Early in he took up the post of court Kantor at Zeitz. Bach may therefore have first come into contact with Schemelli while on a family visit to the town. Breitkopf as: Musicalische Gesang-Buch, Darinnen geistreische, sowohl alte als neue Lieder und Arien, mit wohlgesetzten Melodien, in Discant und Bass, befindlich sind… Of a decidedly Pietistic bent, it contains the texts of hymns and includes engraved plates giving melody, figured bass, and first verse or text incipit for 69 of these. Bach seems to have acted as musical consultant for the project. In the preface the compiler states that the tunes in his book were partly newly composed, partly improved, by J.
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Four—part Realizations of Two—Part Schemelli Chorales 29 four—part chorales from the important early Bach chorale collections are realizations of two—part settings from the Schemelli Gesangbuch.
Ten of these 29 appear among the individual BWV — chorales while the remaining 19 have not been assigned BWV numbers distinct from their two—part Schemelli Gesangbuch counterparts. Published in , the Schemelli Gesangbuch represents the very first foray into music printing by the Leipzig publisher Breitkopf and presents chorales in two—part soprano—bass format with thoroughbass figures included.
Johann Sebastian Bach. We are left to speculate. In a letter to Forkel, C. After that he took up the chorales with them, first he gave them the bass line and they had to invent the alto and tenor parts for it.
Then he taught them how they should invent the bass parts on their own. Translation by Thomas Braatz. Thus, it may be that the two—part settings that Bach contributed to the Schemelli project were taken from his pedagogical repertoire. These chorales are, after all, distinct from the hymn tunes for which Bach showed strong preference when composing his large choral works e.
Only two of the 29 chorale melodies featured in these settings appear among the four—part chorales from these extant large choral works "Ermuntre dich mein schwacher Geist" in BWVs Bach composed these four—part settings himself. This may be particularly true for those ten settings that come from the final section of the Penzel collection NBA Source E , a section consisting almost entirely of settings whose authenticity has been doubted.
As the fourth column indicates, only ten of the four—part settings have been assigned separate BWV numbers, these appearing in the Breitkopf publication. Mark Pasticcio, and the Riemenschneider publication. Differences may be in rhythm, metric placement, or embellishments e. In addition, several four—part settings feature inner voices that are more elaborate and embellished than the thoroughbass figures indicate.
Georg Christian Schemelli