Clavier-Ãœbung

Johann Sebastian Bach has a number of his works for harpsichord or organ published during his lifetime in print; in the years 1731 to 1741 in a four-part collection under the name Clavierübung. He gave here systematically Keyboard instruments: one manual harpsichord or clavichord also in the first part, organ with and without pedal in the third part and two-manual harpsichord in the second and fourth parts.

With Suite, Concerto, Prelude and Fugue, Bach chorale and variation offered here most of the popular genres and compositional styles. Even though the title "exercise" now associated a textbook, were and the compositions are anything but easy to play and were directed not to instrumental students. Rather, they show quite systematically the uncompromisingly high compositional and playing technique level of their author.

The word "exercise" here is not to be understood in the modern sense of standing at the Etudes game in the foreground new learning, but in a higher sense than comprehensive mental and technical appropriation, deepening and meditation of the player on the one hand, as from exercise of Tonsetzerberufs other.

• 2.1 Overture in B Minor, BWV 831
• 2.2 Italian Concerto in F major, BWV 971

• 3.1 Prelude and Fugue in E flat major, BWV 552
• 3.2 Chorale Preludes, BWV 669-689
• 3.3 Four Duets, BWV 802-805

Clavierübung Part I: Partitas

From 1726 to 1731 Bach Partita for harpsichord published two - so a suite. 1731, he summed up the six compositions together again and published it - using the original printing plates - as his Opus 1 (with 46 years as a recognized composer - because with Opus only published works were then called and counted ).

The original title is:

All Partitas follow generally initiated in the French baroque music Full Sequence ( Allemande - Courante - Sarabande - Gigue ), but usually add additional dances a jig or before the Sarabande, or replace them with other dances. Particularly striking is the wide range of introductory sentences - all common types occur, from Prelude ( Partita 1 ) over Sinfonia ( Partita 2 ) Fantasy ( 3 Partita ) and French Overture ( Partita 4 ) to the Toccata (6. Partita ). The individual records are invariably in the home key of the respective plant.

Following the French and English Suites named Albert Schweitzer " German suites "; this designation has not caught on. The research is a broad consensus that Bach here a kind of integration of the two dominant musical styles undertook - the French and Italian style.

Partita I in B flat major, BWV 825

Sets

• Allemande
• Courante 3/4
• Sarabande 3/4
• Minuet I - II - I 3/4
• Jig

Partita II in C minor, BWV 826

Sets

• Sinfonia: Grave Adagio - Andante - 3/4
• Allemande
• Courante 3/2
• Sarabande 3/4
• Rondeau 3/8
• Capriccio 2/4

Partita III A Minor, BWV 827

Sets

• Fantasia 3/8
• Allemande
• Courante 3/4
• Sarabande 3/4
• Burlesca 3/4
• Scherzo 2/4
• Gigue 12/8

Partita IV in D major, BWV 828

Sets

• Allemande
• Courante 3/2
• Aria 2/4
• Sarabande 3/4
• Minuet 3/4
• Gigue 9/16

Partita V in G major, BWV 829

Sets

• Praeambulum 3/4
• Allemande
• Courante 3/8
• Sarabande 3/4
• Tempo di Menuetto 3/4
• Passepied 3/8
• Jig 6/8

Partita VI in E minor, BWV 830

Sets

• Toccata -
• Allemande
• Courante 3/8
• Air
• Sarabande 3/4
• Tempo di Gavotta
• Gigue Ø ( = 4/2)

Clavierübung Part II

1735 Bach published the second part of his Clavierübung consisting of the Italian Concerto in F major and the French Overture in B minor, under the original title:

Most authors see the musical significance also in the quasi- archetypal juxtaposition of the two musical styles and look at the keys used in F major and B minor - separated by a tritone - not as a coincidence.

The Italian Concerto is very common today - played - even on the piano; The overture is in the concert world today almost unknown.

Overture in B Minor, BWV 831

Sets

• Courante 3/2
• Gavotte I - II - I
• Passepied I - II - I
• Sarabande 3/4
• Bourree I - II - I
• Jig 6/8
• Echo

With eleven sets this composition is not only significantly larger than the Partitas the first part. It also has a much freer Full Sequence - so conspicuously lacking equal the Allemande ( the German composer's only because of the name probably not as ' typically French ' thought ). The work thus resembles more the orchestral suites of Bach with her free episode fashionable dances.

Another difference is the simpler melody, so a clear waiver for advertised ornaments ( which is typical of French music, as ornaments were indeed added there by the player ). The use of two manuals writes Bach ago by forte and piano. This is especially the overture and of course - the title already suggests it - the finale.

In addition to the version in B minor, an early version of the overture exist in C minor, which is obtained in a custom built circa 1730 copy of Anna Magdalena Bach.

Italian Concerto in F major, BWV 971

Sets

• 2/4 F major
• Andante 3/4 in D minor
• Presto in F major

The initiated in Italy by composers such as Arcangelo Corelli and Giuseppe Torelli and further developed by Antonio Vivaldi form of the concerto is a single instrument over a larger ensemble. Bach had met early in typical representatives of this form and had dealt with it by having been to Weimar piano and organ extracts of anfertigte ( "Six " and " Sixteen concerts by various masters ", BWV 592-597 and 972-987 ).

The Italian Concerto, he developed this idea further; the work, the two manuals of the harpsichord against each other and is based on clearly developed by Vivaldi elements such as the Ritornellthema that occurs gradually at different levels, and the intermediate, low voices accompanied solos. The whole composition is flirting with the idea, so to speak, she was a piano reduction of a real orchestral work.

In a review of Johann Adolf Scheibe wrote in 1739:

Clavierübung Part III

The third and most extensive part of Bach with 77 pages published in 1739 a series of organ works. The framework form Prelude and Fugue in E flat major, between are 21 chorale settings. Albert Schweitzer won the whole referred to as Organ Mass, as the hymns used are not tied to specific times of the liturgical year and were arranged approximately in the course of a worship service, starting with the Kyrie, Gloria and Credo.

Bach writes systematically for two different organ types - each set is written clearly either for a large mehrmanualige organ with pedal or a small pedal -less organ. For each chorale melody so there are two trims; the rate for each major organ follows a version without pedal. The opening Prelude and the final five -part fugue set already in the headline per organo pleno a large organ with pedal forward. For pedal -free game collection contains four further designated as duets two-part compositions.

The original title:

Prelude and Fugue in E flat major, BWV 552

• Fuga

See also Prelude and Fugue in E- flat major BWV 552

Chorales, BWV 669-689

• Kyrie, God Father in eternity, G phrygian a 2 Clav. e pedals

• Only God in the Hoh ' Kudos ' 3/4, F major a 3

• These are the holy Ten Commandments ' 6 /4, G major, a 2 Clav. e pedals

• We all believe in one God 2/4 In organo pleno

• Our Father in Heaven 3/4 a 2 Clav. e pedals

• Christ our Lord came to the Jordan C minor

• Out of the depths I cry to you a 6 in organo pleno con doppio pedals

• Jesus Christ our Saviour a 2 Clav.

Four Duets, BWV 802-805

• Duetto E minor 3/8, BWV 802
• Duetto in F major 2/4, BWV 803
• Duetto in G major 12/8, BWV 804
• Duetto in A minor, BWV 805

Unlike the title suggests the modern reader, these four sentences are written for a pedal -less keyboard instrument and can be played on organ or harpsichord. The title thus refers to their continuous Zweistimmigigkeit; there are contrapuntal and simultaneously virtuosic phrases similar to those inventions, but of much greater extent. Although the Bach - Werke-Verzeichnis it classifies under the harpsichord works, they are sure to be considered rather in the context of its publication as an organ compositions.

Clavierübung Part IV: Goldberg Variations

Two years after the third part of the Clavierübung Bach wrote a cycle of 30 Variations on the 32- bar bass line of a two-manual harpsichord for Aria; this work today under the name Goldberg Variations are known ( BWV 988 ). Bach published this cycle in the same year (1741 ) under the title:

The work begins with the - highly ornate - Arie and takes thirty stylistically very different sets before the aria is repeated unchanged at the end. Similarly as in Part I (opening sentence of Partita IV ), a French overture selected too the beginning of the second part (Variation 16).

Clavierübung Part V?

Some scholars believe, Bach must have the Art of Fugue planned as part of the fifth Clavierübung. The target instrument either the clavichord is then invoked or the Silbermann wings ( an early form of the pianoforte, owned by the Frederick the Great several copies). However, Bach's intentions are relevant documentary not busy, and so all of this remains speculation.