{"id":2515,"date":"2019-04-01T13:04:02","date_gmt":"2019-04-01T11:04:02","guid":{"rendered":"http:\/\/brylevbrne.cz\/?p=276"},"modified":"2019-04-01T13:04:02","modified_gmt":"2019-04-01T11:04:02","slug":"which-art-in-heaven-tenebrae","status":"publish","type":"post","link":"https:\/\/brylevbrne.cz\/en\/which-art-in-heaven-tenebrae\/","title":{"rendered":"WHICH ART IN HEAVEN \/ TENEBRAE \/ About the concert"},"content":{"rendered":"

The introduction of tonight\u2019s concert, Prelude and Fugue in B minor<\/strong>, is a mature piece by Johann Sebastian Bach<\/strong> (1685\u20131750), in which the prelude is in the form of a serious concerto grosso, while the fugue, with a subject composed exclusively of quavers, is contrastingly impatient. The subject itself has the range of a diminished seventh, as have the fugato \u201csolo\u201d sections in the prelude. Tense chords and striking abruptios complete the Passion-like character of the work.<\/p>\n

The three great chorale preludes of the act of contrition (Kyrie, Christe, Kyrie)<\/strong> that follow come from the Clavier-\u00dcbung III collection. In its individual hymns (Protestant chorales), the collection sums up all the important sections of the Protestant mass. The Kyrie itself, as cantus firmus, cites the Gregorian chant, more precisely the ordinary Kyrie fons bonitatis (Lord, source of goodness) in a German paraphrase.<\/p>\n

The intimate chorale prelude O Mensch, bewein\u2019 dein\u2019 S\u00fcnde gross<\/strong> (O man, bewail thy sins so great) with its richly coloured leading Voice is one of the longest chorale preludes in Orgelb\u00fcchlein. It reaches very remote tonalities (A flat minor, C flat major), thus emphasising the penitent character of the music.<\/p>\n

Chorale prelude Vater unser im Himmelreich<\/strong> is Bach\u2019s weighty personal testimony. It is set in five voices, with each hand playing a different manual. Besides the rhythmically complex melody line, the cantus firmus of the chorale is given a canon treatment.<\/p>\n

Georg Muffat\u2019s<\/strong> (1653\u20131704) Passacaglia in G minor<\/strong> ranks among the most important works by this J.S. Bach predecessor. The constantly repeated motif in the lowest voice is variously harmonised and figured. In the inventiveness of these figurations, the compositional and improvisatory artistry of Baroque musicians is well apparent.<\/p>\n

The character of P\u0113teris Vasks\u2019s<\/strong> (1946) Te Deum<\/strong> is very different from the one its title might suggest. It is an intimately expressed act of praise and thanksgiving to God. The musical language is very accessible and employs elements of musical minimalism.<\/p>\n

The Prelude in F sharp minor<\/strong> that follows, by the North German composer Dietrich Buxtehude<\/strong> (1637\u20131707), is full of reversals. It is a finely crafted fantasia with several smaller fugatos. Towards the end, the organ pedal is given a virtuoso solo performance.<\/p>\n

Ond\u0159ej M\u00fa\u010dka, translated by \u0160t\u011bp\u00e1n Ka\u0148a<\/em><\/p>\n

__________________________<\/p>\n

JOHANN SEBASTIAN BACH
\nPreludium h moll BWV 544:1
\nPrelude in B minor BWV 544:1<\/p>\n

JOHANN SEBASTIAN BACH
\nfrom Clavier-\u00dcbung III
\nNr. 1 Kyrie, Gott Vater in Ewigkeit BWV 669
\n(canto fermo in soprano)
\nNr. 2 Christe, aller Welt Trost BWV 670
\n(canto fermo in tenore)
\nNr. 3 Kyrie, Gott heiliger Geist BWV 671
\n(canto fermo in basso)<\/p>\n

JOHANN SEBASTIAN BACH
\nO Mensch, bewein\u2018 dein\u2018 S\u00fcnde gross
\nBWV 622
\nfrom Orgelb\u00fcchlein<\/p>\n

GEORG MUFFAT
\nPassacaglia in G minor<\/p>\n

P\u0112TERIS VASKS
\nTe Deum<\/p>\n

DIETRICH BUXTEHUDE
\nPrelude in F sharp minor BuxWV 146<\/p>\n

JOHANN SEBASTIAN BACH
\nVater unser im Himmelreich BWV 682
\nfrom Clavier-\u00dcbung III<\/p>\n

JOHANN SEBASTIAN BACH
\nFugue in B minor BWV 544:2<\/p>\n

Hans-Ola Ericsson (Sweden) – organ<\/p>\n

 <\/p>\n

Church of the Assumption of Our Lady<\/strong>, Jezuitsk\u00e1 street<\/p>\n

April 17, 9 PM<\/p>\n","protected":false},"excerpt":{"rendered":"

The introduction of tonight\u2019s concert, Prelude and Fugue in B minor, is a mature piece by Johann Sebastian Bach (1685\u20131750), in which the prelude is in the form of a serious concerto grosso, while the fugue, with a subject composed exclusively of quavers, is contrastingly impatient. The subject itself has the range of a diminished […]<\/p>\n","protected":false},"author":1,"featured_media":278,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-2515","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/posts\/2515","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/comments?post=2515"}],"version-history":[{"count":0,"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/posts\/2515\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/media\/278"}],"wp:attachment":[{"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/media?parent=2515"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/categories?post=2515"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/brylevbrne.cz\/en\/wp-json\/wp\/v2\/tags?post=2515"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}