The Organ Music of J. S. Bach
Taking account of Bach scholarship of the previous twenty-five years, the 1st volumes of Peter Williams's vintage research of Bach's organ works are totally revised. This paintings is a piece-by-piece statement in this ever-popular repertoire, demonstrating the music's detailed traits and the way we'd pay attention and play it this present day. The booklet follows the order of the Bach catalog (BWV): starting with the sonatas, by means of the "free works" and the chorales, and finishing with the uncertain works, together with the "newly chanced on chorales" of 1985.
increasing the episode’s triplets. From the ﬁrst episode on, ﬁgure after ﬁgure follows, alike yet different and flexible: one virtually suspects the composer of looking as many triplet-shapes as he can ﬁnd. except the short advancements of the topic in b. seventy three and b. seventy seven, they're absent from entries of the most topic, which consequently sticks out particularly in 23 BWV 527–528 the style of a rondo. Instructive for the bar-by-bar procedure are the center entries at b. sixty one and b. ninety seven, as triplets spill.
In P 213, one in all six fugues in keeping with il Clavicembalo, yet with pedal cues. even though it used to be assumed that transformations among this fugue and the solo violin Fugue in G minor, Sonata BWV 1001.ii, have been made by way of J. S. Bach during transcribing (Spitta I pp. 688–9), and that those say whatever approximately his tools (e.g. Geiringer 1966 pp. 237–8), it isn't identified who made the organ model or while. Readings recommend it used to be ready from 71 BWV 539 P 268, Anna Magdalena’s replica of the violin.
Triad after which run right into a sequential tail of a few size are sure to sound comparable. this kind of perpetuum mobile-like topic, notwithstanding, is rare for an organ fugue of J. S. Bach and, like that during BWV 564, it breaks up in the direction of the shut. Prelude it truly is actual, as Spitta mentioned, that the so-called early model of the prelude indicates ‘certain features such as the Buxtehude university’ (II p. 689), yet his situations of Buxtehude-like ﬁgures from bb. 22 and 33 also are present in the ‘later.
From e right down to A), and either expect the exposition of BWV 531. just like the easy imitation, such bars as b. 20 remind one among South German types. Spitta came upon the topic ‘melodically expressionless’ (I pp. 316–17), however it has 3 speciﬁc motifs: the trillo, the four-note development, and the chromatics, all conspicuous. 3rd part The short interlude is particularly a lot within the sort of Bruhns or B¨ohm (gestures, rests, caprice, durezze) or Buxtehude (BuxWV 149, 139, 142, 151), of whom the f in bb.
whole fabric usually are not attribute of them, and there's no Vivaldian ﬁnal reprise (Klein 1970 p. 26). The duologuing words, predominantly of six bars every one, develop into foreshortened in the direction of the top, as will be in actual fact visible within the pedal half. Passages comparable to bb. 67–70 are an unique and fascinating slant on North German praeludia, as is the flip to the minor ahead of the ﬁnal cadence – examine the top of the ﬁrst component of B¨ohm’s C significant Praeludium. moment circulation The Adagio is a.