Dale Carr | Fuga sopra il Magnificat pro Organo pleno con Pedale, BWV733, by Johann Sebastian Bach @dalecarr6361 | Uploaded December 2020 | Updated October 2024, 1 hour ago.
Fuga sopra il Magnificat pro Organo pleno con Pedale, BWV733, by Johann Sebastian Bach ; performed by Dale Carr on the Schnitger organ {1688} in the Ludgerikirche in Norden on 10 June, 1988.
The text of the canticle is taken directly from the Gospel of Luke (1:46–55) where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat. {en.wikipedia.org/wiki/Magnificat}
The melody of the chant, which consists of only two lines, is combined with 2 other motives, one in mostly stepwise 8th-notes {also used in inversion} and the other in zig-zag quarters, and also with itself in canon at the 5th below. The pedals are used only at the end, presenting the c.f. in long notes. The harmony is rich and clear without straying far from the tonal center of d minor; in fact, the piece sounds very good in meantone tuning.
Registration:
- Hauptwerk 8' Principal, 4' Octav, 3' Quinta, 2' Octav, Mixtur, 16' Trommet
- Pedal 16' Posaune, 8' Trommet, 4' Trommet, Rauschpfeiff
Fuga sopra il Magnificat pro Organo pleno con Pedale, BWV733, by Johann Sebastian Bach ; performed by Dale Carr on the Schnitger organ {1688} in the Ludgerikirche in Norden on 10 June, 1988.
The text of the canticle is taken directly from the Gospel of Luke (1:46–55) where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat. {en.wikipedia.org/wiki/Magnificat}
The melody of the chant, which consists of only two lines, is combined with 2 other motives, one in mostly stepwise 8th-notes {also used in inversion} and the other in zig-zag quarters, and also with itself in canon at the 5th below. The pedals are used only at the end, presenting the c.f. in long notes. The harmony is rich and clear without straying far from the tonal center of d minor; in fact, the piece sounds very good in meantone tuning.
Registration:
- Hauptwerk 8' Principal, 4' Octav, 3' Quinta, 2' Octav, Mixtur, 16' Trommet
- Pedal 16' Posaune, 8' Trommet, 4' Trommet, Rauschpfeiff