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BWV 787 Incipit
The (BWV; ; ) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. For example, BWV 992 was composed many years before BWV 1. BWV numbers were assigned to 1,126 compositions in the 20th century, and more have been added to the catalogue in the 21st century. The Anhang (Anh.; Annex) of the BWV lists over 200 lost, doubtful and spurious compositions. History The first edition of the ''Bach-Werke-Verzeichnis'' was published in 1950. It allocated a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following the 19th-century Bach Gesellschaft (BG) edition f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Catalogues Of Classical Compositions
This article gives an overview of various catalogues of classical compositions that have come into general use. Opus numbers While the opus numbering system has long been the standard manner in which individual compositions are identified and referenced, it is far from universal, and there have been many different applications of the system. Very few composers gave opus numbers to all of their published works without exception: * Some composers used it for certain genres of music but not for others (for example, in Handel's time, it was normal to apply opus numbers to instrumental compositions but not to vocal compositions such as operas, oratorios, etc.). * Some composers gave opus numbers to some of their early compositions but abandoned the practice after some time (examples include Liszt and Hindemith). * Some used it in a very erratic manner or were subject to the wishes of their publishers, who for commercial reasons often presented works with opus numbers that bore little r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Chamber Music Works By Johann Sebastian Bach
Chamber music by Johann Sebastian Bach refers to the compositions in the tenth chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series VI. at the Bärenreiter website Chamber music is understood as containing: * Works for solo violin, cello or flute (not including [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 4
(also spelled ; "Christ lay in death's bonds" or "Christ lay in the snares of death"), 4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence that it was probably written for a performance in 1707. Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner described it as Bach's "first-known attempt at painting narrative in music". is a chorale cantata, a style in which both text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name, the main hymn for Easter in the Lutheran church. The composition is based on the seven stanzas of the hymn and its tune, which was derived from Medieval models. Bach used the unchanged words of a stanza of the chorale in each of the seven vocal movement ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christ Lag In Todes Banden, BWV 4
(also spelled ; "Christ lay in death's bonds" or "Christ lay in the snares of death"), 4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence that it was probably written for a performance in 1707. Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner described it as Bach's "first-known attempt at painting narrative in music". is a chorale cantata, a style in which both text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name, the main hymn for Easter in the Lutheran church. The composition is based on the seven stanzas of the hymn and its tune, which was derived from Medieval models. Bach used the unchanged words of a stanza of the chorale in each of the seven vocal movement ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ach Gott, Wie Manches Herzeleid, BWV 3
(Oh God, how much heartache), 3, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the Second Sunday after Epiphany and first performed it on 14 January 1725. It is based on the hymn published by Martin Moller in 1587. Bach composed the cantata in his second year as ''Thomaskantor'' in Leipzig as part of cantata cycle of chorale cantatas, for the second Sunday after Epiphany. The work is based on a hymn without evident connection to the prescribed readings. It is a meditation on Jesus as a comforter in distress, based on a medieval model. An unknown librettist reworked the ideas of the 18 stanzas in six movements, retaining the words of stanzas 1, 2 and 18 as movements 1, 2 and 6. Similarly, Bach retained the choral melody in three movements, set as a chorale fantasia in the opening chorus with the bass singing the cantus firmus, as a four-part setting with interspersed recitatives in the second movement, and in the closing chorale ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ach Gott, Vom Himmel Sieh Darein, BWV 2
(Oh God, look down from heaven), 2 is a chorale cantata composed by Johann Sebastian Bach for the second Sunday after Trinity in 1724. First performed on 18 June in Leipzig, it is the second cantata of his chorale cantata cycle. The church cantata is based on Martin Luther's 1524 hymn "", a paraphrase of Psalm 12. 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 a choir of trombones, two oboes, strings and continuo. He set the first movement in "archaic" motet style, but the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach Cantata
The cantatas composed by Johann Sebastian Bach, known as Bach cantatas (German: ), are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. As far as known, Bach's earliest cantatas date from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. Most of Bach's church cantatas date from his first years as and director of church music in Leipzig, a position which he took up in 1723. Working for Leipzig's and , it was part of Bach's job to perform a church cantata every Sunday and holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service. In his first years in Leipzig, starting after Trinity of 1723, Bach regularly composed a new cantata every week, although some of these cantatas were adapted (at least in part) from work he had composed before his Leipzig era. Works from three annual cycles of cantatas for the lit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wie Schön Leuchtet Der Morgenstern, BWV 1
('How beautifully the morning star shines'), 1, is a church cantata for Annunciation by Johann Sebastian Bach. In 1725, when the cantata was composed, the feast of the Annunciation (25 March) coincided with Palm Sunday. Based on Philipp Nicolai's hymn "" (1599), it is one of Bach's chorale cantatas. Bach composed it in his second year as Thomaskantor (cantor at St. Thomas) in Leipzig, where the Marian feast was the only occasion during Lent when music of this kind was permitted. The theme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach's chorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and last stanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias. is the last chorale cantata of Bach's second cantata cycle, possibly because the librettist who provided the paraphrases for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 225
''Singet dem Herrn ein neues Lied'' (''Sing unto the Lord a new song''), BWV 225, is a motet by Johann Sebastian Bach. It was first performed in Leipzig around (probably) 1727. The text of the three-movement motet is in German: after Psalm 149 for its first movement (), the third stanza of "Nun lob, mein Seel, den Herren" (a 1530 hymn after Psalm 103 by Johann Gramann) for the second movement, and after Psalm 150:2 and 6 for its third movement . The motet is described as being for double-choir (in other words eight voices divided into two four-part choirs). It may have been composed to provide choral exercises for Bach's students at the Thomasschule. The motet's biblical text would have been suited to that purpose. The final four-part fugue is titled "Alles was Odem hat" ("All that have voice, praise the Lord!"). Robert Marshall writes that it is "certain" that this motet was one heard by Wolfgang Amadeus Mozart when he visited Leipzig's Thomasschule in 1789. Johann Friedrich Ro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach Archive
The Bach-Archiv Leipzig or Bach-Archiv is an institution for the documentation and research of the life and work of Johann Sebastian Bach. The Bach-Archiv also researches the Bach family, especially their music. Based in Leipzig, the city where Bach lived from 1723 until his death, the Archiv is recognised by the German government as a "cultural beacon" of national importance. Since 2008 the Bach-Archiv has been part of the University of Leipzig. History The Bach-Archiv was founded on the occasion of the bicentennial of Bach's death in 1950 by Werner Neumann, who remained its director until 1973. It served as a central archive for manuscripts and historic documents connected to the composer and a central research center related to him and his family. At the time of the institution's foundation Leipzig was in East Germany. Prior to German unification there was collaboration with Bach experts in West Germany. For example, the second edition of Bach's complete works, the Neue ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Compositions By Johann Sebastian Bach
Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble and orchestra. There are over 1000 known compositions by Bach. Nearly all of them are listed in the ' (BWV), which is the best known and most widely used catalogue of Bach's compositions. Listing Bach's compositions Some of the early biographies of Johann Sebastian Bach contain lists of his compositions. For instance, his obituary contains a list of the instrumental compositions printed during the composer's lifetime, followed by an approximate list of his unpublished work. The first separately published biography of the composer, by Johann Nikolaus Forkel, follows the same approach: its ninth chapter first lists printed works (adding four-part chorales which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alfred Dürr
Alfred Dürr (3 March 1918 – 7 April 2011) was a German musicologist. He was a principal editor of the Neue Bach-Ausgabe, the second edition of the complete works of Johann Sebastian Bach. Professional career Dürr studied musicology and Classical philology at the Georg-August-Universität Göttingen from 1945 to 1950. He wrote his thesis about Bach's early Bach cantata, cantatas. From 1951 until his retirement in 1983 he was an employee of the Johann Sebastian Bach Institute in Göttingen, West Germany, from 1962 to 1981 its deputy director. His work involved collaboration with colleagues in East Germany. He was a principal editor of the Neue Bach-Ausgabe, a project which was divided between the Johann Sebastian Bach Institute and the Bach-Archiv Leipzig in East Germany. From 1953 to 1974 Dürr was editor of the ''Bach-Jahrbuch'' (Bach almanach), together with Werner Neumann, the founder and director of the Bach-Archiv Leipzig. Dürr received honorary doctorates of music fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
