|
Alles, Was Von Gott Geboren, BWV 80a
(All that is born of God), BWV 80.1 (formerly BWV 80a), is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Oculi, the third Sunday in Lent, and first performed it on 24 March 1715 or 15 March 1716. The music is lost, but Bach expanded on it in about 1730 to create his chorale cantata for Reformation Day, ''Ein feste Burg ist unser Gott'', BWV 80. History and words On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the ''Schlosskirche'' (palace church), on a monthly schedule. Bach wrote the cantata for Oculi, the third Sunday in Lent. The prescribed readings for the Sunday were taken from the Epistle to the Ephesians, advice for a righteous life (), and from the Gospel of Luke, casting out a devil (). The cantata text was written by th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schlosskirche, Weimar
Schloss Weimar is a ''Schloss'' (palace) in Weimar, Thuringia, Germany. It is now called ''Stadtschloss'' to distinguish it from other palaces in and around Weimar. It was the residence of the dukes of Saxe-Weimar and Eisenach, and has also been called ''Residenzschloss''. Names in English include Palace at Weimar, Grand Ducal Palace, City Palace and City Castle. The building is located at the north end of the town's park along the Ilm river, ''Park an der Ilm''. It forms part of the World Heritage Site " Classical Weimar", along with other sites associated with Weimar's importance as a cultural hub during the late 18th and 19th centuries. In history, it was often destroyed by fire. The Baroque palace from the 17th century, with the church ''Schlosskirche'' where a number of works by Johann Sebastian Bach were premiered, was replaced by a Neoclassical structure after a fire in 1774. Four rooms were dedicated to the memory of poets who worked in Weimar, Johann Wolfgang von Goethe, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unclean Spirit
In English translations of the Bible, unclean spirit is a common rendering of Greek ''pneuma akatharton'' (πνεῦμα ἀκάθαρτον; plural ''pneumata akatharta'' (πνεύματα ἀκάθαρτα)), which in its single occurrence in the Septuagint translates Hebrew ' (). The Greek term appears 21 times in the New Testament in the context of demonic possession. It is also translated into English as spirit of impurity or more loosely as "evil spirit." The Latin equivalent is ''spiritus immundus''. The association of physical and spiritual cleanliness is, if not universal, widespread and continues into the 21st century: "To be virtuous is to be physically clean and free from the impurity that is sin," notes an article in ''Scientific American'' published 10 March 2009. Some scholarship seeks to differentiate between "unclean spirit" and "evil spirit" ('' pneuma ponêron'') or "demon" ('' daimonion''). The concept of ''pneuma'' In the Christian scriptures, the word ' ... [...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] |
SATB
SATB is an initialism that describes the scoring of compositions for choirs, and also choirs (or consorts) of instruments. The initials are for the voice types: S for soprano, A for alto, T for tenor and B for bass. Choral music Four-part harmony using soprano, alto, tenor and bass is a common scoring in classical music, including chorales and most Bach cantatas.Shrock, DennisChoral Repertoire''Oxford University Press'', 2009, p. 298, The letters of the abbreviation are also used by publishers to describe different scorings for soloists and choirs other than four-part harmony. For example, the listing "STB solos, SATB choir", of Bach's ''Wachet auf, ruft uns die Stimme'', BWV 140, indicates that a performance needs three soloists: soprano, tenor and bass, and a four-part choir. "SATB/SATB" is used when a double choir is required, as in Penderecki's ''Polish Requiem''. or SSATB, with divided sopranos, which is a typical scoring in English church music. A listing for Bach's ''M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass (voice Type)
A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ''The New Grove Dictionary of Opera'', a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4).; ''The Oxford Dictionary of Music'' gives E2–E4/F4 Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the ''basso cantante'' (singing bass), ''basso buffo'' ("funny" bass), or the dramatic ''basso profondo'' (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German ''Fach'' system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alto
The musical term alto, meaning "high" in Italian (Latin: ''altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Such confusion of "high" and "low" persists in instrumental terminology. Alto flute and alto trombone are respectively lower and higher than the standard instruments of the family (the standard instrument of the trombone family being the tenor trombone), though both play in ranges within the alto clef. Alto recorder, however, is an octave higher, and is defined by its relationship to tenor and soprano recorders; alto clarinet is a fifth lower than B-flat clarinet, already an 'alto' instrument. There is even a contra-alto clarinet, (an octave lower than the alto clarinet), with a range B♭0 – D4. Etymo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
Recitative
Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic ''recitativo secco'' ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through ''recitativo accompagnato'' (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aria
In music, an aria (Italian: ; plural: ''arie'' , or ''arias'' in common usage, diminutive form arietta , plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, 'Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic poetry; me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ein Feste Burg Ist Unser Gott, BWV 80
("A Mighty Fortress Is Our God"), BWV 80 (also: BWV 80.3), is a chorale cantata for Reformation Day by Johann Sebastian Bach. He reworked it from one of his Weimar cantatas, ''Alles, was von Gott geboren'', BWV 80a (also: BWV 80.1). The first Leipzig version of the church cantata, BWV 80b (also: BWV 80.2), may have been composed as early as 1723, some five months after Bach had moved to Leipzig. Some years later he reworked the cantata one more time, writing an extended chorale fantasia as its opening movement. The text of the BWV 80a version was written by Salomon Franck and contained one stanza of Martin Luther's hymn "Ein feste Burg ist unser Gott"; for his chorale cantata versions, BWV 80b and 80, Bach added the complete text of this Lutheran hymn. Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. After his death, his son Wil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Klaus Hofmann
Klaus Hofmann (born 20 March 1939) is a German musicologist who is an expert on the music of Johann Sebastian Bach. Born in Würzburg, Hofmann studied after graduation (1958) from 1958 to 1959 at the University of Erlangen. He then continued his studies at the Albert-Ludwigs-University Freiburg. In 1968 he received his doctorate with a dissertation " " (Studies on the composition technique of the motet in the 13th century, performed on the motets with tenor ). From 1968 to 1978 he worked as an employee of the Hänssler Verlag. From 1978 he was a research assistant of the Johann Sebastian Bach Institute in Göttingen, one of the two institutions which prepared the Neue Bach-Ausgabe, the second complete edition of Bach's work. In 2004 he was appointed to the position of Executive Director, a position which he held until the Institute closed in 2006. He is a board member of the copyright collective . In 1994 he was appointed honorary professor at the Georg-August-Universität G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
