations.
The strict canon of the cantus firmus signifies the sacred laws Ten Commandments. The Father who accepted that we shall all be His children.
He will nourish us forever, provide for our bodies and souls; He will lead us through all perils, no harm shall befall us. He watches over us, protects and guards; He has the power to do all.
Instead, he composes a fugue that begins with the first line of text and accompanies the fugue subject with an ostinato bass. The latter enters in the pedal at various tonal levels and at increasing distances from the previous entrance — very unusual for a fugue. In this manner, Bach summarizes the entire chorale in the first and last line. Amen, that is: let it be so.
Strengthen our faith now and evermore, so that we may never doubt the subject of our prayer. We speak Amen to Thy word and to Thy name.
Festal Evensong – Saint Thomas Church
The piece masterfully interlocks various musical idioms: for one, the cantus firmus is heard as a canon between soprano and alto in the traditional fugal style. The other three voices, however, form a complete trio-sonata movement! He took His baptism from St. John to fulfill His work and task. He wanted to bathe us as well, to wash us from all sins, And also drown that bitter death through His own blood and wounds, To grant new life to all.
In the last verse of the song, this image comes to symbolize the blood of Christ, which shall wash away all sins.
Clavier Übung III (Organ)
The figures in the upper voice partly in galante style portray the cross and indicate the connection between baptism and the cross. In both settings, the flowing of water is depicted by delicate registrations as well as the use of all existing tremulants in order to make the otherwise static organ tone glide and flow. Bend down Thy gracious ear to me and open it to my prayer; If Thou willst see all sin and evil that has been done, Who can, Lord, stand before Thee? I thus place all my trust in God and not on my own merit; I place my heart within His hands and trust in His great mercy, He giveth me His valued word; that is my comfort and my trust, I await His help eternally.
Bach uses the building blocks of this phrygian chorale to construct a cathedral of tremendous size and austerity. This composition in stile antico refers back to the tradition of the Palestrina school — as did the third Kyrie. That we never should forget, He gave us of his flesh to eat, Hidden in bread so small, and to drink, his blood in wine. Thou shallt praise God the Father, that He feedeth thee so well And given for thy sins his Son unto death.
The incredible character of this work is underscored by the registration with the buzzing vox humana. Shawm sounds from old town wind bands come once again to life.