Composer

:

Johann Sebastian Bach

Genre

:

Keyboard

Style

:

Chorale Prelude

Compose Date

:

before 1705

Publication Date

:

1985

Average_duration

:

1:56

'Christ, der du bist der helle Tag, BWV 1120' is a chorale prelude composed by Johann Sebastian Bach. The exact date of composition is unknown, but it is believed to have been written during his time as the court organist in Weimar, between 1708 and 1717. The piece was not published during Bach's lifetime and was only discovered in the 1980s. The piece is written for organ and is based on the hymn "Christ, der du bist der helle Tag" by Johann Rist. It consists of three movements, with the first and third being variations on the chorale melody and the second being a free-form interlude. The first movement begins with a simple statement of the chorale melody in the pedal, accompanied by a flowing arpeggio in the right hand. The melody is then passed to the left hand, while the right hand plays a more elaborate counterpoint. The movement ends with a grand statement of the melody in the pedal, accompanied by a flurry of notes in the manuals. The second movement is a free-form interlude that explores various harmonies and textures. It begins with a series of chords in the left hand, accompanied by a descending scale in the right hand. The texture gradually becomes more complex, with the addition of a pedal line and a more elaborate right-hand melody. The movement ends with a return to the opening chords. The third movement is a variation on the chorale melody, with the melody played in the right hand and a flowing accompaniment in the left hand. The melody is then passed to the left hand, while the right hand plays a more elaborate counterpoint. The movement ends with a grand statement of the melody in the pedal, accompanied by a flurry of notes in the manuals. Overall, 'Christ, der du bist der helle Tag, BWV 1120' is a beautiful and intricate piece of music that showcases Bach's skill as a composer and organist. Its use of variations on a chorale melody is typical of Bach's style, and the free-form interlude adds an element of unpredictability to the piece.

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