Bach CD V-06: Sacred Songs and Arias from: Geistliche Lieder Und Arien Aus: Schemellis Gesangbuch
8 videos • 237 views • by jotaman7 CD V-6 SACRED SONGS & ARIAS FROM: SCHEMELLIS GESANGBUCH GEORG CHRISTION SCHEMELLI born in Herzberg around 1680, in 1736 – at a time, when he was working as a choirmaster-organist in Zeitz – published a ‘Musical Song Book” with Breitkopf & Härtel in Leipzig, which today is generally known under the name ‘Schemellis Gesangbuch/Song book’. According to the customs of that time, this song book mainly contained song texts, and only 69 of the 954 songs altogether were written down with melodies. To these 69 melodies the publisher at the same time added compositions etched on copper, i.e. figured basses. According to the foreword of this song book ‘… by S. Hochedl. Herrn Johann Sebastian Bach, Hochfürstl. Sächss. Capellmeister/ princely chapel-master of Saxony and Directore Chor. Musici in Leipzig the melodies in this song book are partly newly composed, partly improved by him in the thorough bass, and immediately imprinted at the beginning of each song’. Schemelli’s acquaintenance of Bach probably didn’t have its origin in Schemelli’s own past as pupil of the Thomas-School, but went over his son, who also was a Thomas-pupil in Leipzig from 1733 to 1735. For the largest part of the melodies today it is certain that they were not composed by Bach, also a large part of the thorough bass pieces Bach had taken from other publications, then, however, “improved” them as it is said in the foreword. The expressive leading of the basses as well as the rhythmically and harmonically smooth adaption to the melodies are the feature first striking of Bach’s musical revision. But today it is also clear that he largely emphazised his own taste in the melodies. If it seemed appropriate to him, be it for reasons of the contents of the text or for purely musical reasons, he decorated or simplyfied the existing melodies, in single cases he also changed the rhythmical course without touching the essential features of a melody. Bach’s conception becomes especially clear in certain characteristics of his style. His thorough bass handlings are no harmonic statements for an interpretation as congregational accompaniment or even as basis for a chorus. Certainly Bach didn’t have any congregational chorales in his mind, but his musical language used here clearly points to spiritual solo songs. It seemed to be appropriate to arrange these solo songs, if they are recorded in a complete recording, in a reasonable order according to the aspects of contents and music.