Dale Carr | O Lamm Gottes unschuldig, BWV656, by J.S. Bach, performed by Dale Carr on the organ in Noordwolde @dalecarr6361 | Uploaded September 2021 | Updated October 2024, 1 hour ago.
O Lamm Gottes unschuldig, BWV656, from J.S. Bach's Leipziger Choräle
performed by Dale Carr on the organ in Noordwolde {prov. Groningen} on 5 October, 1997
This chorale setting is one of Bach's longest; Schumann's description 'heavenly length', which he used in reference to Schubert's C-major symphony, is certainly applicable here as well. It is composed of 3 variations: the 1st two manualiter with the c.f. in the top voice & the middle voice, respectively, and the 3rd with the c.f. in the pedal {originally written on 2 staves with a 'P' indication}.
Here are some cues that may be useful to listeners hunting for a specific passage:
- verse 1 begins @ 0'16" ; Hoofdwerk 8' Præstant, 4' Octaaf;
- m. 56 verse 2 begins @ 3'13" ; Hoofdwerk 8' Præstant, 4' Octaaf;
- m.104 verse 3 begins @ 6'27" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin;
- m.122 verse 3, 2nd half [fanfare] begins @ 7'26" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur, 8' Trompet ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin;
- m.133 verse 3 last line [chromatic] begins @ 8'07" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur, 8' Trompet ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin;
- m.140 verse 3 [coda] begins @ 8'29" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur, 8' Trompet ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin, Pedaalkoppel.
The 1st 2 verses are relatively straightforward, in 3-voiced polyphony, without the special effects that characterize the final verse. The 1st has a countersubject, used also in inversion, which emphasizes the interval of a 6th that is prominent also in the 1st line of the chorale. The 2nd [3'13"] has a new countersubject {e-a-g#-a and variants} which seems not to be closely related to the c.f.
The 2nd verse concludes with a bridge of several measures [6'09"] preparing the final verse, which begins [6'27"] with a wonderful passage in invertible counterpoint above the c.f. in the pedals. 'Invertible counterpoint' means that the voice-layers will fit in more than 1 vertical alignment. Here the top voice in what would otherwise be the repeat [6'57"] of the 1st 2 lines of the chorale, is placed under the other 2 voices {which were above it, the 1st time through}.
This verse continues [7'26"] with a completely new motive, for which I added the trompet to the manual. Bach rarely specifies changes of registration and in fact rarely makes them easy, but here the change seems easy and natural to me.
This line of the chorale concludes with a passage [8'07"] of amazing polyphonic chromaticism ending on a C#-major chord: the harmonic climax of a piece in A major. The tuning of the organ in Noordwolde seems as if made to order for this passage: it's excruciating, but never sounds out of tune. Unfortunately, the tuning was altered, i.e. made closer to equal temperament, during the most recent 'conservative' restoration; I think that this was definitely neither 'conservative' nor an improvement.
In the final section [8'29"] the c.f. is accompanied by scales in 8th-notes, ascending & descending, and the final note is prolonged to allow a satisfying harmonic resolution to the piece.
Thanks to M.H. Timmer for the recording. Thanks to Jan Veltkamp for tuning before the concert. Thanks to Pieter Broere registration assistance & page-turning. Thanks to me for the ancient foto.
Other performances @ Noordwolde are here:
- youtube.com/watch?v=pZvA5UEBw1o
- youtube.com/watch?v=N9idx8dQH7Q
Other organ works of Bach are here:
- youtube.com/watch?v=Jf5rwfk94C0
- youtube.com/watch?v=DDuEdj8QyLc
- youtube.com/watch?v=dextJa7Ju-w
- youtube.com/watch?v=0POd6NKZLDU
- youtube.com/watch?v=r7vo7rkjeCI
- youtube.com/watch?v=nX8vX-9Aw9s
- youtube.com/watch?v=qDaIA3OEQzw
- youtube.com/watch?v=sDfX_W6tPS4
- youtube.com/watch?v=fQ0oGc8N6lw
O Lamm Gottes unschuldig, BWV656, from J.S. Bach's Leipziger Choräle
performed by Dale Carr on the organ in Noordwolde {prov. Groningen} on 5 October, 1997
This chorale setting is one of Bach's longest; Schumann's description 'heavenly length', which he used in reference to Schubert's C-major symphony, is certainly applicable here as well. It is composed of 3 variations: the 1st two manualiter with the c.f. in the top voice & the middle voice, respectively, and the 3rd with the c.f. in the pedal {originally written on 2 staves with a 'P' indication}.
Here are some cues that may be useful to listeners hunting for a specific passage:
- verse 1 begins @ 0'16" ; Hoofdwerk 8' Præstant, 4' Octaaf;
- m. 56 verse 2 begins @ 3'13" ; Hoofdwerk 8' Præstant, 4' Octaaf;
- m.104 verse 3 begins @ 6'27" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin;
- m.122 verse 3, 2nd half [fanfare] begins @ 7'26" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur, 8' Trompet ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin;
- m.133 verse 3 last line [chromatic] begins @ 8'07" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur, 8' Trompet ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin;
- m.140 verse 3 [coda] begins @ 8'29" ; Hoofdwerk 8' Præstant, 4' Octaaf, Mixtuur, 8' Trompet ; Pedaal 8' Præstant, 4' Octaav, 16' Bazuin, Pedaalkoppel.
The 1st 2 verses are relatively straightforward, in 3-voiced polyphony, without the special effects that characterize the final verse. The 1st has a countersubject, used also in inversion, which emphasizes the interval of a 6th that is prominent also in the 1st line of the chorale. The 2nd [3'13"] has a new countersubject {e-a-g#-a and variants} which seems not to be closely related to the c.f.
The 2nd verse concludes with a bridge of several measures [6'09"] preparing the final verse, which begins [6'27"] with a wonderful passage in invertible counterpoint above the c.f. in the pedals. 'Invertible counterpoint' means that the voice-layers will fit in more than 1 vertical alignment. Here the top voice in what would otherwise be the repeat [6'57"] of the 1st 2 lines of the chorale, is placed under the other 2 voices {which were above it, the 1st time through}.
This verse continues [7'26"] with a completely new motive, for which I added the trompet to the manual. Bach rarely specifies changes of registration and in fact rarely makes them easy, but here the change seems easy and natural to me.
This line of the chorale concludes with a passage [8'07"] of amazing polyphonic chromaticism ending on a C#-major chord: the harmonic climax of a piece in A major. The tuning of the organ in Noordwolde seems as if made to order for this passage: it's excruciating, but never sounds out of tune. Unfortunately, the tuning was altered, i.e. made closer to equal temperament, during the most recent 'conservative' restoration; I think that this was definitely neither 'conservative' nor an improvement.
In the final section [8'29"] the c.f. is accompanied by scales in 8th-notes, ascending & descending, and the final note is prolonged to allow a satisfying harmonic resolution to the piece.
Thanks to M.H. Timmer for the recording. Thanks to Jan Veltkamp for tuning before the concert. Thanks to Pieter Broere registration assistance & page-turning. Thanks to me for the ancient foto.
Other performances @ Noordwolde are here:
- youtube.com/watch?v=pZvA5UEBw1o
- youtube.com/watch?v=N9idx8dQH7Q
Other organ works of Bach are here:
- youtube.com/watch?v=Jf5rwfk94C0
- youtube.com/watch?v=DDuEdj8QyLc
- youtube.com/watch?v=dextJa7Ju-w
- youtube.com/watch?v=0POd6NKZLDU
- youtube.com/watch?v=r7vo7rkjeCI
- youtube.com/watch?v=nX8vX-9Aw9s
- youtube.com/watch?v=qDaIA3OEQzw
- youtube.com/watch?v=sDfX_W6tPS4
- youtube.com/watch?v=fQ0oGc8N6lw