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Matthias Weckmann
Ach wir armen Sünder, for organ
Works Info
Composer
:
Matthias Weckmann
Genre
:
Keyboard
Style
:
Keyboard
Average_duration
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6:46
Matthias Weckmann was a German composer and organist of the Baroque era. He was born in Thuringia in 1616 and died in Hamburg in 1674. He was a student of Heinrich Schütz and worked as an organist in Dresden, Nuremberg, and Hamburg. He is known for his vocal and instrumental music, but he also composed several works for the organ, including "Ach wir armen Sünder." "Ach wir armen Sünder" is a chorale prelude for organ. It is based on a Lutheran hymn of the same name, which was written by Johann Hermann Schein in 1628. The hymn is a penitential song that asks for forgiveness and mercy. Weckmann's setting of the hymn is a reflection of the text, with its somber and introspective character. The composition is in four movements, each of which reflects a different aspect of the text. The first movement is a prelude that sets the mood for the piece. It begins with a slow and mournful melody in the pedal, which is then taken up by the manuals. The second movement is a fugue that reflects the text's emphasis on sin and guilt. The fugue subject is based on the first line of the hymn, "Ach wir armen Sünder." The third movement is a trio that reflects the text's emphasis on mercy and forgiveness. The trio is a dialogue between the manuals and the pedal, with the manuals playing a gentle and soothing melody and the pedal responding with a more forceful and urgent one. The final movement is a postlude that brings the piece to a close. It is a lively and joyful dance that reflects the text's emphasis on redemption and salvation. The composition is notable for its use of counterpoint and chromaticism. Weckmann was known for his skill in counterpoint, and this piece is a good example of his mastery of the technique. The chromaticism adds to the piece's somber and introspective character, as it creates a sense of tension and unease. "Ach wir armen Sünder" was likely composed in the 1660s, during Weckmann's time in Hamburg. It is one of his most well-known works for the organ and is still performed today.
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