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Danket dem Herren, denn er ist freundlich (Chorale) (Johann Sebastian Bach)
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A wonderful disc. Mahler 9 Blomstedt Distinguished performance. Johann Gottfried Walther is known for several reasons. Firstly, he is in various ways associated with Johann Sebastian Bach. He was Bach's second cousin, and from until his death he worked as organist of the Stadtkirche in Weimar, where Bach worked as court organist and Konzertmeister from to Secondly, Walther is the author of one of the most important sources of information about music and musicians in German, the Musicalisches Lexicon, oder Musicalische Bibliothec , published in Leipzig in Thirdly, he was one of the composers who transcribed instrumental concertos by Italian and German composers for keyboard.
In his capacity as a composer he is almost exclusively known for his organ music. The organ transcriptions are often played, and so are some of his chorale arrangements. His free organ works, mostly preludes and fugues, are far less known. Only one vocal work has come down to us. In his position as organist the composition of vocal music for the liturgy was not part of his duties.
The concerto transcriptions are regularly played and are available on disc, although not in so many recordings as the transcriptions of Bach. He received violin lessons from G. Eilenstein, one of the court musicians, and keyboard lessons from Walther. In February Johann Ernst left for the Netherlands to further his education. He used to play Italian solo concertos in his own adaptations for the organ. This made such an impression on the young prince that he started to collect Italian concertos. Many of such pieces were published by Roger in Amsterdam.
After his return to Weimar he started to compose concertos in that style and asked Walther and Bach to make arrangements for organ or harpsichord.
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- Danket dem Herrn, denn er ist sehr freundlich, BWV 286.
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Fourteen transcriptions from Walther's pen have come down to us. In a letter he mentioned that he had transcribed "a total of 78 altogether". If this is correct, than the largest number must have been lost. Simone Stella, in his liner-notes, suggests that the lost transcriptions were probably intended for the harpsichord. The names of Italian composers, such as Vivaldi and Albinoni, figure prominently in the transcriptions of both Bach and Walther.
However, Bach transcribed just one concerto by Torelli, Walther no fewer than three, and Alessandro and Benedetto Marcello don't appear in his set of transcriptions. Notable is that he transcribed two concertos by Telemann, and that there are also some little-known names in his transcriptions. The identity of Signor Blamont is a bit of a mystery.aultenergy.com/media/subsets/ranaz-a-house-is.php
Danket dem Herrn, denn er ist sehr freundlich Sheet Music by Dietrich Buxtehude
It is almost certainly not the French composer Colin de Blamont, as he did not compose any concertos. The study and transcription of Italian concertos clearly inspired both Bach and Walther in their development as a composer.
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Bach wrote his Italian Concerto for harpsichord in the manner of an Italian instrumental concerto, Walther's Concerto in G is written in the same manner, although he does not adhere to the three-movement form. It opens with a binary preludio , comprising an adagio and an allegro. This is followed by largo, vivace with the addition ritornello , an aria with the tempo indication 'largo' and a vivace.
The influence of the Italian style also comes to the fore in the series of variations on a basso continuo by Corelli. Apparently it has not been possible to identify from which piece this basso continuo has been taken; it could well have been a piece, which has been lost.