Other holidays - Choral "of Dogma" (Klavierübung III)
With this third series of concerts will conclude the complete performance of Bach's organ compositions according to the program by Fernando Germani that, in programming we have proposed, has been with us for almost an entire year. As has been highlighted in the presentations of previous cycles, the distribution of compositions for organ concert programs in fourteen seconds of the liturgical calendar was used by the Germans in his master "integral" by Bach for about forty years in this church and on this same instrument, after the war until the mid-eighties. The division into three cycles (Christmas - Easter - and now, more holidays), was designed by us with the intent to have a better grip with two "high points" of the liturgical calendar, Christmas and Easter and at the same time also to give more breath to the event.The choice, long meditated, to add the "new" Neumeister Chorales of the manuscript (published in the mid-eighties but whose paternity is not yet reached a definitive word seems) we seemed to end in line with the intent informative typical of the integral and complete proposal by Maestro Germans. Returning to the present, in the first three programs of this cycle beside immortal masterpieces such as Toccata and Fugue in D minor BWV 565, Toccata and Fugue in F major, BWV 540 and BWV 582 Passacaglia, just to name a few, are placed all those compositions based on Choirs for other times of the liturgical year in Advent and Christmas and outside of the Passion and Easter. As is customary, the opening of the first three concerts will be presented with a melody of chorale, whose title appears at the right of the date of the program (egLiebster Jesu, wir sind hier for the first concert of the third cycle) The fourteenth concert will be instead dedicated the performance of the third part of Klavierübung, also known as - yet so simplistic - the collection of "Choir of the Dogma." This is certainly not the place to explain the meanings and significance, especially in terms of symbolism and musical rhetoric. Just as a curiosity remember who was among the few works to be printed with Bach's living in 1739. The work plan consists of a Prelude, Chorale Preludes twenty-one, four duets and a final escape. Prelude in E flat major imposing the initial symbolic element of the Trinity is also evident at the most basic analysis, three themes are the music of different character, three key signature in the key of Eb: an analysis of only just a little 'more Then look reveals a number of other symbolic references. Following twenty-one Chorale Preludes on.Using ten strains of Bach Choir presents a Missa Brevis (Kyrie, Christe, Kyrie, Gloria), a meditation on the Catechism (Commandments, the Creed and Our Father) and finally a meditation on the sacraments (Baptism, Penance, Holy Communion). For each ensemble Bach offers us two versions: one very large for a large organ with pedals and a smaller one for a small instrument with a keyboard and no pedals. Just to the tune of "Gloria" (Allein Gott) Preludes Bach composed three different character: here is pretty undeniable musical reference to the Holy Trinity. It also seems plausible the thought of some scholars want to understand the other two versions of the choir at Faith understood as a reference product Catechism of theologians on the one hand, and as individual practice believer's home on the other. Choral Preludes to four duets which are then followed, perhaps from a perspective closer to a conception of "Cecilian" for a long time were considered to be included in this collection only by mistake.While it seems strange that a work was printed under the direct supervision of the author "in error" can include several pages of music, the other is reported as authoritative musicologists and scholars more recently have provided several proposals on the meaning by giving them the overall economy Klavierübung III, restoring legitimacy of belonging to this. If here has also decided not to run the four duets, it is made to fit with the design of the master Germans, but also for a significant period of practical reason. The Fugue in E flat with three subjects of obvious kinship with the themes of the Prelude, as usual, first developed independently and then combined with each other, keeping it all ends. At the end of this introduction, it seems natural to extend a heartfelt thanks to the fathers of S.Ignatius, who wanted to have hosted the event and to all those who by their commitment and their professionalism have promoted and contributed significantly to its success, but also to all of you who honored us of your constant presence because you happened to this initiative.
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