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Bach, Johann Sebastian Debussy, Claude Dienel, Otto Finzi, Gerald Foote, Arthur Händel, Georg Friedrich Haydn, Joseph Mendelssohn Bartholdy, Felix Mozart, Wolfgang Amadeus Parry, Charles H. H. Peuerl, Paul

Wer nur den lieben Gott lässt walten

Chorale, Variation and Final - Wer nur den lieben Gott lässt walten - A 7 (1829)

This composition is taken from the so-called ‘chorale cantata’ Wer nur den lieben Gott lässt walten probably dating from 1829, the year in which Mendelssohn performed Bach’s Matthäus-Passion for the first time. Typically for the early Romantic period, the music refers to the past, through its use of lost or forgotten genres, composition techniques and traditions. The partita features a number of baroque characteristics:

a. The cantata genre; a form which had completely fallen out of favour in the early 19th century. (Mendelssohn would eventually compose eight such chorale-based cantatas).

b. The composition techniques associated with Bach are clearly present: the cantus firmus is heard in long notes surrounded by lively motifs, each line of the chorale is anticipated in the accompanying voices, and the text is evoked using rhetorical principles.

c. A preference for ‘old’ Lutheran chorales.

The work is divided into three sections:
Chorale: A sombre setting of the cantus firmus.
Variation: A lively movement, with the chorale melody heard in long notes, the style freely drawn from that of Bach.
Finale: A meditative, gently rocking soprano aria, related to the finale from the sixth organ sonata in d minor, op 65/6, MWV W 61.

III/P (C - c3)

Fragment Variation
Euwe & Sybolt de Jong
Bätz-Witte-organ - Oude Kerk
Delft, The Netherlands
photo: Sybolt de Jong recorded june 2010 - WestraMedia
player 1: easy - medium player 2: easy - medium

Felix Mendelssohn Bartholdy
Transcriptions for organ duet > order cd
Euwe & Sybolt de Jong
Bätz-Witte-organ - Oude Kerk
Delft, The Netherlands

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