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Ach Herr, Mich Armen Sünder, BWV 135
Johann Sebastian Bach composed the church cantata (Ah Lord, poor sinner that I am), 135 in Leipzig for the third Sunday after Trinity and first performed it on 25 June 1724. It is the fourth chorale cantata from his second annual cycle, and is based on the hymn by Cyriakus Schneegass. In the format of Bach's chorale cantata cycle, the words of the hymn are retained unchanged only in the outer movements, while an unknown contemporary librettist paraphrased the inner stanzas for recitatives and arias. Bach structured the cantata in six movements, setting the chorale tune in a chorale fantasia in the opening movement, and in a four-part setting in the closing movement. The two choral movements frame alternating recitatives and arias of three vocal soloists. Bach also used a four-part choir, and a Baroque instrumental ensemble of cornett, trombone, two oboes, strings and continuo. He set the first movement as a polyphonic chorale fantasia, the bass sings the cantus firmus. Histor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorale Cantata (Bach)
There are 52 chorale cantatas by Johann Sebastian Bach surviving in at least one complete version. Around 40 of these were composed during his second year as Thomaskantor in Leipzig, which started after Trinity Sunday 4 June 1724, and form the backbone of his chorale cantata cycle. The eldest known cantata by Bach, an early version of ''Christ lag in Todes Banden'', BWV 4, presumably written in 1707, was a chorale cantata. The last chorale cantata he wrote in his second year in Leipzig was ''Wie schön leuchtet der Morgenstern'', BWV 1, first performed on Palm Sunday, 25 March 1725. In the ten years after that he wrote at least a dozen further chorale cantatas and other cantatas that were added to his chorale cantata cycle. Lutheran hymns, also known as chorales, have a prominent place in the liturgy of that denomination. A chorale cantata is a church cantata based on a single hymn, both its text and tune. Bach was not the first to compose them, but for his 1724-25 second Leipzi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantus Firmus
In music, a ''cantus firmus'' ("fixed melody") is a pre-existing melody forming the basis of a polyphonic composition. The plural of this Latin term is , although the corrupt form ''canti firmi'' (resulting from the grammatically incorrect treatment of ''cantus'' as a second- rather than a fourth-declension noun) can also be found. The Italian is often used instead: (and the plural in Italian is ). History The term first appears in theoretical writings early in the 13th century (e.g., Boncampagno da Signa, ''Rhetorica novissima'', 1235). The earliest polyphonic compositions almost always involved a cantus firmus, typically a Gregorian chant, although by convention the term is not applied to music written before the 14th century. The earliest surviving polyphonic compositions, in the ''Musica enchiriadis'' (around 900 AD), contain the chant in the top voice, and the newly composed part underneath; however, this usage changed around 1100, after which the cantus firmus typicall ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorale
Chorale is the name of several related musical forms originating in the music genre of the Lutheran chorale: * Hymn tune of a Lutheran hymn (e.g. the melody of "Wachet auf, ruft uns die Stimme"), or a tune in a similar format (e.g. one of the themes in the Finale of Saint-Saëns's Third Symphony) * Such tune with a harmonic accompaniment (e.g. chorale monody, chorales included in ''Schemellis Gesangbuch'') * Such a tune presented in a homophonic or homorhythmic harmonisation, usually four-part harmony (e.g. Bach's four-part chorales, or the chorale included in the second movement of Mahler's Fifth Symphony) * A more complex setting of a hymn(-like) tune (e.g. chorale fantasia form in Bach's ''Schübler Chorales'', or a combination of compositional techniques in César Franck's ') The chorale originated when Martin Luther translated sacred songs into the vernacular language (German), contrary to the established practice of church music near the end of the first quarter of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parable Of The Lost Coin
The Parable of the Lost Coin is one of the parables of Jesus. It appears in . In it, a woman searches for a lost coin, finds it, and rejoices. It is a member of a trilogy on Redemption (theology), redemption that Jesus tells after the Pharisees and religious leaders accuse Him of welcoming and eating with "sinners."Richard Longenecker, Richard N. Longenecker, The Challenge of Jesus' Parables', Eerdmans, 2000, , p. 201. The other two are the Parable of the Lost Sheep, and the Parable of the Lost Son or Parable of the Prodigal Son, Prodigal Son. Narrative As recounted in Gospel of Luke, Luke 15, a woman with ten silver coins (Greek ''Greek drachma, drachmae'') loses one. She then lights an oil lamp and sweeps her house until she finds it, rejoicing when she does: Interpretation Joel B. Green notes that "the woman described is a poor peasant", and the ten silver coins, corresponding to ten days' wages, "likely represent the family savings".Joel B. Green, The Gospel of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parable Of The Lost Sheep
The Parable of the Lost Sheep is one of the parables of Jesus. It appears in the Gospels of Matthew () and Luke (). It is about a shepherd who leaves his flock of ninety-nine sheep in order to find the one which is lost. It is the first member of a trilogy about redemption that Jesus tells after the Pharisees and religious leaders accuse him of welcoming and eating with "sinners."Richard N. Longenecker, The Challenge of Jesus' Parables', Eerdmans, 2000, , pp. 201–204. Narrative In the Gospel of Luke, the parable is as follows: Interpretation The Parable of the Lost Sheep is followed by those of the Lost Coin and the Prodigal Son, in Luke's Gospel. The Parable of the Lost Sheep shares themes of loss, searching, and rejoicing with the Parable of the Lost Coin. The lost sheep or coin represents a lost human being. As in the analogy of the Good Shepherd, Jesus is the shepherd, thus identifying himself with the image of God as a shepherd searching for stray sheep in Ezeki ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gospel Of Luke
The Gospel of Luke), or simply Luke (which is also its most common form of abbreviation). tells of the origins, birth, ministry, death, resurrection, and ascension of Jesus Christ. Together with the Acts of the Apostles, it makes up a two-volume work which scholars call Luke–Acts, accounting for 27.5% of the New Testament. The combined work divides the history of first-century Christianity into three stages, with the gospel making up the first two of these – the life of Jesus the Messiah from his birth to the beginning of his mission in the meeting with John the Baptist, followed by his ministry with events such as the Sermon on the Plain and its Beatitudes, and his Passion, death, and resurrection. Most modern scholars agree that the main sources used for Luke were a), the Gospel of Mark, b), a hypothetical sayings collection called the Q source, and c), material found in no other gospels, often referred to as the L (for Luke) source. The author is anonymous; the tr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
First Epistle Of Peter
The First Epistle of Peter is a book of the New Testament. The author presents himself as Peter the Apostle. The ending of the letter includes a statement that implies that it was written from "Babylon", which is possibly a reference to Rome. The letter is addressed to the " chosen pilgrims of the diaspora" in Asia Minor suffering religious persecution. Authorship The authorship of 1 Peter has traditionally been attributed to the Apostle Peter because it bears his name and identifies him as its author (1:1). Although the text identifies Peter as its author, the language, dating, style, and structure of this letter have led most scholars to conclude that it is pseudonymous. Dale Martin 2009 (lecture). . Yale University. Accessed 22 July 2013Lecture 24 (transcript)/ref> Many scholars argue that Peter was not the author of the letter because its writer appears to have had a formal education in rhetoric and philosophy, and an advanced knowledge of the Greek language,Achtemeier, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christ Unser Herr Zum Jordan Kam, BWV 7
Johann Sebastian Bach composed the church cantata (Christ our Lord came to the Jordan), 7, in Leipzig for the Feast of St. John the Baptist and led its first performance on 24 June 1724. It is the third cantata Bach composed for his chorale cantata cycle, the second cantata cycle he started after being appointed Thomaskantor in 1723. The cantata is based on the seven stanzas of Martin Luther's hymn "", about baptism. The first and last stanza of the chorale were used for the outer movements of the cantata, while an unknown librettist paraphrased the inner stanzas of the hymn into the text for the five other movements. The first movement, a chorale fantasia, is followed by a succession of arias alternating with recitatives, leading to a four-part closing chorale. The cantata is scored for three vocal soloists ( alto, tenor and bass), a four-part choir, two oboes d'amore, two solo violins, strings and continuo. History and words Bach composed for St. John's Day, 24 Ju ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Church Cantatas By Liturgical Occasion
The following is a list of church cantatas, sorted by the liturgical occasion for which they were composed and performed. The genre was particularly popular in 18th-century Lutheran Germany, although there are later examples. The Liturgical calendar (Lutheran)#Reformation era, liturgical calendar of the German Reformation era had, without counting Reformation Day and days between Palm Sunday and Easter, 72 occasions for which a cantata could be presented. Composers such as Telemann composed cycles of church cantatas comprising all 72 of these occasions (e.g. ''Harmonischer Gottes-Dienst''). Such a cycle is called an "ideal" cycle, while in any given liturgical year feast days could coincide with Sundays, and the maximum number of Sundays after Epiphany and the maximum number of Sundays after Trinity could not all occur. In some places, of which Leipzig in Johann Sebastian Bach's time is best known, no concerted music was allowed for the three last Sundays of Advent, nor for the Sun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
O Ewigkeit, Du Donnerwort, BWV 20
Johann Sebastian Bach composed the church cantata (O eternity, you word of thunder), 20, in Leipzig for the first Sunday after Trinity and first performed it on 11 June 1724. Bach composed it when beginning his second year as Thomaskantor in Leipzig. It is the first cantata he composed for his second annual cycle which was planned to contain chorale cantatas, each based on a Lutheran hymn. The cantata is focused on Johann Rist's 1642 hymn "", with a chorale melody by Johann Schop. As usual for Bach's chorale cantatas to come in the cycle, selected hymn stanzas were retained while the others were paraphrased by a contemporary poet who transformed their ideas into a sequence of alternating recitatives and arias. For this cantata, the first stanza was used unchanged, and two more stanzas to conclude the cantata's two parts. The first part was performed before the sermon, the second part after the sermon. The first part is in seven movements, and the second part is in four movement ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorale Cantata Cycle
Johann Sebastian Bach's chorale cantata cycle is the year-cycle of church cantatas he started composing in Leipzig from the first Sunday after Trinity in 1724. It followed the cantata cycle he had composed from his appointment as Thomaskantor after Trinity in 1723. Bach's second cantata cycle is commonly used as a synonym for his chorale cantata cycle, but strictly speaking both cycles overlap only for 40 cantatas. Two further chorale cantatas may belong to both cycles: the final version of , and the earliest version of ; it is, however, uncertain whether these versions were first presented in Bach's second year in Leipzig. Bach composed a further 13 cantatas in his second year at Leipzig, none of them chorale cantatas, although two of them became associated with the chorale cantata cycle. After his second year in Leipzig, he composed at least eight further cantatas for inclusion in his chorale cantata cycle. Around the start of the Bach Revival in the 19th century, almost no manu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lutheran Chorale
A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant Church service. The typical four-part setting of a chorale, in which the sopranos (and the congregation) sing the melody along with three lower voices, is known as a ''chorale harmonization''. Lutheran hymns Starting in 1523, Martin Luther began translating worship texts into German from the Latin. He composed melodies for some hymns himself, such as "Ein feste Burg ist unser Gott" (" A Mighty Fortress Is Our God"), and even a few harmonized settings. For other hymns he adapted Gregorian chant melodies used in Catholic worship to fit new German texts, sometimes using the same melody more than once. For example, he fitted the melody of the hymn "Veni redemptor gentium" to three different texts, " Verleih uns Frieden gnädiglich", "Erhalt uns, Herr, bei deinem Wort", and "Nun komm, der Heiden Heiland". The first Lutheran hymns were published in 1524. These incl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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