Orgelbüchlein - korte orgelbearbeidelser over de mest kjente og brukte koralmelodiene
Orgelbüchlein - 46 ausgeführte Choralvorspiele BWV 599-644
Orgelbüchlein er en samling koralforspill for orgel som han for det meste komponerte i den tiden han fungerte som hofforganist i Weimar (1712 til 1717).
Tittelen som Bach føyde til i 1720 er:
Orgel = Büchlein
Worinne einem anfahenden Organisten Anleitung gegeben wird, auff allerhand Arth einen Choral durchzuführen, anbey auch sich im Pedal studio zu habilitiren, indem in solchen darinne befindlichen Choralen das Pedal gantz obligat tractiret wird.
hvori begynnende organist gis instruksjoner i å utvikle en koral på mange ulike måter, hvorved også bli kjent med studiet av pedalen, siden pedalen behandles fullstendig obligat i de i koralene som her finnes.
Bach startet opp med den nitti siders boka i begynnelsen av tiden i Weimar, altså allerede rundt 1708, og skrev inn alle titlene på de 164 planlagte koralene.[2] Dermed viste han ikke bare hvilke koraler han planla å kopiere inn eller tonesette på nytt, men også hvem som skulle strekke seg over en eller to sider à seks notelinjer. Rekkefølgen av satsene følger kirkeåret, slik det har vært vanlig i tyske lutherske sangbøker fram til i dag.
Den første delen, fra advent til påske, er nesten fullstendig, deretter blir det større og større luker jo lengre utover en kommer. Sannsynligvis mistet Bach interessen for denne typen koralbearbeidelser etterhvert som nye komposisjonsprosjekter opptok ham. Tittelen han skrev inn langt senere, i 1720, gjenspeiler at verket nå først og fremst var blitt et pedagogisk verktøy.
Kilder: Wikipedia
Orgelbüchlein er først og fremst en reise i kirkeårets skiftende temaer og høytider, men denne presentasjonen er også en reise i orgelkunst og kirkebygg fra metropoler og katedraler og til små landsbyer - som den lille fjellandsbyen Fontanaluccia i Italia som knapt er mulig å finne bilder av på nettet - og bilder av Santa Lucia kirken desto vanskeligere å oppdrive.
Disse opptakene danner et mangfold av orgler og orgelskoler, utøvere og interpreter - som hver på sin måte viser hvordan disse miniatyrene av noen verk på rundt et minutt hver er inspirerende kunstskatter som verdsettes worldwide.
Som bonus hentes inn assosiasjoner til tekster, historikk, kunst, orglene, utøvere, film, og andre referanser som til sammen skaper en mosaikk av inntrykk i tillegg til selve musikken. God reise!
Advent
BWV 599 Nun komm´der Heiden Heiland - Benjamin Alard orgel
Temple du Foyer de l'Âme, Paris
With its forty-five chorale preludes, the Orgelbüchlein bears witness to a mastery of the art of improvisation on the organ, as the congregation heard it at the time before singing the hymn in its turn. It was a tempting experiment to revive this primary function: by collaborating with the combined forces of the Ensemble Vocal Bergamasque and the Maîtrise de Notre-Dame de Paris, Benjamin Alard gives the 'little organ book' its full significance and expressive power.
Ensemble Vocal Bergamasque:
Nun komm, der Heiden Heiland,
der Jungfrauen Kind erkannt,
dass sich wunder alle Welt,
Gott solch Geburt ihm bestellt.Veni, redemptor gentium;
Ostende partum virginis;
Miretur omne saeculum.
Talis decet partus Deo.
Martin Luther skrev teksten til "Nun komm, der Heiden Heiland" muligens for advent i 1523 som en parafrase av en passasje, Veni redemptor gentium,[1] fra den latinske julesalmen "Intende qui reges Israel" av Ambrosius
Lucas & Arthur Jussen - Bach: Nun komm' der Heiden Heiland, BWV 599 (Transcr. Kurtág)
Live recording - 25 June 2019, Konzerthaus Dortmund
From the album 'Bach'
BWV 600 Gott, durch deine Güte - Alberto Pozzaglio, orgel
Cremona Cathedral
"Gott, durch deine Güte," BWV 600, is a delightful bit of trickery. Bach sets the melody as a canon between the top voice in the right hand and the pedal; but he puts the pedal up in the tenor register, above the left hand. Meanwhile, a jaunty walking bass and a swirling alto voice in eighth notes give the performer plenty to think about ...
Kilde: The Daily Bach: Blogging the Orgelbüchlein
BWV 601 Herr Christ, der einge Gottessohn - Julie Pinsonneault, orgel
Universitätskirche - Albert-Ludwigs-Universität Freiburg
Herr Christ, der einig Gotts Sohn
Vaters in Ewigkeit,
Aus sein Herzen entsprossen,
Gleichwie geschrieben steht,
Er is der Morgensterne,
Sein Glänzen streckt er ferne
Vor andern Sternen klar;Für uns ein Mensch geboren
Im lezten Teil der Zeit,
Dass wir nicht wärn verloren
Vor Gott in Ewigkeit,
Den Tod für uns zerbrochen,
Den Himmel auggeschlossen,
Das Leben wiederbracht:Lass uns in deiner Liebe
und Kenntnis nehmen zu,
dass wir am Glauben bleiben,
dir dienen im Geist
so, dass wir hier mögen schmecken
dein Süßigkeit im Herzen
und dürsten stets nach dir.Du Schöpfer aller Dinge,
du väterliche Kraft,
regierst von End zu Ende
kräftig aus eigner Macht.
Das Herz uns zu dir wende
und kehr ab unsre Sinne,
dass sie nicht irrn von dir.Ertöt uns durch dein Güte,
erweck uns durch dein Gnad.
Den alten Menschen kränke,
dass der neu' leben mag
und hier auf dieser Erden
den Sinn und alls Begehren
und G'danken hab zu dir.- Elisabeth Kreuziger (1524)
Performed by Julie Pinsonneault, organist Universitätskirche, Freiburg-im-Breisgau
Født i Montreal (Canada), organist Julie Pinsonneault er medlem av den unge generasjonen organister. Hun fikk sin musikalske opplæring i flere anerkjente institusjoner. Hun har en bachelorgrad i musikk, orgelutførelse fra McGill University (Montreal), hvor hun studerte under veiledning av John Grew og Hans-Ola Ericsson. Julie Pinsonneault fullførte også en mastergrad i musikkvitenskap og orgel ved Institut Supérieur des Arts de Toulouse (Frankrike) samt ved Toulouse-Jean Jaurès University med Michel Bouvard og Jan Willem Jansen (orgel), samt Yasuko Bouvard (cembalo) ). Hun har også en bachelorgrad og en mastergrad i kirkemusikk (orgel og regi) fra Musikhochschule i Freiburg.
BWV 602 Lob sei dem allmächtigen Gott - Darko Pleli, orgel
Schottenkirche in Wien
Darko Pleli spielt auf der Großen Mathis-Orgel (1995, 49, III, P) der Schottenkirche in Wien I, aufgenommen am 16. November 2018.
Lob sei dem allmächtigen Gott,
der unser sich erbarmet hat,
gesandt sein allerliebsten Sohn
aus ihm geborn im höchsten Thron.
Jul
BWV 603 Puer natus in Bethlehem - Raymond Nagem, orgel
St. John the Divine, in New York City
Raymond Nagem plays the Great Organ of St. John the Divine, in New York City.
And this prelude does have a beautiful and distinct character. It's a buzzing, seething hive of activity, with the lower voices frequently overlapping each other, crowding in on each other's space, filling every last division of the beat with quivering motion. The mood isn't happy, exactly; it's the atmosphere of bustling excitement before a party. It caught my ear immediately when I was 12 and hearing it for the first time, and for me it's still a magical creation today.
- Raymond Nagem
BWV 604 Gelobet seist du, Jesu Christ - Olli Porthan, orgel
Sibelius Academy, Helsinki, Finland
Professor Olli Porthan plays Bach´s Orgelbüchlein Chorals on the Verschueren organ (1994) at Sibelius Academy, Helsinki, Finland.
Sibelius Academy
Musiikkitalo's Organo is designed especially for organ music. The hall has three different organ instruments. NB! Trykk på bildet for å se mer fra hallens orgler og orgelstudenter i arbeid.
The hall has three organ instruments: An English organ, a Fosters & Andrews organ from 1892 and a Verschueren organ from 1994.
The reverberation time is relatively long, and the hall is designed especially for an even spread of bass sounds.
BWV 605 Der Tag der ist so freudenreich - Francesca Ajossa, orgel
San Simpliciano Basilica in Milan
Francesca Ajossa plays Der Tag der ist so freudenreich from the Orgelbüchlein by Johann Sebastian Bach at the Jürgen Ahrend organ of San Simpliciano Basilica in Milan.
Der Tag der ist so freudenreich
Aller Kreature;
Denn Gottes Sohn vom Himmelreich
Über die Nature
Von einer Jungfrau ist geborn.
Maria, du bist auserkorn,
Dass du Mutter wärest.
Was geschah so wundergleich?
Gottes Sohn vom Himmelreich,
Der ist Mensch geboren.
BWV 606 Von Himmel hoch, da komm' ich her - Matthieu Latreille, orgel
Saint Thomas' Anglican Church in Belleville, ON
Vom Himmel hoch da komm ich her,
Ich bring euch gute neue Mär;
Der guten Mär bring ich so viel,
Davon ich singn und sagen will.- Martin Luther
Allemande from Flute Partita BWV 1013 (played as a pedal study for organ)
BWV 607 Vom Himmel kam der Engel schar - Bart Jacobs, orgel
St. Bavokerk, Haarlem
This arrangement of 'Vom Himmel kam der Engel schar', performed by Bart Jacobs for All of Bach, is in minor despite its joyful theme, as if to emphasise the seriousness of the mystery of faith. Bach did this to prevent monotomy in his Orgelbüchlein, where he follows the church calendar. The risk is to always have cheerful melodies at Christmas and always sad ones in Passion Week.
Vom Himmel kam der Engel Schar,
erschien den hirten offenbar;
sie sagten ihn': "Ein Kindlein zart,
das liegt dort in der Krippen hart.
BWV 608 In dulci jubilo - John Scott Whiteley, orgel
Stadtkirche St. Wenzel, Naumburg
John Scott Whiteley is Organist Emeritus of York Minster, having worked at that great institution for 35 years until his retirement from it in 2010.
In 2014 he was elected to the Worshipful Company of Musicians, in recognition of his promotion of the organ and its music. He is a well-known and successful recitalist, and has made numerous recordings. A particular specialism is the music of J.S. Bach, and John recently worked on a comprehensive series of broadcasts for the BBC entitled "21st Century Bach", which aimed to cover the composer's entire works for the organ.
1. In dulci jubilo
Let us our homage shew:
Our heart's joy reclineth
In praesepio;
And like a bright star shineth
Matris in gremio,
Alpha es et O!2. O Jesu parvule,
My heart is sore for Thee!
Hear me, I beseech Thee,
O puer optime;
My praying let it reach Thee,
O princeps gloriae.
Trahe me post te.3. O patris caritas!
O Nati lenitas!
Deeply were we stained.
Per nostra crimina:
But Thou for us hast gained
Coelorum gaudia,
Qualis gloria!4. Ubi sunt gaudia,
If that they be not there?
There are Angels singing
Nova cantica;
And there the bells are ringing
In Regis curia.
O that we were there!
BWV 609 Lobt Gott, ihr Christen, allzugleich - Marianne Kim, orgel
Elliot Chapel of Presbyterian Homes, Evanston
Lobt Gott, ihr Christen, allzugleich,
In seinem höchsten Thron,
Der heut schließt auf sein Himmelreich
Und schenkt uns seinen Sohn.
Und schenkt uns seinen Sohn.
Chicago-based composer, pianist, organist, and harpsichordist, Marianne Kim has been noted for her vibrant performances and compositions in a wide diversity of musical styles, such as classical, jazz, Broadway musical, R&B, gospel, traditional & contemporary church music, and more.
As a soloist and collaborative artist, Marianne enjoys performing piano and organ recitals, chamber music and jazz. She has worked for the Lakeside Singers performing highly demanding dual roles of classical accompanist and rhythm section keyboardist, and served as keyboardist at Willow Creek Community Church and the Moody Church. She performed with Chicago Symphony Orchestra at Ravinia Festival Aug 2022.
BWV 610 Jesu, meine Freude - Darko Pleli, orgel
Schottenkirche in Wien
Darko Pleli spielt auf der Großen Mathis-Orgel (1995, 49, III, P) der Schottenkirche in Wien I, aufgenommen am 25. November 2018.
BWV 611 Christum, wir sollen loben schon - Peter Breugelmans, orgel
St. Nicholas Church, Ghent
This performance was part of a concert given by Peter Breugelmans on June 20, 2020.
Almost all the preludes in the Orgelbüchlein have the melody in the top voice, where it can be clearly heard. Bach's style of writing, with the melody in the soprano and an accompaniment based on one or two repeated motives, is so distinctive that these have been called the "Orgelbüchlein type" of chorale prelude. There are only two pieces in the set where the melody is not in the soprano, and one of them is today's prelude, "Christum, wir sollen loben schon," BWV 611.
This hymn is about the mystery of the Incarnation - God taking on human form. Bach depicts Jesus' descent to earth by taking the chorale melody down from its "rightful" place in the soprano and giving it to the alto.
- Kilde: The Daily Bach: Blogging the Orgelbüchlein
Årsslutt, nyttår og åpenbaring
BWV 612 Wir Christenleut - Theo Jellema, orgel
Stiftskirche St. Georg, Goslar-Grauhof
"Bach wrote a bass which is uncoordinated at first sight. This could be an expression of great joy." Organist Theo Jellema talks about 'Wir Christenleut', which he performed for All of Bach.
Bach wrote a bass which is uncoordinated at first sight. This could be an expression of great joy.
- Theo Jellema
The first note you hear in 'Wir Christenleut', performed by Theo Jellema for All of Bach, is the first note of the hymn of the same name. That is probably just as well, otherwise the chorale melody being might have been swamped by the cheerfully descending runs. They are prominently present, like a sort of perpetuum mobile.
Choralbearbeitung über ein altes deutsches Weihnachtslied aus dem 16. Jhd.
Wir Christenleut haben jetzund Freud,
weil uns zu Trost Christus ist Mensch geboren,
hat uns erlöst.
Wer sich des tröst' und glaubet fest,
soll nicht werden verloren.
BWV613 Helft mir Gottes Güte preisen - Raphaël Arnault, orgel
Eglise Notre Dame de l'Assomption, Montesson
Helft mir Gott's Güte preisen,
Ihr lieben Kinderlein,
Mit G'sang und andrer Weisen
Ihm allzeit dankbar sein,
Vornehmlich zu der Zeit,
Da sich das Jahr tut enden,
Die Sonn' sich zu uns wenden,
Das Neujahr ist nicht weit- Paul Eber (ca 1580)
Raphaël Arnault begynte å studere orgel, cembalo og continuo ved Reims Conservatoire. Han oppnådde sitt diplom i fortepiano ved Bobigny-konservatoriet, og i orgel ved Paris-konservatoriet (klasse av prof. Christophe Mantoux). Deretter studerte han musikkvitenskap og teori ved Conservatoire National Supérieur de Musique et de Danse i Paris, hvor han fullførte sin mastergrad i 2016. Raphaël Arnault har bodd i Tyskland i fire år, hvor han studerer kirkemusikk. I oktober 2019 fullførte han sin bachelorgrad ved Musikhochschule Lübeck og i juni 2022 sin mastergrad ved Hochschule für Musik und Theater Hamburg
BWV 614 Das alte Jahr vergangen ist - Bart Jacobs, orgel
St. Bavokerk, Haarlem
"Bach literally waves goodbye to the old year." Organist Bart Jacobs talks about 'Das alte Jahr vergangen ist', which he performed for All of Bach.
Bach literally waves goodbye to the old year
- Bart Jacobs
'Das alte Jahr vergangen ist', performed by Bart Jacobs for All of Bach, may seem like an innocuous New Year hymn. Yet here Bach made a fairly chromatic and melancholy arrangement, which suggests some underlying tension.
BWV 615 In dir ist Freude - Ulf Norberg, orgel
Hedvig Eleonora Church, Stockholm
The text of "In dir ist Freude" is written to a secular melody. The tune by Giovanni Giacomo Gastoldi was first published in 1591, for an Italian dancing song, "A lieta vita amor ci invita" (Amor invites to a merry life) that has elements of song for entertainment. The text and melody of "In dir ist Freude" first appeared in Erfurt in Johann Lindemann's 1594 collection of 20 Christmas carols. Lindemann published them in Erfurt in 1598. While the text was first attributed to Lindemann, it is unclear if he wrote any hymns, and it became later rather attributed to Cyriacus Schneegaß.
It is contained in the modern Protestant hymnal Evangelisches Gesangbuch as EG 389, and is part of many hymnals and songbooks, including ecumenical collections.
In dir ist Freude,
in allem Leide,
o du süßer Jesu Christ!
durch dich wir haben
himmlische Gaben,
du der wahre Heiland bist.
Hilfest von Schanden,
rettest von Banden;
wer dir vertrauet,
hat wohl gebauet,
wird ewig bleiben. Halleluja.
Zu deiner Güte
steht unser G'müte.
An dir wir kleben
in Tod und Leben,
nichts kann uns scheiden. Halleluja.
Simeons lovsang
BWV 616 Mit Fried und Freud ich fahr dahin - Darko Pleli, orgel
Schottenkirche in Wien
Mit Fried und Freud ich fahr dahinIn Gotts Wille;Getrost ist mir mein Herz und Sinn,Sanft und stille,Wie Gott mir verheißen hat:Der Tod ist mein Schlaf worden
- Martin Luther
Mit Fried und Freud ich fahr dahin, BWV 382
Mit Fried und Freud ich fahr dahin BuxWV 76 - Dieterich Buxtehude
Filmed live on Candlemas, Tuesday 2 February 2016
Our Cathedral's organ plays an important role in the daily rhythm of prayer and worship that takes place on this site. Our Cathedral Organist, Edmund Aldhouse plays Buxtehude's 'Mit Fried und Freud ich fahr dahin BuxWV 76'.
BWV 617 Herr Gott, nun schleuss den Himmel auf - Leo van Doeselaar, orgel
St Martin's Church, Groningen
"When you find a balance, it sounds unequalled." Organist Leo van Doeselaar talks about 'Herr Gott, nun schleuss den Himmel auf', which he performed for All of Bach.
When you find a balance, it sounds unequalled
- Leo van Doeselaar
´Herr Gott, nun schleuss den Himmel auf', performed by Leo van Doeselaar for All of Bach, is a tiny piece of music, but its expressive power is undiminished. In this chorale arrangement, Bach aptly illustrated the text: 'I have suffered and fought, but now my life is at an end and I can die in peace'. These are the words of the aged Simeon, who has seen his Saviour, as God had promised him.
Pasjon
BWV 618 O Lamm Gottes, unschuldig | Canon alla Quinta - Bálint Karosi, orgel
St. Barnabas Church, Greenwich, Connecticut
"O Lamm Gottes unschuldig," BWV 618, is one of two in the Orgelbüchlein where the melody isn't in the top voice. Instead, it's played in canon between the alto and the tenor:
As in "Christum, wir sollen loben schon," putting the melody in the middle of the texture is a theological statement - a way to illustrate Jesus' human Incarnation. The canon also has poetic significance. Instances of canon in Baroque music were often prompted by some key word in the text - "following," "leading," or so on. This chorale is a German paraphrase of the Agnus Dei, or "Lamb of God," and probably the important words that suggested a canon are "You have borne our sins."
This was clearly a chorale very dear to Bach's heart. He set it for organ three other times, all of them extremely beautiful pieces - BWV 656, 1085, and 1095. He harmonized it as a four-part chorale, BWV 401. And, of course, it's the centerpiece of the massive opening chorus of the St. Matthew Passion, where Bach inscribed the melody in red ink. He didn't write the words in the score; he didn't need to.
Bach's autograph fair copy of the St. Matthew Passion, with the melody "O Lamm Gottes, unschuldig" in red ink.
BWV 619 Christe, du Lamm Gottes - David Grealy, orgel
St. Mary´s Pro-Cathedral, Dublin
'Christe, du Lamm Gottes' is the Lutheran equivalent to the Agnus Dei of the Mass: a short, simple acclamation. Bach uses this tune as the basis for a short, simple, but no less attractive, chorale prelude. The chorale melody in the left hand is accompanied by descending scales in the upper voices and pedals.
1. Christe, du Lamm Gottes,
der du trägst die Sünd' der Welt,
erbarm' dich unser!2. Christe, du Lamm Gottes,
der du trägst die Sünd' der Welt,
erbarm' dich unser!3. Christe, du Lamm Gottes!
der du trägst die Sünd' der Welt,
gib uns dein'n Frieden!Amen
Mens vi er i messeleddene, tar vi med et sanctus fra samme katedral i Dublin. Denne er fra en vakker 30 minutters konsert med orgelmusikk av Tourenemire og gregoriansk messemusikk.
Tenors Shane Barriscale, Stephen Carroll, Conor Prendiville sing the Sanctus from the Gregorian Missa de Angelis, accompanied by David Grealy on the organ of St. Mary's Pro-Cathedral, Dublin.
This was part of a larger performance of Gregorian Chant and organ music by Charles Tourenemire, during the Pipeworks from the Organ Loft festival, June 2020. The full concert is also on YouTube
BWV 620 Christe, du Lamm Gottes - Peter Breugelmans, orgel
St. Nicholas Church, Ghent
Christus der uns selig macht,
kein Bös hat begangen,
der ward für uns in der Nacht
als ein Dieb gefangen,
geführt vor gottlose Leut,
und fälschlich verklaget,
verlacht, verhöhnt und verspeit,
wie denn die Schrift saget.
BWV 621 Da Jesus an dem Kreuze stund - Simon Brandlechner, orgel
Pfarrkirche von St. Vigil, Enneberg
Da Jesus an dem Kreuze stund
und ihm sein Leichnam ward verwundt
so gar mit bittern Schmerzen,
die sieben Wort, die Jesus sprach,
betracht in deinem Herzen.
Christ of Saint John of the Cross by Salvador Dalí. It depicts Jesus Christ on the cross in a darkened sky floating over a body of water complete with a boat and fishermen
The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head). The triangle, since it has three sides, can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought. The circle represents Unity: all things do exist in the "three" but in the four, merry they be.
In order to create the figure of Christ, Dalí had Hollywood stuntman Russell Saunders suspended from an overhead gantry, so he could see how the body would appear from the desired angle, and also envisage the pull of gravity on the human body.
BWV 622 O Mensch, bewein dein Sünde groß - Marie Claire Alain, orgel
St. Jacobi Church, Varde, Denmark
"O Mensch, bewein' dein' Sünde groß" (O man, bewail thy sin so great) is a Lutheran Passion hymn with a text written by Sebald Heyden in 1530. The author reflects the Passion of Jesus, based on the Four Evangelists, originally in 23 stanzas. The lyrics were written for an older melody, "Es sind doch selig alle, die im rechten Glauben wandeln" (Zahn No. 8303).[1] The first and last stanzas have appeared in 11 hymnals. Catherine Winkworth translated it as "O man, thy grievous sin bemoan". The hymn has been used in Passion music and is known in Bach's setting as a chorale fantasia closing Part I of his St Matthew Passion.
Kilde: Wikipedia
O Mensch, bewein dein Sünde groß,
Darum Christus seins Vaters Schoß
Äußert und kam auf Erden;
Von einer Jungfrau rein und zart
Für uns er hier geboren ward,
Er wollt der Mittler werden,
Den Toten er das Leben gab
Und legt dabei all Krankheit ab
Bis sich die Zeit herdrange,
Daß er für uns geopfert würd,
Trüg unser Sünden schwere Bürd
Wohl an dem Kreuze lange.
BWV 623 Wir danken dir Herr Jesu Christ - Ludvig Käll, orgel
Lau Church, Gotland Island
Ludvig Käll är masterstudent i kyrkomusik på Kungl. Musikhögskolan. Han jobbar även som vikarierande organist vid Engelbrekts församling. År 2021 färdigställde Ludvig sin kandidatuppsats »Wagnerskt Orgelbrus« på ämnet orgeltranskription.
BWV 624 Hilfe Gott, das mir's gelinge - Bart Jacobs, orgel
St. Bavokerk, Haarlem
"The piece fascinates me. I have always felt that something is not right about it." Organist Bart Jacobs talks about 'Hilfe Gott, das mir's gelinge', which he performed for All of Bach.
The piece fascinates me. I have always felt that something is not right about it.
- Bart Jacobs
The words of the original hymn 'Hilfe Gott, das mir's gelinge', performed by Bart Jacobs for All of Bach, were written in a sixteenth-century prison by Heinrich Müller, who was otherwise virtually unknown. This Heinrich from Nuremberg was imprisoned by the Duke of Saxony around 1526 because of his Lutheran sympathies, and he was only released in 1539.
Påske
BWV 625 Christ lag in Todesbanden - Xaver Varnus, orgel
St. George in Rötha
NB! Trykk på bildet for å se & høre
Christ lag in Todesbanden (BWV 625) is a Chorale Prelude by Johan Sebastian Bach from his Orgelbüchlein (Little Organ Book). This is easter music for organ. Bach wrote this powerful and triumphant chorale prelude for organ to be played a as a celebration of the resurrection of Christ. With a full sound and a powerful bass, Bach conveys that life has beaten death.
Bach also wrote an entire cantata over the hymn "Christ lag in Todesbanden" (BWV 4), which consist of a both choir, soloist, orchestra to underline how important the message of the hymn is.
Christ lag in Todesbanden,
für unsre Sünd gegeben,
der ist wieder erstanden,
und hat uns bracht das Leben:
deß wir sollen fröhlich sein,
Gott loben und ihm dankbar sein
und singen Hallelujah,
Hallelujah!
BWV 626 Jesus Christus, unser Heiland, der den Tod überwand - Darko Pleli, orgel
Schottenkirche in Wien
BWV 627 Christ ist erstanden - Peter Breugelmans, orgel
St. Nicholas, Ghent
Christ ist erstandenVon der Marter alle.Des solln wir alle froh sein;Christ will unser Trost sein.Kyrieleis.Wär er nicht erstanden,So wär die Welt vergangen.Seit dass er erstanden ist,So freut sich alles, was da ist.Kyrieleis.Halleluja,Halleluja,Halleluja.Des solln wir alle froh sein;Christ will unser Trost sein.Kyrieleis.
Peter Breugelmans is the titular organist of the Thomas organ of the Heilig-Hartkerk in Brasschaat-Vriesdonk and was the city organist of Leuven from 2006 to 2011. He studied organ and harpsichord with Stanislas Deriemaeker and Jos Van Immerseel and followed masterclasses with Gustav Leonhardt, Harald Vogel and Jacques van Oortmerssen. In 2007, he founded the ensemble Leuven Baroque, with whom he has performed numerous works for organ and orchestra.
BWV 628 Erstanden ist der heilge - Stefan Kordes, orgel
St. Jacobi, Göttingen
Stefan Kordes was born in 1968 and studied soloist class organ and A-level church music in Hamburg, Stuttgart and Vienna. His formative organ teachers included Bernhard Haas, Jon Laukvik, Burkhard Meyer-Janson and Michael Radulescu.
After working as a church musician in Heidenheim and Wuppertal, he has been cantor and organist at St. Jacobi in Göttingen since 2001. His responsibilities include managing the choir (120 members) and the chamber choir (40 members). He is also the artistic director of the "International St. Jacobi Organ Days" and the concert series "30 Minutes of Organ Music on Friday Evening," which has taken place over 1,900 times since 1968.
A busy concert activity as an organist has taken him to Denmark, France (Paris: St. Sulpice, St. Étienne-du-Mont), Great Britain, Croatia, Latvia (Riga: Cathedral), the Netherlands, Austria, Poland, Portugal, Russia ( including Archangelsk, Jaroslavl, Kirov, St. Petersburg: Philharmonic), Slovenia, South Africa and the Czech Republic as well as to various festivals in Germany (Frauenkirche Dresden, Kreuzkirche Dresden, etc.). In 2007, at the invitation of the New Bach Society, he played the "Art of the Fugue" as part of the festive events at the end of the New Bach Edition.
In 2005, Stefan Kordes played all of Johann Sebastian Bach's organ works in 25 concerts in St. Jacobi. In addition to cycles with all organ works by Alain, Brahms, Couperin, Duruflé, Franck, de Grigny, Mendelssohn Bartholdy, Muffat and Schumann, in 2008 he played a complete performance of the organ works by Olivier Messiaen on the occasion of his hundredth birthday.
BWV 628 Erstanden ist der heilge - F. Bigi Ewerhart, orgel
Santa Lucia Church, Fontanaluccia (Italia)
Federico Bigi Ewerhart plays Erstanden ist der heilge Christ BWV 628 from Das Orgelbüchlein by Johann Sebastian Bach at the Cavalli-Bigi organ of the Santa Lucia church in Fontanaluccia, a very small town in mid-north italian mountains.
This instrument is today (2021) the only organ with the "Positif de dos" in Emilia Romagna and one of the few in northern Italy.
1. Erstanden ist der heilig' Christ,
Hallelujah, Hallelujah!
der aller Welt in Tröster ist,
Halle-Hallelujah!2. Und wär' Er nicht erstanden,
Hallelujah, Hallelujah!
so wär die Welt vergangen,
Halle-Hallelujah!3. Und seit daß Er erstanden ist,
Hallelujah, Hallelujah!
loben wir den Herren Jesum Christ,
Halle-Hallelujah!4. Es gingen drei heilige Frauen,
Hallelujah, Hallelujah!
des Morgens früh im Thauen,
Halle-Hallelujah!5. Sie sucht'n den Herren Jesum Christ,
Hallelujah, Hallelujah!
der von dem Tod erstanden ist,
Halle-Hallelujah!6. Sie funden da zween Engle schon,
Hallelujah, Hallelujah!
die tröst'n die Frauen Lobesan,
Halle-Hallelujah!Der Engel:
7. Erschrecket nicht und sid all' froh,
Hallelujah, Hallelujah!
denn den ihr sucht, der ist nicht do,
Halle-Hallelujah!Maria:
8. Ach! Engle, liebe Engel sein,
Hallelujah, Hallelujah!
wo find ich doch den Herren mein,
Halle-Hallelujah!Der Engel:
9. Er ist erstanden aus dem Grab,
Hallelujah, Hallelujah!
heut an dem heil'ge Oster-Tag,
Halle-Hallelujah!Maria:
10. Zeig uns den Herren Jesum Christ,
Hallelujah, Hallelujah!
der von dem Tod erstanden ist,
Halle-Hallelujah!Der Engel:
11. So tret't herzu und seht die Statt,
Hallelujah, Hallelujah!
da man Ihn hingeleget hat,
Halle-Hallelujah!Maria:
12. Der Herr ist hin, Er ist nicht do,
Hallelujah, Hallelujah!
wenn wir Ihn hätt'n so wär'n wir froh,
Halle-Hallelujah!Der Engel:
13. Seht an das Tuch, darin Er lag,
Hallelujah, Hallelujah!
gewickelt bis am dritten Tag,
Halle-Hallelujah!Maria:
14. Wir sehen's wohl zu dieser Frist,
Hallelujah, Hallelujah!
weis' uns den Herren Jesum Christ,
Halle-Hallelujah!Der Engel:
15. Geht hin in's Galiläisch' Land,
Hallelujah, Hallelujah!
da find't ihr Ihn, sag't Er, zu Hand.
Halle-Hallelujah!Maria:
16. Habt Dank, ihr lieben Engel sein,
Hallelujah, Hallelujah!
nun woll'n wir alle fröhlich sein,
Halle-Hallelujah!Der Engel:
17. Geht hin, sagt es Sanct Petro an,
Hallelujah, Hallelujah!
und seine Jünger Lobesan,
Halle-Hallelujah!Maria zum Volk:
18. Nun singet all' zu dieser Frist,
Hallelujah, Hallelujah!
erstanden ist der heil'ge Christ,
Halle-Hallelujah!19. Des soll'n wir alle fröhlich sein,
Hallelujah, Hallelujah!
und Christ soll unser Tröster sein,
Halle-Hallelujah!- Martin Luther (over den latinske hymnen Surrexit Christus hodie)
BWV 629 Erschienen ist der herrliche Tag - Ketil Haugsand, orgel
Friedenskirche, Köln-Urbach
Johann Sebastian Bach's complex & tricky 'a 2 clav., in canone alla ottava' & 'Figuren-lehre', Orgelbüchlein rendition of a 'very much' Easter hymn.
Erschienen ist der herrlich Tag,
Dran sich niemand gnug freuen mag:
Christ, unser Herr, heut triumphiert,
All sein Feind er gefangen führt.
Halleluja!
BWV 630 Heut triumphieret Gottes Sohn - Markus Eichenlaub, orgel
Domkirche St. Maria und St. Stephan
Violetta Hellwig, Matthias Lucht, Thomas Jakobs, Michael Marz | Vokalquartett Domkapellmeister Markus Melchiori | Leitung:
Heut triumphieret Gottes Sohn,
Der vom Tod ist erstanden schon,
Alleluja, Alleluja!
Mit großer Pracht und Herrlichkeit,
Des danken wir ihm in Ewigkeit.
Alleluja, Alleluja!
Pinse
BWV 631 Komm, Gott Schöpfer, Heiliger Geist - Gerhard Löffler, orgel
Hauptkirche St. Jacobi, Hamburg
Gerhard Löffler an der Arp-Schnitger-Orgel der Hauptkirche St. Jacobi, Hamburg
Veni, creator Spiritus mentes tuorum visita imple superna gratia quae tu creasti, pectora
Komm, Gott Schöpfer, Heiliger Geist,
besuch das Herz der Menschen dein,
mit Gnaden sie füll, denn du weißt,
dass sie dein Geschöpfe sein.
Guds ord
BWV 632 Herr Jesu Christ dich zu uns wend - Gerben Budding, orgel
Bovenkerk Kampen
Herr Jesu Christ! dich zu uns wend,
Dein' Heil'gen Geist du zu uns send:
Mit Hilf' und Gnad', er uns regier
Und uns den Weg zur Wahrheit führ.
Gerben Budding is the principal organist of the Sint Jan Church of Gouda and organist of the city Gouda in the Netherlands. He also is one of the organists at Domkerk Utrecht.
BWV 633 Liebster Jesu, wir sind hier - Roland Servais, orgel
Church of Our Blessed Lady of the Sablon, Brussels
Roland Servais plays Liebster Jesu, BWV 633, of Johann Sebastian Bach at the 1989 Westenfelder organ (after Goynaut 1764) of the Church of Our Blessed Lady of the Sablon, Brussels, Belgium.
Liebster Jesu, wir sind hier,
dich und dein Wort anzuhören;
lenke Sinnen und Begier
hin zu deinem Himmelslehren,
daß die Herzen von der Erden
ganz zu dir gezogen werden.
Salmen er skrevet av den tyske presten og salmedikteren Tobias Clausnitzer i 1663. Den tyske originaltittelen er Liebster Jesu, wir sind hier. Vi finner salmen i Norsk Salmebok (NoS) som nummer 548. Salmen ble oversatt til dansk i 1717 og melodien er ved Johann Rudolph Ahle fra 1664.
Tobias Clausnitzer ble født i Thum i Sachen i 5. februar 1618. Han studerte teologi ved en rekke universiteter og fikk i 1642 lisensiatgraden i teologi ved Universitetet i Leipzig. To år senere, ble han under 30-årskrigen i 1644, utnevnt til i feltprest i den svenske hæren. Etter krigen ble Tobias Clausnitzer sogneprest og kirkeråd i Weiden.
Melodien var av Johann Rudolph Ahle (1625-1673) og var blant annet organist i St. Blasius i Mühlhausen, en kirke Bach senere skulle bli organist i selv.
Kilde: Salmebloggen og Wikipedia
Jesus Frelser, vi er her,
for din sannhets ord å høre,
lukk nå opp, o Herre kjær,
selv vårt hjerte og vårt øre,
at vi må i hu og sinne
lukke deg og himlen inne!NoS 548
BWV 634 Liebster Jesu, wir sind hier - Peter Breugelmans, orgel
St. Nicholas Church, Ghent
The melody of "Liebster Jesu" was composed by Johann Rudolph Ahle (actually, one of Bach's predecessors at St. Blasius in Mühlhausen) in 1664, and it sounds much different than the modal, Gregorian-inspired Lutheran chorales of the 16th century. It begins, unusually, on the third scale degree, and its phrasing is extremely clear and regular.
It always makes me think of this piece, the Prelude on "Rhosymedre" by Ralph Vaughan Williams (1872-1958). Since Vaughan Williams subtitled his prelude with the alternate name of the tune, "Lovely," I wonder if he intended a little homage to Bach's "Liebster."
- Kilde: The Daily Bach: Blogging the Orgelbüchlein
Katekismen
BWV 635 Dies sind die heilgen zehn Gebot - Ben Bloor, orgel
London Oratory Church
Dies sind die heilgen zehn Gebot (BWV 635) by Johann Sebastian Bach performed by Ben Bloor on the 45 stop 1954 Downes/Walker organ of the London Oratory Church on Thursday 27th January 2021. Ben Bloor is Organist at the London Oratory Church and School Organist at Westminster School.
Dies sind die heilgen zehn Gebot,
Die uns gab unser Herre Gott
Durch Mosen, seinen Diener treu,
Hoch auf dem Berg Sinai. Kyrieleis- Martin Luther (1524)
BWV 636 Vater unser im Himmelreich - Olivier Latry, orgel
University of Notre Dame
Organist Olivier Latry one of the organists at the Cathedral of Notre Dame plays Vater unser im Himmelreich from the Orgelbüchlein of Bach on the Fritts Organ at the University of Notre Dame in a live organ recital.
BWV 637 Durch Adams Fall ist ganz verderbt - Leo van Doeselaar, orgel
St Martin's Church, Groningen
In this revolutionary little organ work 'Durch Adams Fall ist ganz verderbt', performed by Leo van Doeselaar for All of Bach, Bach musically describes the fall of man from paradise, bringing the organ's heavy artillery to bear. Teeming semiquavers form a long continuous serpent, wavering almost slyly between major and minor with little semitone steps. This compositional technique is called passus. The Fall of man is heard in the pedal with descending sevenths, which in the Baroque was an uncomfortably big, ominous leap (saltus) that often sounds rather dissonant here as well. In this way, Bach builds up the harmonic tension to a redeeming final chord - which turns out to be major!
Durch Adams Fall ist ganz verderbt
Menschlich Natur und Wesen,
Dasselb Gift ist auf uns errebt,
Daß wir nicht mocht'n genesen
Ohn' Gottes Trost, der uns erlöst
Hat von dem großen Schaden,
Darein die Schlang Eva bezwang,
Gotts Zorn auf sich zu laden.
BWV 638 Es ist das Heil uns kommen her - Paul De Maeyer, orgel
St. Nicholas Church, Ghent
Paul De Maeyer is a well known international concert organist from Belgium. He is regularly asked in festivals for his beautiful improvisations and original programs. As a professor at the Ghent Academy of Music in creative keyboard arts and organ performance, he is inspired by the fabulous historic legacy of organs in the Low Countries. He is constantly in search of new colours and original combinations of instruments as well as other art forms.
Paul was born in Halle (Flanders) in 1964. He has his own workshops as a composer and a teacher in the Saint-Nicolas church, with the famous Cavaillé-Coll organ from 1856, in the heart of the historic city of Ghent.
Es ist das Heil uns kommen her
Von Gnad' und lauter Güte,
Die Werke helfen nimmermehr,
Sie mögen nicht behüten,
Der Glaub' sieht Jesum Christum an
Der hat g'nug für uns all' getan,
Er ist der Mittler worden- Paul Speratus (1523)
Kristelig vandel
BWV 639 Ich ruf' zu dir, Herr Jesu Christ - Xaver Varnus, orgel
Saint Ladislaus Church, Budapest
Xaver Varnus plays Choral Prelude "Ich ruf zu dir, Herr Jesu Christ" (BWV 639) by Johann Sebastian Bach. Recorded live on the great Rieger Organ (1899) in the Church of St. Ladislaus in Budapest.
The centre of Kőbánya has a beautiful Catholic church built in late 19th century eclectic-Art Nouveau style, dedicated to knight-king St. Ladislaus. It has a 100 meter tall bell-tower and the church's roof is covered in patented colorful Zsolnay "eozenic" porcelain tiles which were designed by Ignatz Oppenheimer.
Ich ruf' zu dir, Herr Jesu Crist,
ich bitt, erhör mein Klagen,
verleih mir Gnad zu dieser Frist,
lass mich doch nicht verzagen;
den rechten Glauben, Herr, ich mein,
den wollest du mir geben,
dir zu leben,
mein'm Nächsten nütz zu sein,
dein Wort zu halten eben.
I magasinet VAN skriver Volker Hagedorn en artikkel med tema "Schweben mit Bach" om filmer med Bachs musikk, og Tarkowskis Solaris som bruker dette koralpreludiet i en magisk scene:
Denne kvinnen kan faktisk ikke engang eksistere. Jeg hadde glemt det da jeg kom over filmscenen, et utdrag. Hun sitter med det brune håret i hestehale, i kjole, på et bord i et rom med panel, et bibliotek. Ved siden av henne er en mann i dress, midt i 40-årene, håret litt rufsete, og han sier: "Harey!" Hun smiler. Hun har et ansikt som en engel, han ser melankolsk ut, hjelpeløs. Så begynner de å levitere, lener seg i luften, og orgelmusikken begynner. Med dem flyter en lysestake, en bok. Du kan finne det utrolig kitchi Men det er vakkert fordi musikken inkluderer de to: J.S. Bach, koralpreludium i f-moll, BWV 639.
- Volker Hagedorn
Kort versjon rett før musikken starter:
Litt lengre klipp før musikken starter:
Solaris starter med dette klippet (uten musikken), men vender tilbake til dette stedet med musikken som er klipt inn i åpningssekvensen:
Ich ruf zu dir Herr Jesu Christ i det berømte klaverarrangementet til F. Busoni
Igor Levit's music video for "J.S.Bach (arr. F.Busoni) Ich ruf zu dir Herr Jesu Christ- - Choral Prelude BWV 639" is from his album "Encounter" on Sony Classical. It is a very personal double album marked by a desire for encounter and togetherness. The program includes rarely played arrangements of J.S. Bach and Johannes Brahms by Ferruccio Busoni and Max Reger, as well as Palais de Mari - Morton Feldman's final work for piano.
The 33-year-old once again steps beyond the limits of pure piano repertoire: in the Busoni transcriptions of Bach's chorale preludes and the late Brahms, which are rarely heard as complete cycles, Levit assumes the role of an organist who fills vast church spaces. In Johannes Brahms' "Vier ernste Gesänge," he lends instrumental eloquence to overcoming the torments of fearing death. On the other hand, the gentle shimmer produced from its very few notes makes Morton Feldman's extremely quiet work for piano, "Palais de Mari" (1986), the epitome of a sensuous, transcendental realm of possibilities.
Trøstesanger
BWV 640 In dich hab ich gehoffet herr - Ben Bloor, orgel
London Oratory Church
In dich hab ich gehoffet, Herr (BWV 640) by Johann Sebastian Bach performed by Ben Bloor on the 16 stop 1975 (restored 2005) Flentrop organ of the Little Oratory on Thursday 25th February 2021.
In dich hab' ich gehoffet, Herr,
Hilf, daß ich nicht zuschanden werd'
Noch ewiglich zu Spotte!
Das bitt' ich dich, erhalte mich
In deiner Treu', mein Gotte!- Adam Reusner (1533), etter Psalm 31
BWV 641 Wenn wir in höchsten Nöten sein - Masato Suzuki, orgel
Shoin Women's University Chapel
J. S. Bach: Choral "Wenn wir in höchsten Nöten sein" BWV 641
Organ solo by Masato Suzuki
Marc Garnier Organ at Kobe Shoin Women's University Chapel at the rehearsal for Bach Collegium Japan's 111th Subscription Concert
Wenn wir in höchsten Nöten sein
Und wissen nicht, wo aus noch ein,
Und finden weder Hilf noch Rat,
Ob wir gleich sorgen früh und spat.
Når vi i største nød mon stå.
Salmen er skrevet av den tyske teologen, biskopen og salmedikteren Paul Eber i 1560. Salmen er på syv strofer og vi finner den gjengitt i Norsk Salmebok (fra 1985) som nummer 239 med seks strofer og i Landstads reviderte salmebok (LR) som nummer 197 med seks strofer.
Vi siterer strofe en (LR):
Når vi i største nød mon stå
Og ikke vet hvor vi skal gå,
Og finner ingen hjelp og råd,
Om enn vi gikk med hjertens gråt.
Se hele Salmebloggen om denne salmen HER
BWV 642 Wer nur den lieben Gott lässt walten - Dorien Schouten, orgel
Bovenkerk, Kampen
'Wer nur den lieben Gott lässt walten', performed by Dorien Schouten for All of Bach, comes towards the end of the Orgelbüchlein. It is one of a small group of chorales that do not have a precise place in the ecclesiastical year. They were probably included because they were popular or often used in Weimar, where Bach composed the Orgelbüchlein.
Recorded for the project All of Bach on October 1st 2015 at the Bovenkerk, Kampen.
Wer nur den lieben Gott lässt walten
und hoffet auf ihn allezeit,
den wird er wunderlich erhalten
in allem Kreuz und Traurigkeit.
Wer Gott, dem Allerhöchsten traut,
der hat auf keinen Sand gebaut.
Den som i alt lar Herren råde
og håper på ham all sin tid,
den styrker han med kraft og nåde
i trengsel og i livets strid.
Med livet trygt i Herrens hand
da bygges ikke hus på sand.
Begravelse
BWV 643 Alle Menschen müssen sterben - Gerben Budding, orgel
Cunerakerk te Rhenen
Alle Menschen müssen sterben,
alles Fleisch vergeht wie Heu,
was da lebet, muss verderben, soll es anders werden neu. Dieser Leib, der muss verwessen, wenn er ewig soll genesen der so grossen Herrlichkeit, die den Frommen ist bereit.
Et lite ekstranummer med samme organist og i samme stemningsleie:
Bot
BWV 644 Ach wie nichtig, ach wie flüchtig - Manuel Bleuel, orgel
Justinuskirche in Frankfurt-Höchst
Ach wie flüchtig,
ach wie nichtig
ist der Menschen Leben!
Wie Ein NEBEL bald enstehet
und auch wie der bald vergehet
so ist unser LEBEN sehet!- Michael Franck (1652)
Viktige kilder og referanser:
Torkil Baden og hans bok "Bach og hans orgelunivers" er en svært god innføring i Bachs orgelverk, også Orgelbüchlein. I magasinet Puls er han intervjuet om dette bokprosjektet - LES DET HER! og boken ble også presentert i regi av Moss kirkeakademi, og DET KAN DET LESES OM HER!
Bach gjør alt større, dypere, tettere og mer mangfoldig. Han overvelder med fantasi og kvalitet i et kompositorisk mesterskap. Han er teknisk og intellektuelt utfordrende gjennom sin kompleksitet og perfeksjon. Han er en europeer slik han smelter sammen det beste av tysk, fransk og italiensk tradisjon. Han beveger oss med vitalitet og kraft og følelsesdybde. Han er universell og når inn i ulike religiøse og kulturelle miljøer, også islam og buddhisme.
- Torkil Baden
The Daily Bach: Blogging the Orgelbüchlein av organist Raymond Nagem er en blogg hvor organisten selv har spilt inn hele syklusen og har blogget over alle underveis. Den starter da med siste koralforspill og går baklengs ned til første - slik den vises når man kommer inn i den. I versjonene som vises i denne artikkelen på "Bach in Town" er hans versjon av BWV 603 "Puer natus in Betlehem" med, tatt opp i St. John the Divine, in New York City. LES HELE BLOGGEN HER!
It's been an amazing pilgrimage with Bach's music over the past year. As I mentioned early on in this blog, I played very few of the Orgelbüchlein preludes as a student. Before deciding last spring that I would tackle the complete set, I was familiar with many of them, but I probably only had two or three in my repertoire. Digging into these pieces, and writing about it here, has opened up perspectives far deeper and broader than I ever suspected. This really is music for a lifetime, and I know I'll continue practicing, performing, and pondering the Orgelbüchlein for a very long time.
- Raymond Nagem
Bjørn Boysen har spilt inn denne samlingen med orgelkoraler på barokkorgelet i Kongsberg kirke.
Som hofforganist i Weimar påbegynte Bach rundt 1714 et ambisiøst prosjekt der han ville lage korte orgelbearbeidelser over alle de vanligste koral melodiene som var i bruk på den tiden. Bach utstyrte samlingen med en tittelside der han har skrevet flg. tekst: "Orgelbüchlein, hvor en begynnende organist får anvisning på hvordan en koral kan bearbeides på alle slags måter, samtidig som han kan dyktiggjøre seg i bruk av pedal, idet pedalet blir behandlet fullstendig obligat." Bjørn Boysen har spilt inn denne samlingen med orgelkoraler på barokkorgelet i Kongsberg kirke. Dette orgelet er et smykke fra 1765 som i de siste årene er blitt grundig restaurert og framstår som et sjeldent instrument for sin tid. Orgelet passer perfekt for Bachs vakre musikk. I det omfattende tekstheftet har Boysen skrevet utførlig om orgelet og orgelbyggeren Gottfried Heinrich Gloger (1710-1779). Hver enkelt stykke i Orgelbüchlein er beskrevet på en detaljert og grundig måte. Denne utgivelsen en grundig dokumentasjon av et av de viktigste orgelverk av J. S. Bach og kan brukes som oppslagverk for studenter og andre interesserte som vil gjøre seg mer kjent med Bachs musikk. HØR HELE INNSPILLINGEN HER eller KJØP DETTE ALBUMET HER
Orgelbüchlein, hvor en begynnende organist får anvisning på hvordan en koral kan bearbeides på alle slags måter, samtidig som han kan dyktiggjøre seg i bruk av pedal, idet pedalet blir behandlet fullstendig obligat.
- Bachs egen tekst på tittelsiden til Orgelbüchlein
ALL OF BACH - THE ONLINE TREASURE TROVE OF THE NETHERLANDS BACH SOCIETY. Dette prosjektet er selvfølgelig en skattekiste for innspillinger de har gjort med Orgelbüchlein.
The complete oeuvre of Johann Sebastian Bach is just a couple of mouse clicks away, wherever you are in the world. The All of Bach project is the online treasure trove of the Netherlands Bach Society. Music-lovers can enjoy recordings of large-scale concerts, intimate house concerts and virtuoso solo works.
Why All of Bach?
In the run-up to the centenary of the Netherlands Bach Society in the 2021-2022 season, we came up with the idea of performing and recording all of Bach's works. This allows us to share Bach's music with the whole world. Everyone can enjoy excellent audiovisual recordings of the highest quality on our website or on our YouTube channel.- All of Bach
Bach-konsertene er en serie i St. Nicholas-kirken i hjertet av Gent i Belgia. Dette var den andre konserten i konsertserien "Bach Concerts Ghent", og Orgelbüchlein ble fremført av organisten Peter Breugelmans lørdag 20. juni 2020 på Flentrop-orgelet i St. Nicholas-kirken, og presentert via direktesending på grunn av koronaviruspandemien. SE OG HØR HELE OPPTAKET FRA KONSERTEN HER! og HER ER NETTSIDEN TIL BACH CONCERTS GHENT
Peter Breugelmans (°1966) studied organ and harpsichord at the Royal Flemish Conservatory in Antwerp with Stanislas Deriemaeker and Jos Van Immerseel. He continued his studies in organ with Jean Boyer at the "Conservatoire National de Région de Lille." In 1990, he graduated with the "Prix de Perfectionnement" for organ with praise from the jury.
Breugelmans followed masterclasses with Gustav Leonhardt, Harald Vogel and Jacques van Oortmerssen. In 2000, he earned a master's in music in organ and harpsichord.
Breugelmans teaches organ and harpsichord at the Municipal Music Academy of Brasschaat and the City Conservatory of Leuven. He is a member of the Bishops' Commission for Organs of the Mechelen-Brussels archdiocese. Since 2019, Breugelmans has been the titular organist of the Thomas organ of the Heilig-Hartkerk of Brasschaat-Vriesdonk.
WHY BACH?
It should come as no surprise that this well-known composer was chosen. The neo-Baroque Flentrop organ from 1973-1974, which was purchased by the Friends of Saint Nicholas Church in 2006, lends itself perfectly to the performance of the composer's work. But the link continues. Many of Bach's great organ works could only be performed in Ghent for the first time - especially because of the required number of pedals - thanks to the magnificent Cavaillé-Coll organ.
- Bach Concerts Ghent
