Auke Jongbloed, Auf meinen lieben Gott
A few days ago I published the score of one of the compositions of which Bach’s authorship is doubtful, namely the choral prelude “Wer nur den lieben Gott lässt walten” (BWV Anh. II 68)....
Category: Scores
Friedrich Wilhelm Marpurg, Werde munter mein Gemüthe
The melody of “Werde munter mein Gemüthe” is the same as the melody of “Freu dich sehr o meine Seele”. And Marpurg is not the first one who realises that the melody lends itself...
Wilhelm Karges, Sebastian Anton Scherer, Capricio in G
Karges’ Capricio in G is based on Scherer’s Intonatios Tertia and Secunda Octavi Toni. The composition is almost identical to Scherer’s original. Karges only glues them together to create a two movement composition in...
Friedrich Wilhelm Marpurg, Wer nur den lieben Gott lässt walten
The melody of “Wer nur den lieben Gott lässt walten” is of itself already a bit chromatic. Marpurg enhances this aspect in his prelude based on this melody, and creates a composition full of...
Johann Sebastian Bach (?), Wer nur den lieben Gott lässt walten (BWV Anh. II 68)
Manuscript Mus ms P285, Rara lb 36 contains two compositions that were presumably not written by Johann Sebastian Bach. Hence their inclusion in the second supplement of the catalogue of Bach’s compositions that contains...
Wilhelm Karges, Sebastian Anton Scherer, Capricio Secundi Toni
Karges’ Capricio Secundi Toni is based on Scherer’s Intonatio Tertia Secundi Toni. Scherer’s original only makes up the first half of Karges’ composition. Karges adds four bars to Scherer’s original before coming to a...
Friedrich Wilhelm Marpurg, Schmücke dich, o liebe Seele
In his prelude to “Schmücke dich, o liebe Seele” Marpurg uses the same procedure as in het preludes to “Was Gott thut das ist wohlgetan”, “Von Gott will ich nicht lassen” and “Aus tiefer...
Friedrich Wilhelm Marpurg, Aus tiefer Noth schrei ich zu dir
In his prelude to “Aus tiefer Noth schrei ich zu dir” Marpurg uses the same procedure as in het preludes to “Was Gott thut das ist wohlgetan” and “Von Gott will ich nicht lassen”....
Wilhelm Karges, Sebastian Anton Scherer, Capricio Sexti Toni
Karges’ Capricio Sexti Toni is based on Scherer’s Intonatio Tertia Tertii Toni and Intonatio Quarta Tertii Toni. Karges uses only the first 12 bars of Scherer’s Intonatio Tertia Tertii Toni and skips the remaining...
Friedrich Wilhelm Marpurg, Was Gott thut das ist wohlgetan
Marpurg’s prelude to the choral “Was Gott thut das ist wohlgetan” is in the same style as his prelude to the choral “Von Gott will ich nicht lassen”. The composition has a simple 3...
Georg Philipp Telemann, Herr Jesu Christ, dich zu uns wendt (TWV 31:8, BWV Anh. II 56, Emans 98)
Telemann’s prelude to the choral “Herr Jesu Christ, dich zu uns wendt” appears in no less then three different catalogues. As it is nowadays known to be a composition of Telemann, it apeats in...
Friedrich Wilhelm Marpurg, Was mein Gott will
Marpurg’s prelude to the chorale “Was mein Gott will” is again a case of two compositions rolled into one. The first is a bicinium, where the choral melody is embelished with eigth notes in...
Wilhelm Karges, Sebastian Anton Scherer, Capricio Quarti Toni
Karges’ Capricio Quarta Toni is based on Scherer’s Intonatio Tertia Quarti Toni and Intonatio Quarta Quarti Toni. Karges follows the originals closely, though he is far from note perfect. It is not always clear...
Friedrich Wilhelm Marpurg, Auf! Auf! mein Herz, mit Freuden
Marpurg wrote several choral preludes that are actually two seperate preludes rolled into one. Marpurg’s prelude to “Auf! Auf! meine, mit Freuden” is another example of the ‘two for the price of one’ type...
Auke Jongbloed, Ach Gott, erhör mein Seufzen
A few days ago I published Marpurg’s prelude to the choral “Von Gott will ich nicht lassen”. It is fascinating to see that the left hand part of that composition is really not much...