Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV About the Work. Bach/ Busoni Composer: Bach/Busoni. Past Performances. Washington Performing. Check out Chorale Prelude Ich ruf zu dir, Herr Jesu Christ, BWV ( transcription by Ferruccio Busoni) by Vahan Mardirossian on Amazon Music. Stream. Check out Bach – Busoni: Ich Ruf Zu Dir, Herr Jesu Christ Bwv by piano Franco Di Nitto on Amazon Music. Stream ad-free or purchase CD’s and MP3s now.
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He became a city scribe in Vacha.
Gramann 1 remember him? Retrieved 15 July He is supported by sensitive accompaniment. This is very important to note I missed this at first, and all the commentaries I read said nothing about this.
Ich ruf’ zu dir, Herr Jesu Christ, BWV 639
I have already discussed the role that this interval jumps play ehrr the subsequent mvts. This cantata follows this type of sequence and demands that the choir should sing with conviction whether they believe it or not and not be forced into half-hearted drooping diminuendi at the end of a phrase. The vocal structure is embedded in a concerto of solo violin and two oboes which play the cantus firmus colla parte with the soprano, strings and continuo.
The actual message that Bach is trying to convey disappears in the process of attempting to force this style the Harnoncourt style of HIP on the entire musical ensemble without regard for the difference between voices singing and instrumentalists playing.
Francis Browne wrote June 26, Chtist soprano part has an almost dead quality that only occasionally thrusts itself forward with great effort by increasing volume considerably on the high notes f and g. The Antinomianism-fight started as a reaction to Phil.
The extremely fast tempo for his version is already an indication of this.
Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV
Francis Browne wrote June 24, Nevertheless, I find Schreier here more convincing, because his expression is freer and reflects more bravery and joy. With this kind exemplary rendition you find yourself wanting to pay attention continuously.
I find this approach less appropriate to convey convincingly the message, and therefore less heart-rending. The oboes sound very distant indeed. The continuo derives its first phrases from the first line of the chorale, following this with semiquavers rising in semitones, both of which prayerful motifs are constantly repeated.
In this case, and with a variation of the hymn-tune, he or she asks God not to let him or her be mocked, not to build all her hopes on his good acts, for these may lead her to eternal regret. Verse 2 is accompanied by continuo only, verse 3 by oboe da caccia, verse 4 by the rare combination of violin and bassoon.
The rich setting of this choral is esp.
In attempting to introduce lively expression in the singing of a chorale, Harnoncourt loses sight of the real meaning behind the text of the chorale. Or, am I wrong and she is using it intentionally, to express a certain fear of the misfortune? Luther 8 vir, H.
Cantata BWV – Discussions Part 1
Despite the slow tempo there is an inner force that makes the choir sound as though it is thoroughly committed to singing the music from the heart. The same source as I quoted above but other author: Because he successfully argued for Catholicism in numerous polemic articles, Herzog Georg von Sachsen called him to the court in Dresden, where he worked toward reuniting both confessions Catholic and Lutheran.
The hymn therefore clearly expresses something valuable and meaningful to many communities and individuals. These settings represented the standard repertoire of the Stuttgart Courtly Choir. Panito Iconomou alto is first rate again in a very demanding aria.
The bc has an octave dropping figure the fall of man? It is the antithesis of up and down when understood as follows: The chorus sings a personal appeal to the Lord, representing the mental agony of one believer who seeks spiritual help.
What an obvious way to illustrate DOWN or falling! This means, for instance, that the violino concertino placed close to the mike is much louder than the rest of the ensemble. bdv
It was only because of the findings of the famous hymnologist Philipp Wackernagel in the 19 th century that his authorship was firmly established. I doubt if this rendition as a whole could be ever improved upon.
With the words of the chorale foremost in his mind, he would reduce or distill the entire text to arrive at a pregnant motif where the musical essence of the idea is expressed in a succinct form, from which the entire composition could evolve.
This is a moment when vocalists and instrumentalists both gather their strength for the energetic attack of the next, accented note which introduces a new micro-phrase. Dick Wursten wrote June 28,