4 Coloratura passages lead into the unadorned notes of the cantus firmus. This chorale prelude is based on a traditional Christmas carol in canon that predates Luther. As with the most of the collection, Bach had allotted one page for the chorale prelude. 0.0/10 As Spitta (1899) comments, "What tender melancholy lurks in the chorale, Alle Menschen müßen sterben, what an indescribable expressiveness, for instance, arises in the last bar from the false relation between c♯ and c', and the almost imperceptible ornamentation of the melody!". At the same time in the eleventh bar the soprano and tenor parts play semiquaver motives in canon separated by a quaver and two octaves, before playing in more transparent imitation in bars 12 and 13. Apart from BWV 611, Bach set the hymn earlier in BWV 696, a chorale prelude from the Kirnberger Collection, and later in his cantata Christum wir sollen loben schon, BWV 121. Despite the harmonious thirds and sixths in the inner parts, the second semiquaver of the motif produces a momentary dissonance that is instantly resolved, again contributing to the mood of joy tinged by sadness. Many of the preludes are short and in four parts, requiring only a single keyboard and pedal, with an unadorned cantus firmus. pro. The accompaniment in the three lower voices is built up from two motifs each containing the repeated notes that characterise the theme. It was used in settings by Scheidt, Scheidemann, Walther and de Grigny, the latter two employing the Latin title. $19.95 / (Konzert fur Sopran, Trompete und Orgel). Combined with the unadorned but singing melody and its gentle accompaniment, this produces a mood of tenderness and rapture. J. S. Bach – In dir ist Freude, BWV 615 Dr. Kris Rizzotto, organ On YouTube shorturl.at/fsDL9. Bach himself harmonised the hymn in BWV 416, with a later variant in one of the chorales from the St John Passion. [28]. The combined affekt of the four parts, with 25 repetitions of the quaver motif, is one of "confirming" the biblical laws chanted in the verses of the hymn. In the generation prior to Bach, organ settings had mainly been made by composers in Southern Germany like Kindermann, Pachelbel and Fischer. The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal. 8 It is derived from the first line of the melody of the cantus firmus and often shared out freely between voices in the accompaniment. Read about In dir ist Freude from Giovanni Giacomo Gastoldi's BBC Music, Volume 21, Number 3: Silent Night and see the artwork, lyrics and similar artists. After the cadence at bar 14 from D minor to A minor, the accompaniment is augmented to four voices with a second voice in the pedal, first with motivic semiquaver figures in all the parts in the penultimate bar; and then imitative dactylic joy motifs in the soprano and tenor parts during the closing bar. Bachs Werke, Nach der Ausgabe der Bachgesellschaft. BWV 599, 639, 617, 619, 628, 615, 622, 637. Although primarily a supplication looking forwards to the future, the hymn also looks back at the past, reflecting on the perils facing man, his sins and his transitory existence. Below is the first verse of the traditional Latin carol Puer natus in Bethlehem with the English translation of Hamilton Montgomerie MacGill. Below is the first verse of Martin Luther's version "Gelobet seist du, Jesu Christ" (1524) of the traditional Christmas hymn Gratis nunc omnes reddamus, with the English translation of Myles Coverdale. Skip to main content. The alto part anticipates the pedal motif and, with it and the later dotted figure, echos the melody in the soprano. Schweitzer (1905) described the accompanying motifs as representing "peace of mind"(quiétude).[54][55][56]. & W. Chester, 1922. pental. Beneath them in the pedal is a contrasting walking bass in quavers with sustained notes at the end of each phrase. The motif is in turn linked to the melodic line, which later on in bar 5 is decorated with a rising chromatic fourth. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. 10 In the pedal part this prominent descending motif has been taken to symbolise the "coming down of divine Majesty." There are no breaks between the lines of the cantus for, The notes ending verse lines in the cantus are marked by, BWV 600, 608, 618, 619, 620, 624, 629 and 633/634 where the soprano cantus is in. A close variant of BWV 639 is catalogued as BWV Anh. 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