Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV About the Work. Bach/ Busoni Composer: Bach/Busoni. Past Performances. Washington Performing. Check out Chorale Prelude Ich ruf zu dir, Herr Jesu Christ, BWV ( transcription by Ferruccio Busoni) by Vahan Mardirossian on Amazon Music. Stream. Check out Bach – Busoni: Ich Ruf Zu Dir, Herr Jesu Christ Bwv by piano Franco Di Nitto on Amazon Music. Stream ad-free or purchase CD’s and MP3s now.

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Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV 639

William Rowland Ludwig wrote July 4, In Gelobet sei der Herr, mein GottBWValso composed to complete the second annual cycle of chorale cantatas, Bach also used the unchanged words of the chorale, different cyrist the cantatas originally composed for the cycle. Between Trinity and Advent: Antinomianism and other theological controversies of the reformation have great interest for me for non-musical reasons.

Juozas Rimas wrote March 18, Unfortunately, in reacting against the traditional legato style of playing and cantabile singing of the pre-HIP period, Harnoncourt throws out the child with the bathwater.

I hope to see many of you participating in the discussion. Johann Agricolaauthor of the chorale. The cantata in five movement is scored for three soloists sopranoalto and tenora four-part choir, chrish oboesbev oboes da cacciatwo violinsviolabasso continuoan obbligato violin and an obbligato bassoon.

Dick Wursten wrote June 26, However, I she is using here too much vibrato for my taste.

Panito Iconomou alto is first rate again in a very demanding aria. Melanchthons thesisthat the preaching of the gospel saved by grace by faith alone had to be preceded by the ihc of the LAW to cause awareness of sin and a readiness to penitence AND the same law 10 commandments had to be implemented again after the preaching of this gospel of grace to serve as a guidance for the new life. What an obvious way to illustrate DOWN or falling!

At this tuf the violin bow stops moving and the vocal cords no longer vibrate. Chrkst voice tend to sound screamy in the upper register and regarding expression he does not have much to offer. Luther controlled the selection of texts and melodies in these hymnals, but as time went on, he began removing the ones he did not like because they simply were not good enough: The movement of the music is very quick and goes up and down Quite a challenge, indeed!


This is a magical quality comparable to the honest type of expression that Kurt Equiluz often has in his arias and recitatives. This very moving version expresses strongly the feeling of earnest entreaty. There is no one in the HIP recordings that can even come close to what was achieved here. Among the psalm texts were those by J. The three arias for the following verses show increasing 693 complexity. It is bad enough that he has attempted to fracture the strength that Bach had built into the opening mvt.

Ich ruf’ zu dir, Herr Jesu Christ, BWV | Alexander Street, a ProQuest Company

This very slow version was taken directly from an AM radio broadcast where only one microphone was used. In any case, at 693 extremely slow tempo for this mvt.

Hamari accedes to the challenge set by Bach in the aria for alto. No reference is made to ‘Ich ruf zu dir’ It looks to me like Martinus Agricola would be a much better candidate as being the real author rather than Johann who seems to have written only one chorale text that happened to be published in Martin Luther ‘s collection, but then was removed because it was inferior.

Chorale Prelude ‘Ich ruf’ zu dir, Herr Jesu Christ’, BWV 639 (arr. Ferruccio Busoni)

There seems chrit be much confusion and misinformation regarding all these Agricolas and Pseudo-Agricolas, so that I have lost what little confidence I still had regarding the possibility that Johann Agricola you know which one we are talking about might be the author, or even composer of the chorale for BWV It was only because of the findings of the famous hymnologist Philipp Wackernagel in die 19 th century that his authorship was firmly established.


He is almost on the same par with Schreier, and has a kind of freshness and spontaneity, which give the impression that what he feels comes from the bottom of his heart and is not pre-calculated. The melody, the text of which is not yet known, could be either secular or sacred in origin. As a result of this, the choir sound is not uniform and very uneven throughout with certain notes sticking out here and there.

She holds the simple line gloriously, manages to put the right amount of expression into each word. Everything is so clear and bright, and overwhelming with emotion. Thomas Radleff wrote March 20, Francis Browne wrote June 26, The text of Browning’s highly unsympathetic portrait and some discussion of the literary and religious background can be found at: They simply do not have proper control of their voices.

Gerda Schriever does not make it in the aria for alto. The violino concertino, now in 16 th notes, quickly leaps upwards a 4th and then a 3 rd before beginning its long descent on a repeated sequence. The same source as I quoted above but other author: This cantata follows this type of sequence and demands that the choir should sing with conviction whether they believe it or not and not be forced into half-hearted drooping diminuendi at the end of a phrase.

I have already discussed the role that this interval jumps play in the subsequent mvts. This cantata consists of only arias between the opening and the closing choral movements, and no recitatives! Equiluz is up to himself, which means Bach singing of the highest level. Part 1 Part 2 Part 3 Part 4. Unlike Schweitzer, Landowska, the Mother of the modern harpsichord, remained at or near her full artistic powers until her dying day.

This is very important to note I missed this at first, and all the commentaries I read said nothing about this.