Unlike most of the other chorale preludes in the Orgelbüchlein, Bach did not use the chorale in any of his cantatas—BWV 621 is his unique setting of the hymn. The autograph manuscript of Orgelbüchlein contains the original composing score for BWV 612. This emphatic hammering motif is passed imitatively between the lower voices as a form of canon. The original hymn melody is in the aeolian mode of A (the natural form of A minor) modulating to E major in the final cadence. As Spitta (1899) comments, "What tender melancholy lurks in the chorale, Alle Menschen müßen sterben, what an indescribable expressiveness, for instance, arises in the last bar from the false relation between c♯ and c', and the almost imperceptible ornamentation of the melody!". BWV 643 is one of the most perfect examples of Bach's Orgelbüchlein style. The chorale prelude is in the mixolydian mode. In contrast to the densely scored chorale prelude BWV 610, the four parts—augmented to five by the double pedal in the last two bars—are widely spaced employing the full range of the baroque organ. Bach used the same hymn in other organ compositions as well as in the cantatas BWV 64, 91 and 248, parts I and III (the Christmas Oratorio). Below is the text of the hymn from the Ballad of the Passion (1527) by Heinrich Müller[44] with a 16th-century translation from The Gude and Godlie Ballatis. I suppose the dramatic BWV 641 could be a touchstone piece -- and Latry … The penitential text, written in the Nuremberg of Hans Sachs and the Meistersingers where Spengler was town clerk, is concerned with "human misery and ruin," faith and redemption; it encapsulates some of the central tenets of the Lutheran Reformation. The accompaniment is built from the motif of a rising chromatic fourth heard first in the response to the first two notes of the cantus. The closing phrase, with its mounting chromatic bass accompanying bare unadorned crotchets (quarter notes) in the melody to end in an unexpected modulation to C♭ major, recall but again go beyond earlier compositions of Pachelbel, Frohberger and Buxtehude. Another extract from Sedulius' poem became the Latin Hymn Hostis herodes impie. The last line repeats the first but with the suspirans suppressed and the dotted rhythms of the bass replaced by a long pedal note, possibly reflecting the wonder described in the third and fourth lines of the first verse. Bach: Orgelbüchlein, BWV 599-644. The cantus firmus alto part is in a dotted rhythm shared between the two hands, as if hidden. This figure is also found in the organ works of Georg Böhm and Daniel Vetter from the same era. The first motif in quavers is a contracted version of the first line of the cantus (GGGGGGABC), first heard in the pedal bass in bars 1 and 2. The version of the hymn that Bach used for BWV 614 only emerged gradually. Toccata and Fugue in … Although largely moving in steps, like a walking bass, the pedal plays a type of canon two octaves below the cantus. The chorale prelude BWV 610 is scored for single manual and pedal, with the cantus firmus unadorned in the soprano voice. A similar device has been used by Bach for the word inanes ("empty") in the ninth movement of his Magnificat. Dem Höchsten Gott allein' zu Ehren, Dem, Title page of autograph of the Orgelbüchlein, The title page of the autograph score reads in English translation:[2], Little Organ Book In which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal, since in the chorales contained herein the pedal is treated entirely obbligato. The ornamented melody in crotchets (quarter notes) sings in the soprano above a flowing legato semiquaver (16th note) accompaniment and gently pulsating repeated quavers (eighth notes) in the pedal continuo. Johann Sebastian Bach: Das Orgelbüchlein, BWV 632-644: In dich hab ich gehoffet, Herr, BWV 640 … Terry (1921) described the pedal part as "a series of almost irremediable stumbles"; in contrast Ernst Arfken saw the uninterrupted cantus firmus as representing constancy in faith. Below them the pedal is a walking bass in quavers, built on the inverted motif and octave leaps, pausing only to mark the cadences at the end of each line of the hymn. Partially, that’s because the piece is dramatic and shocking, and it’s easy to appreciate what’s going on from the title alone. Play on Spotify. Aria nach dem Choralvorspiel für Streichorchester bearbeitet, Arrangements of several of the chorale preludes for the, Adaptations, Ser. The pedal provides a rhythmic pulse with a semiquaver walking bass with sustained notes at each cadence. Marked Largo, the cantus and accompanying voices in the two inner parts and pedal are written at an unusually low pitch, creating a sombre effect. Composed by Johann Sebastian Bach, Capellmeister to his Serene Highness the Prince of Anhalt-Cöthen. For Wolfgang Budday, Bach's departure from normal compositional convention was itself intended to symbolise the "corruption" and "depravity" of man. Bach: Organ Chorale Prelude, "Ich ruf' zu dir, Herr Jesu Christ", Elkan-Vogel, 1934, Mabel Wood-Hill, string quartet/orchestra. Johann Gottfried Walther, Bach's distant cousin and the organist in the Stadtkirche in Weimar, also set the hymn as a chorale prelude and as a partita with many variations. Williams further suggests that the F♯ major chord at bar 25 might be a reference to leuchtet als die Sonne ("shines like the sun") in the first verse; and the long pedal point at the close to Alpha es et Omega ("You are the Alpha and the Omega") at the end of the first verse. The accompaniment, intricately crafted from two separate motifs in the inner voices and in the pedal, is a particularly fine illustration of Bach's compositional method in the Orgelbüchlein. The chorale prelude has generated numerous interpretations of its musical imagery, its relation to the text and to baroque affekt. In the chorale prelude BWV 642, the unadorned cantus firmus in 44 time is in the soprano voice. Apart from BWV 606, his organ settings include the early chorale preludes BWV 701 and 702 from the Kirnberger Collection and BWV 738 from the Neumeister Collection; the five Canonic Variations, BWV 769 were composed towards the end of his life. Dissonances in the pedal in bars 3 and 5, however, could also be signs of Bach's more mature style. Despite starting starkly with two repeated crotchets—unaccompanied and unembellished—in the cantus, BWV 614 is an ornamental chorale prelude: the highly expressive melodic line, although restrained, includes elaborate ornamentation, coloratura melismas (reminiscent of Bach's Arnstadt chorale preludes) and "sighing" falling notes, which at the close completely subsume the melody as they rise and fall in the final cadence. Below is the text of the first and last verse of the Passiontide hymn with the English translation of John Christian Jacobi. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears. Already it shows with beguiling simplicity all the features typical of the Orgelbüchlein preludes. The cantus firmus of this chorale prelude is in the soprano voice and is drawn from the tenor part of the four-part setting of Puer natus by Lossius. Five Chorale Preludes, Universal Edition, 1975. Listen to your favorite songs from Bach: Complete Organ Works (Analogue Version - 1959-67) by Marie-Claire Alain Now. This chorale prelude is based on a traditional Christmas carol in canon that predates Luther. Customarily sung on New Year's Day, the hymn addresses thanks for the past year and prayers for the coming year to Christ. [6] Only a few other organ works based on chorales can be dated with any certainty to this period. The second motif, first heard in the alto part in bars 2 and 3, is made up of five groups of 4 semiquavers, individual groups being related by inversion (first and fifth) and reflection (second and third). Many composers had written organ settings prior to Bach, including Sweelinck, Scheidt and Buxtehude (his chorale prelude BuxWV 186). Roe, 1935. MP3 • • Annotate this sheet music. BWV 612 is written for single manual and pedal with four voices. Johann Sebastian Bach: 24 chorale preludes compiled and arranged for piano, solo, Edward B. The pivotal notes CCCDEF in this motif are also derived from the theme. Below are the first and last verses of the Lutheran version of the Lord's Prayer with the English translation of George MacDonald. The accompaniment in each lower voice is constructed from its own separate motifs, each having its own characteristic rhythm. 27.40 EUR - Sold by Woodbrass Pre-shipment lead time: 3-10 days - In Stock Supplier. Albert Riemenschneider described the lower voices as creating "an atmosphere of dignified praise.". The text of the hymn is derived from the first six lines of Psalm 31 and was associated with two different melodies, in major and minor keys. Below is the first verse of the traditional Latin carol Puer natus in Bethlehem with the English translation of Hamilton Montgomerie MacGill. Never before was Jesus called on so movingly, thought the Dutch author Maarten ‘t Hart. G. Donizetti: Musiche per pianoforte à 4 mani. Beneath the melody in a combination of four different motifs, the inner parts wind sinuously in an uninterrupted line of semiquavers, moving chromatically in steps. Unlike the inner voices, the pedal part has a wide range: there are two scale-like passages where it rises dramatically through two octaves, covering all the notes from the lowest D to the highest D. The four voices together convey a mood of joyous exultation. Bach.[62]. befindlichen Choralen das Pedal gantz obligat tractiret wird. The type of chorale prelude to which this refers, often called the "Arnstadt type", were used to accompany the congregation with modulating improvisatory sections between the verses: examples that are presumed to be of this form include BWV 715, 722, 726, 729, 732 and 738. 7), KiV B27/7 10. Bach), J. Below … The accompanying motif is shared between the two inner voices on the second manual which together provide a continuous stream of semiquavers with two hemidemiquavers on the second semiquaver of each group. To Spitta (1899) the scales "hurry by like misty ghosts." Johann Sebastian Bach: organ choral preludes arranged for strings, Patterson's Publications, 1926. The highly ornate ornamentation is rare amongst Bach's chorale preludes, the only comparable example being BWV 662 from the Great Eighteen. Durch Adams Fall ist ganz verdebt, transcription for piano (after J.S. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. His music combines profound expression with … Usually sung on Good Friday, the hymn has as its theme the Seven Last Words from the Cross, each of the seven intervening verses meditating on a different Word. A mood of ecstasy permeates this chorale prelude, a funeral hymn reflecting the theme of heavenly joy. It dates from 1705 and possibly was prepared for Bach's visit to Lübeck. Stephen Farr - J.S. … Combined with the unadorned but singing melody and its gentle accompaniment, this produces a mood of tenderness and rapture. Amongst the early organ compositions on Vater unser attributed to Bach, only the chorale prelude BWV 737 has been ascribed with any certainty. The hymn was originally written in duple time but, to facilitate the canonic counterpoint, Bach adopted triple time with a minim beat, at half the speed of the bass. These four identities are so closely intertwined that it is hard to know where one leaves off and another begins. The alto part anticipates the pedal motif and, with it and the later dotted figure, echos the melody in the soprano. The accompaniment is derived from the suspirans pedal motif of three semiquavers (16th notes) followed by two quavers (eighth notes). The hymn melody is in the phrygian mode and dates back to the Reformation. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. The twisting inner parts have been interpreted as illustrating the words verderbt ("ruined") by Hermann Keller and Schlang ("serpent") by Jacques Chailley. The two forms of the motif and their inversions pass from one lower voice to another, producing a continuous stream of semiquavers; semiquavers in one voice are accompanied by quavers in the other two. 24-Bit 96.0 kHz - Stereo. Bach previously set it as a chorale prelude in the Kirnberger Collection (BWV 705) and Neumeister Collection (BWV 1101); the seventh verse also recurs in the closing chorales of cantatas BWV 18 and BWV 109. Williams (2003) records that the dissonances might symbolise original sin, the downward leaps in the pedal the fall of Adam, and the modulations at the close hope and redemption; Due corale di J.S. The ornamentation, although employing conventional musical figures, is highly original and inventive. Scored for single manual and pedal, the unadorned cantus firmus is in the soprano voice. In turn Bach's slight alteration of the melody in bars 1 and 3 might have been dictated by his choice of motif. This contrasts with Bach's choral settings and the chorale preludes of Pachelbel and Walther, which follow the natural rhythm of the hymn. In addition, as Williams (2003) notes, the outer and inner voices are naturally paired: the pedal with—or in opposition to—the cantus; and the alto voice with the tenor. With a massive amount of dissonances and chromatic sequences, the effects of the ancestral sin are emphasised in an astonishing way. The accompanying motif in the lower three or sometimes four parts is derived from a suspirans in the melodic line, formed of a semiquaver (16th note) rest—a "breath"—followed by three semiquavers and a longer fourth note. The chorale prelude is scored for two manuals and pedal, with the cantus firmus in the soprano voice on the upper manual. Prior to Bach, there were choral settings by Michael Praetorius and Samuel Scheidt and a setting for organ in the choral prelude BuxWV 202 by Dieterich Buxtehude. Below is the first verse of Martin Luther's Easter hymn Jesus Christus, unser Heiland, der den Tod überwand with the English translation by George MacDonald. The same suspirans triad motif, like a broken chord or arpeggio, forms the basis of the accompaniment in the two inner voices: the imitative responses between the parts providing a steady flow of semiquaver figures, rising and falling, melifluous and sweet. The same melody was used in the postprandial grace Herr Gott, nun sei gepreiset, the first verse of which is given below with the English translation of Charles Sanford Terry. And we can hardly argue with that. The stops for the canonic parts were explicitly marked by Bach in the autograph score, with the high tenor part in the pedal, written at the pitch Bach intended and also within the compass of the Weimar organ. [33][34][35][36], Since the nineteenth century successive commentators have found the mood of the chorale prelude to be predominantly sad, despite that not being in keeping with the hymn text. 10), KiV B27/10 12. Browse; Home; Stations; Playlists; Amazon Music Store; album. The chorale prelude BWV 606 is written for single manual and pedal with the cantus firmus in the soprano part. After Orgelbüchlein, Bach set the entire hymn in cantata Es ist das Heil uns kommen her, BWV 9; and composed chorales on single verses for cantatas 86, 117, 155 and 186. The instrumental combination itself was used elsewhere by Bach: in the third movement of the cantata Schmücke dich, o liebe Seele, BWV 180 for soprano, violoncello piccolo and continuo; and the 19th movement of the St John Passion, with the middle voice provided by semiquaver arpeggios on the lute. Below are the first and third verses of the hymn of Caspar Fuger with the English translation of Catherine Winkworth first published in 1592 with the melody, which predates it. Bach left no indication that the manualiter parts were to be played on two keyboards: indeed, as Stinson (1999) points out, the autograph score brackets all the keyboard parts together; in addition technically at certain points the keyboard parts have to be shared between the two hands. The suspirans is made up of intervals of a rising second, a falling fourth following by yet another rising second. Bach's title conforms to a later 1681 hymnbook from Weimar which inverted the order throughout. These include turning figures and ascending or descending scales all presented in the first bar. Ausgewählte Choralvorspiele von Joh. The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ — one of them is given in two versions — by Johann Sebastian Bach. Stinson (1999) describes the dissonant suspensions as fitting for "the tragic subject matter." These chorale preludes are all short, either in variation form or fughettas. The same type of bass line was used much later by Bach in the chorale prelude Wir glauben all an einen Gott”, BWV 664 in Clavier-Übung III. Hermann Keller has suggested that Bach might have employed the canon as musical iconography for the plea to be "led" at the end of the first verse: und uns den Weg zu Wahrheit führ ("and lead us on the path of truth").[50][51]. The melody of the cantus firmus in the Dorian mode is based on the Latin hymn A solis ortus cardine, which appeared in its Lutheran version in 1524. Below is the first verse of this hymn of Johann Lindemann with the English translation by Catherine Winkworth. Stinson (1999) also sees similarities with Bach's omission of a bass part in Wie zittern und wanken from cantata BWV 105, an aria concerned with the uncertainties in the life of a sinner.[68][69]. A very slow tempo was adopted by the school of late nineteenth and early twentieth century French organists, such as Guilmant and Dupré: for them the mood of the chorale prelude was quiet, inward-looking and mournful; Dupré even saw in the descending semiquavers "the descent by the holy women, step by step, to the tomb". The two accompanying inner voices, based on a descending triplet motif, are also in canon at the octave: such a double canon is unique amongst Bach's organ chorales. Prélude & Fugue, BWV 534: Prelude. Schweitzer (1905) described the anapaest as a "joy" motif; to Hermann Keller it symbolised "constancy". Johann Sebastian Bach: Blessed Jesus, We Are Here (Chorale Prelude), Concord 1940. The second motif is passed from voice to voice in the accompaniment—there are two passages where it is adapted to the pedal with widely spaced semiquavers alternating between the feet—providing an unbroken stream of semiquavers complementing the first motif. The chorale prelude is in four parts for single manual and pedals. [7], During his time as organist at Arnstadt, Bach was upbraided in 1706 by the Arnstadt Consistory "for having hitherto introduced sundry curious embellishments in the chorales and mingled many strange notes in them, with the result that the congregation has been confused." The pedal starts off with a cross motif in quavers, which recurs throughout the composition. The melody is from an Easter hymn. In the two closing bars, there is a fleeting appearance of figures usually associated with crucifixion chorales, such as Da Jesu an dem Kreuzer stund, BWV 621: semiquaver cross motifs[15] in the upper parts above delayed or dragging entries in the pedal. Below are the first and last two verses of the Lutheran catechism hymn Dies sind die heil'gen zehn Gebot (the Ten Commandments) with an English translation by George MacDonald. 73, an expanded arrangement for organ, attributed to the composer's son C.P.E. Below is the first verse of this New Year's hymn of Paul Eber with the English translation by John Christian Jacobi. Beneath them in the pedal is a contrasting walking bass in quavers with sustained notes at the end of each phrase. The motif in the pedal is a constant three-note quaver figure, with octave leaps punctuated by frequent rests. Pure in style, this ornamental chorale prelude has been described as "a supplication in time of despair." Below is the first verse of Martin Luther's hymn Christum wir sollen loben schon with the English translation of Richard Massie (1854). … Jesus Christus, unser Heiland, transcription for piano (after J.S. The mood of the chorale prelude is "ethereal" and "scintillating", veering elusively between the contemplative harmonised melody and the transitory rushing scales: towards the close the scales in the inner voices envelope the melody. The Orgelbüchlein was originally passed from teacher to student and was not published in its entirety until Felix Mendelssohn edited an edition. The cantus firmus in the soprano voice of this chorale prelude is a slight variant of the treble part of a four-part Amongst Bach's immediate predecessors, Dieterich Buxtehude wrote two settings of the hymn for organ—a freely composed chorale prelude in three verses (BuxWV 207) and a chorale prelude for two manuals and pedal (BuxWV 219); and Georg Böhm composed a partita and two chorale preludes (previously misattributed to Bach as BWV 760 and 761). Bach himself harmonised the hymn in BWV 416, with a later variant in one of the chorales from the St John Passion. For Schweitzer (1911b) this particular motif signified "beatific joy", representing either "intimate gladness or blissful adoration." Find album reviews, stream songs, credits and award information for Bach: Orgelbüchlein - Les 45 Chorals du Petit Livre d'Orgue - André Isoir on AllMusic - 1999 Exceptionally Bach scored the final chord of this nebulous piece without pedal. Each setting takes an existing Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. The attempts of Schweitzer (1905) have been criticised: Harvey Grace felt that Bach was "expressing the idea of insistence, order, dogma—anything but statistics." The continuous accompaniment in quavers and crotchets is an example of the first of two types of joy motif described by Schweitzer (1911b), used to convey "direct and naive joy." Edition Euterpe, 1929. BWV 617, 618, 619 and 637, where the accompaniment starts before the cantus. [5] In the generation prior to Bach, organ settings had mainly been made by composers in Southern Germany like Kindermann, Pachelbel and Fischer. Note the level : Note the interest : ... Bach J.s. Johann Sebastian Bach Durch Adams Fall ist ganz verderbt (I), chorale prelude for organ, … The Orgelbüchlein is simultaneously a compositional treatise, a collection of liturgical organ music, an organ method, and a theological statement. The alto part is characterised by falling anapaests; while the tenor line is made up of two parts, the first a rising semiquaver figure and the second shorter semiquaver cross motifs descending in sequence. Williams (2003) suggests that the grieving mood might possibly reflect tragic events in Bach's life at the time of composition; indeed in 1713 his first wife gave birth to twins who died within a month of being born. Bach, BWV 665; Ten Chorale Preludes No. Although the cantus itself repeats more of its lines than most Lutheran hymns, Bach avoids repetitiveness in the chorale prelude by varying the harmonies and rhythmic texture in the accompaniment for each phrase. The piping triplets above the musette drone create a gentle pastoral mood, in keeping with the subject of the carol. Trascritti dall' organo per orchestra, Universal Edition, 1925. There is a precursor of the musical style of BWV 611—the plainchant melody A solis ortus cardine/Hostis herodes impie accompanied by polyphonic scale motifs—in the 1667 Deuxième Livre d’Orgue of Nivers. Both verses concern Christ's coming on earth. The original manuscript features passages in tablature notation, which has led to inaccurate readings in some published editions.[41]. In particular the pedal point in the first note of the bass heightens the dramatic effect of the opening by briefly abandoning the usual motivic Orgelbüchlein pattern. Below are the first and last verses of Michael Franck's 1652 Lutheran hymn Ach wie flüchtig, ach wie nichtig with the English translation of Sir John Bowring. One of the earliest known sources for the version of the hymn used by Bach is Gottfried Vopelius's Leipzig hymnbook of 1682. Terry (1921) erroneously assigned a date after 1715, because the earliest source for Das alte Jahr he had been able to locate was Christian Friedrich Witt's Gotha hymnbook, first published in 1715. The chorale prelude BWV 605 is written for two manuals and pedal with the cantus firmus in the soprano part. Released on 03/04/2020 by Resonus Classics; Main artist: Stephen Farr; Genre: Classical; Available in. Hello, Sign In . In 1707 Bach became organist at St. Blasius' Church in Mühlhausen, before his second appointment at the court in Weimar in 1708 as concertmaster and organist, where he remained until 1717. Below is the traditional fourteenth century German/Latin Christmas carol In dulci jubilo with the English/Latin translation of Robert Lucas de Pearsall. Bach - Durch Adams Fall (Chorale Prelude BWV 637) sheet music for Recorder Quartet (pdf) Sheet Music PDF MP3 Midi Parts Versions Access the high quality, printable PDF version of this piece by subscribing to 8notes.com (You may still browse standard 'sheet music' and midi versions of this piece for free). Many commentators have interpreted the compositional form and motifs of BWV 621 in terms of the themes of the Passiontide hymn, primarily concerned with the crucifixion. Durch Adams Fall Ist Ganz Verderbt (Bach BWV 637/705) By Pietro Spada. Scored for single manual and pedal, the accompanying voices are the soprano (right hand), the tenor (left hand) and the bass (pedal). Orgelbüchlein: 46 kürzere Choralbearbaitungen für Klavier zu vier Händen. Bourrée I-II 241 Kaori Muraji – Partita for Violin Solo No.2 in D minor, BWV 1004 – Arr. The accompaniment in the three lower voices is built up from two motifs each containing the repeated notes that characterise the theme. Below is the first verse of Tobias Clausnitzer's Lutheran hymn Liebster Jesu, wir sind hier with the English translation of Catherine Winkworth. 7 in A Minor, a composition by the baroque composer Ferruccio Busoni. The accompaniment on the keyboard is built from semiquaver motifs, made up of four-note groups of suspirans semiquavers (starting with a rest or "breath"). Both have similar rhythmic structures in the parts, but one is in a minor key with complex chromatic harmonies, the other in a major key with firmly diatonic harmonies.[60][61]. Usually despatched within 1 working day. Williams (2003) describes this musical device, used also in BWV 622 and BWV 639, as a means of conveying "a particular kind of touching, inexpressible expressiveness." The motif is first heard high up in the soprano voice which is placed in bare relief by the sustained notes and slow-moving melody in the lower parts. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. 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Bleib ' bei uns, Herr Jesu Christ, BWV … Stephen Farr - J.S matter. method! Have also seen the suspensions between bars as representing `` the bonds of death.... Tempo of the cross. of 1682 these include several canons, four ornamental four-part with! This ornamental chorale prelude has been used by Bach for the, Adaptations, Ser bass! A distinctive accompaniment in the soprano voice is a striding pedal part was customarily with... `` joy '' motif ; to Hermann Keller saw the bass accompaniment at is. Line, which is anticipated and echoed in the pedal part was customarily associated ``! Thuringia and Saxony this became the Latin hymn Hostis herodes impie simple of! Bourgeois in 1543 `` beatific joy '', representing either `` intimate gladness or blissful adoration. ruf. Saviour is reflected by the cadence at the Michaelskirche in Lüneburg in 1700–1702 also found the!

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