Ach was soll ich Sünder machen
In Bach's time, the partita was a collection of instrumental pieces, often dance-based, similar to a suite. He used the term for harpsichord works, but also for his solo violin works (the 'Six Sonatas and Partitas').
But there was also a more specialized application of the term: The organ partita. This was a set of variations--from few to many--on a single chorale melody. It was an opportunity for the composer to explore and experiment with the potentialities of a given tune. Sometimes they are quite spectacular. Here's an amazing modern partita by Lionel Rogg (on Martin Luther's great chorale 'Nun freut euch lieben Christen G'mein), which Annie will play in our January 2022 organ recital (along with a whole lotta Buxtehude). This piece--especially towards the end--has frequently had me pounding the dashboard in delight and glee. (Yes, people look at me funny when I drive by.) The kinetic energy he builds is truly awesome.
We're looking today at a chorale called 'Ach was soll ich Sünder machen, and a partita by Johann Pachelbel based thereupon. The text of the chorale, by Johann Flittner, was first published in 1663. It's a song of contrition, but looks hopefully to a brighter future. The melody, by the prolific composer Anonymous, probably started life as a secular tune before it was appropriated for sacred purposes.
Take a look at the attached score of Bach's only setting, the independent chorale BWV 259. It's a curious little tune, vacillating back and forth from minor to major and back again, and with an irregular phrase structure. Get to know it as well as you can, so as best to appreciate the partita.
Bach's setting is a great one (especially if you happen to be a bass). Tenor and alto are also pretty active, with lots of motion and a fair amount of syncopation. Here's a link to a good recording of the piece.
Once you've become thoroughly familiar with the tune, then explore Pachelbel's partita. As you'll see, he begins with a setting in a plain chorale style, and then gives us six variations. At first, the melody is quite clearly stated; in the later variations, it is often more implied than explicit. It's easy to follow if you have it in your ear, though.
Each variation has its own special feature or figure, creating a great deal of variety and a special kind of pleasure in hearing the piece in different guises--like seeing a person to whom you are attracted dressed in different cool outfits. It's fun to figure out where the chorale--the so-called cantus firmus--is in each variation, and also to come up with a little description for each of the various textures.
The partita score is attached; here's a link to a good recording.
In Bach's time, the partita was a collection of instrumental pieces, often dance-based, similar to a suite. He used the term for harpsichord works, but also for his solo violin works (the 'Six Sonatas and Partitas').
But there was also a more specialized application of the term: The organ partita. This was a set of variations--from few to many--on a single chorale melody. It was an opportunity for the composer to explore and experiment with the potentialities of a given tune. Sometimes they are quite spectacular. Here's an amazing modern partita by Lionel Rogg (on Martin Luther's great chorale 'Nun freut euch lieben Christen G'mein), which Annie will play in our January 2022 organ recital (along with a whole lotta Buxtehude). This piece--especially towards the end--has frequently had me pounding the dashboard in delight and glee. (Yes, people look at me funny when I drive by.) The kinetic energy he builds is truly awesome.
We're looking today at a chorale called 'Ach was soll ich Sünder machen, and a partita by Johann Pachelbel based thereupon. The text of the chorale, by Johann Flittner, was first published in 1663. It's a song of contrition, but looks hopefully to a brighter future. The melody, by the prolific composer Anonymous, probably started life as a secular tune before it was appropriated for sacred purposes.
Take a look at the attached score of Bach's only setting, the independent chorale BWV 259. It's a curious little tune, vacillating back and forth from minor to major and back again, and with an irregular phrase structure. Get to know it as well as you can, so as best to appreciate the partita.
Bach's setting is a great one (especially if you happen to be a bass). Tenor and alto are also pretty active, with lots of motion and a fair amount of syncopation. Here's a link to a good recording of the piece.
Once you've become thoroughly familiar with the tune, then explore Pachelbel's partita. As you'll see, he begins with a setting in a plain chorale style, and then gives us six variations. At first, the melody is quite clearly stated; in the later variations, it is often more implied than explicit. It's easy to follow if you have it in your ear, though.
Each variation has its own special feature or figure, creating a great deal of variety and a special kind of pleasure in hearing the piece in different guises--like seeing a person to whom you are attracted dressed in different cool outfits. It's fun to figure out where the chorale--the so-called cantus firmus--is in each variation, and also to come up with a little description for each of the various textures.
The partita score is attached; here's a link to a good recording.