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BWV 163
(To each his own!), , is a church cantata by Johann Sebastian Bach. He composed the work in Weimar for the twenty-third Sunday after Trinity and first performed it on 24 November 1715. This work was part of Bach's sequence of monthly church cantatas for the Weimar court, which he began in 1714. It was the first piece performed after a mourning period of several months for Prince Johann Ernst. The text, written by the court poet Salomon Franck, is based on the prescribed gospel reading for the Sunday, " Render unto Caesar...", and includes several allusions to money and gold. The cantata has six movements, beginning with an aria for tenor, followed by two pairs of recitatives and arias, one for bass and the other for the duet of soprano and alto, and a concluding chorale. Similar to other cantatas on words by Franck, the work is scored for a small Baroque chamber ensemble of two violins, viola, two cellos and continuo. Bach composed a unique aria with a dark texture of a bass v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Church Cantata (Bach)
Throughout his life as a musician, Johann Sebastian Bach composed cantatas for both secular and sacred use. His church cantatas are cantatas which he composed for use in the Lutheran church, mainly intended for the occasions of the liturgical year. Bach's ''Nekrolog'' mentions five cantata cycles: "Fünf Jahrgänge von Kirchenstücken, auf alle Sonn- und Festtage" (Five year-cycles of pieces for the church, for all Sundays and feast days), which would amount to at least 275 cantatas,Alfred Dörffel. Bach-Gesellschaft Ausgabe Volume 27: '' Thematisches Verzeichniss der Kirchencantaten No. 1–120''. Breitkopf & Härtel, 1878. Introduction, p. VI or over 320 if all cycles would have been ideal cycles.Günther Zedler''Die Kantaten von Johann Sebastian Bach: Eine Einführung in die Werkgattung''.Books on Demand, 2011. p. 24–25/ref> The extant cantatas are around two-thirds of that number, with limited additional information on the ones that went missing or survived as fra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
Gospel Of Matthew
The Gospel of Matthew), or simply Matthew. It is most commonly abbreviated as "Matt." is the first book of the New Testament of the Bible and one of the three synoptic Gospels. It tells how Israel's Messiah, Jesus, comes to his people and forms a community of disciples, of how he taught the people through such events as the Sermon on the Mount and its Beatitudes, and how Israel becomes divided and how Jesus condemns this hostile Israel. This culminates in his departure from the Temple and his execution. At this point many people reject Jesus, and on his resurrection he sends the disciples to the gentiles. Matthew seems to emphasize that the Jewish tradition should not be lost in a church that was increasingly becoming gentile. The gospel reflects the struggles and conflicts between the evangelist's community and the other Jews, particularly with its sharp criticism of the scribes and Pharisees with the position that through their rejection of Christ, the Kingdom of God h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Epistle To The Philippians
The Epistle to the Philippians is a Pauline epistle of the New Testament of the Christian Bible. The epistle is attributed to Paul the Apostle and Timothy is named with him as co-author or co-sender. The letter is addressed to the Christian church in Philippi. Paul, Timothy, Silas (and perhaps Luke) first visited Philippi in Greece ( Macedonia) during Paul's second missionary journey from Antioch, which occurred between approximately 49 and 51 AD. In the account of his visit in the Acts of the Apostles, Paul and Silas are accused of "disturbing the city". There is a general consensus that Philippians consists of authentically Pauline material, and that the epistle is a composite of multiple letter fragments from Paul to the church in Philippi. These letters could have been written from Ephesus in 52–55 AD or Caesarea Maritima in 57–59, but the most likely city of provenance is Rome, around 62 AD, or about 10 years after Paul's first visit to Philippi. Harris, Stephen L., Un ... [...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] |
Ernest Augustus I, Duke Of Saxe-Weimar-Eisenach
Ernest Augustus I, Duke of Saxe-Weimar (German: ''Ernst August I''; 19 April 1688 – 19 January 1748), was a duke of Saxe-Weimar and, from 1741, of Saxe-Weimar-Eisenach. Biography He was the second but eldest surviving son of Johann Ernst III, Duke of Saxe-Weimar and his first wife Sophie Auguste of Anhalt-Zerbst. When his father died in 1707, Ernst August became co-ruler (''Mitherr'') of Saxe-Weimar, along with his uncle Wilhelm Ernst, but his title was only nominal, since Wilhelm Ernst was the actual ruler of the duchy. Only when Wilhelm Ernst died in 1728 did Ernst August begin to exercise true authority over Saxe-Weimar. Excesses Ernst August was a splendor-loving ruler, and his extravagances contributed to the eventual financial ruin of his duchy. Desperately in need of funds, he resorted to the practice of arresting wealthy subjects without cause, and setting them free only after they had renounced their fortunes to the duke, or had paid exorbitant ransoms. Some of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Ernest, Duke Of Saxe-Weimar
William Ernest, Duke of Saxe-Weimar (19 October 1662 – 26 August 1728) was a duke of Saxe-Weimar. Life He was born in Weimar, the eldest son of Johann Ernst II, Duke of Saxe-Weimar and Princess Christine Elisabeth of Schleswig-Holstein-Sonderburg. When his father died in 1683, he succeeded him as duke; however, he was compelled to rule jointly with his younger brother Johann Ernst III. Because John Ernest III was alcoholic, William Ernest took full control of the government of the duchy and permitted John Ernest the nominal title of co-duke (''Mitherr'') until his death in 1707. After the death of his brother he made John Ernest's son, Ernest August I, co-duke, but with no real power. Six months after the death of his father (2 November 1683), William Ernest married in Eisenach with Charlotte Marie, his cousin and eldest surviving daughter of his uncle Bernhard II, Duke of Saxe-Jena, in order to secure the family lands. At that time, the guardian of Charlotte and his youn ... [...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] |
Christian Keymann
Christian Keymann (also ''Christian Keimann''; 27 February 1607 – 13 January 1662) was a German hymnwriter. He is known for writing the chorale "Meinen Jesum laß ich nicht" in 1658, which served as the base for Bach's chorale cantata '' Meinen Jesum laß ich nicht, BWV 124'', and other compositions. Career Keymann was born in Pankratz, Habsburg Bohemia, in 1607, the son of Zacharias Keimann, a Lutheran pastor. From 1627 to 1634, he studied at the University of Wittenberg. After graduation he worked at the gymnasium of Zittau, first as associate director, then as rector in 1638. He died of a stroke in 1662. Hymns Two of his most popular hymns were translated into English; "O rejoice, ye Christians, loudly" ("Freuet euch, ihr Christen alle") found in Chorale Book, No. 33, and "Jesus will I never leave" ("Meinen Jesum laß ich nicht") found in United Brethren's Hymn Book, No. 464. Donald G. Bloesch in his book ''The struggle of prayer'' (1980) describes it as a "moving hymn". H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meinen Jesum Laß Ich Nicht
"" ("I shall not leave my Jesus") is a German Lutheran hymn, with lyrics by Christian Keimann written in 1658. The theme of the hymn is trust in Jesus, based on memorial sermons for John George I, Elector of Saxony recalling conversations of the elector with his minister on his deathbed. The hymn inspired composers to vocal settings. Johann Sebastian Bach based his chorale cantata ''Meinen Jesum laß ich nicht'', BWV 124 on the first melody by Andreas Hammerschmidt ( Zahn No. 3449), and Max Reger used a later melody by Johann Ulich for a chorale cantata in 1906. The hymn appears, with Ulich's tune, in the Protestant hymnal '' Evangelisches Gesangbuch'' as EG 402, in modernized German as "Meinen Jesus lass ich nicht". History Christian Keimann worked as director of a Gymnasium in Zittau when he wrote the hymn. It was first published in Andreas Hammerschmidt's choral book ''Fest-, Buß- und Danklieder'' (Songs of feast, penitence and thanks) of 1659, and was probably wri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stanza
In poetry, a stanza (; from Italian language, Italian ''stanza'' , "room") is a group of lines within a poem, usually set off from others by a blank line or Indentation (typesetting), indentation. Stanzas can have regular rhyme scheme, rhyme and Metre (poetry), metrical schemes, but they are not required to have either. There are many different : Stanzaic form, forms of stanzas. Some stanzaic forms are simple, such as four-line quatrains. Other forms are more complex, such as the Spenserian stanza. Fixed verse, Fixed verse poems, such as sestinas, can be defined by the number and form of their stanzas. The stanza has also been known by terms such as ''batch'', ''fit'', and ''stave''. The term ''stanza'' has a similar meaning to ''strophe'', though ''strophe'' sometimes refers to an irregular set of lines, as opposed to regular, rhymed stanzas. Even though the term "stanza" is taken from Italian, in the Italian language the word "strofa" is more commonly used. In music, groups of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Instruments
Musical instruments used in Baroque music were partly used already before, partly are still in use today, but with no technology. The movement to perform music in a historically informed way, trying to recreate the sound of the period, led to the use of historic instruments of the period and to the reconstruction of instruments. The following table lists instruments, classified as brass instruments, woodwinds, strings, and basso continuo. The continuous bass is played by a group of instruments, depending on the given situation. Many instruments have an Italian or French name which is used as a common name also in English. The use of instruments by composers is shown in examples mostly by Johann Sebastian Bach. Table of instruments Baroque instrumentation The typical orchestra of the Baroque period is based on string instruments (violin, viola) and continuo. A continuous bass is the rule in Baroque music; its absence is worth mentioning and has a reason, such as describi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
