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Kyrie, Gott heiliger Geist (Clavier-Übung III; BWV 671)

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Manage episode 427814414 series 2853212
Content provided by Alex & Christian Guebert and Christian Guebert. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Alex & Christian Guebert and Christian Guebert or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.

On the last note of Mozart's "Kyrie eleison" in his requiem, he chooses a stark and intense open fifth instead of a triad. What happens when a composer finishes...not correctly? Is this allowed?

When using old melodies which start and end on scale degree 3 (relative to major), Bach adapts this old Phrygian mode to his idiom, but this does create an unexpected ending. Even more surprising is the wild hellish chromaticism of the final passage leading up to the Phrygian ending of this "Kyrie" setting. Even by Bach's own standard, this chromatic passage goes beyond.

Leo van Doeselaar plays BWV 671 (the focus of this episode and the text on the Holy Ghost) for the Netherlands Bach Society

BWV 669 (text on God the Father)

BWV 670 (text on Christ the Son)

Mozart Requiem II. Kyrie (excerpt): Public Domain recording

  continue reading

141 episodes

Artwork
iconShare
 
Manage episode 427814414 series 2853212
Content provided by Alex & Christian Guebert and Christian Guebert. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Alex & Christian Guebert and Christian Guebert or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.

On the last note of Mozart's "Kyrie eleison" in his requiem, he chooses a stark and intense open fifth instead of a triad. What happens when a composer finishes...not correctly? Is this allowed?

When using old melodies which start and end on scale degree 3 (relative to major), Bach adapts this old Phrygian mode to his idiom, but this does create an unexpected ending. Even more surprising is the wild hellish chromaticism of the final passage leading up to the Phrygian ending of this "Kyrie" setting. Even by Bach's own standard, this chromatic passage goes beyond.

Leo van Doeselaar plays BWV 671 (the focus of this episode and the text on the Holy Ghost) for the Netherlands Bach Society

BWV 669 (text on God the Father)

BWV 670 (text on Christ the Son)

Mozart Requiem II. Kyrie (excerpt): Public Domain recording

  continue reading

141 episodes

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