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BWV 28
(Praise God! Now the year comes to an end), BWV28, is a church cantata by Johann Sebastian Bach for the Sunday after Christmas. He first performed it on 30 December 1725. History and text Bach composed the cantata in his third year as in Leipzig for the Sunday after Christmas. The prescribed readings for the Sunday were from the Epistle to the Galatians, through Christ we are free from the law (), and from the Gospel of Luke, Simeon and Anna talking to Mary ().Alfred Dürr (1981), ''Die Kantaten von Johann Sebastian Bach'' (vol. 1, 4th ed.), Deutscher Taschenbuchverlag, pp. 146–149. . The cantata text is by Erdmann Neumeister:Gottlob! nun geht das Jahr zu Ende BWV 28; BC A 20 / Sacred cantata (1st Sunday of Christmas) '' |
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 fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Movement (music)
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately as stand-alone pieces, a performance of the complete work requires all the movements to be performed in succession. A movement is a section (music), section, "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena". Sources [...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 describin ... [...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 ' ... [...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 ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical male singing 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 '' 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 enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were normal ... [...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. Etym ... [...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" '' |
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-Universitä ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johannes Zahn
Johannes Christoph Andreas Zahn (1 August 1817 in Eschenbach/ Pegnitz – 17 February 1895 in Neuendettelsau) was a German theologian and musicologist best known for his opus ''Die Melodien der deutschen evangelischen Kirchenlieder'', a critical anthology of almost 9,000 hymn melodies developed and used in German Lutheran churches. Biography Johannes C. A. Zahn was the son of the Eschenbach teacher and cantor Johannes Zahn. Between 1832 and 1837 he attended the Nuremberg high school, and studied afterwards in Berlin to obtain his degree in theology in 1841. After attending the Predigerseminar in Munich, he became a house teacher for the residence of Gustav Schulze, a prominent merchant. In 1847 he was named teacher and prefect of the Royal Schullehrer Seminar in Altdorf bei Nürnberg, and became its head in 1854. Johannes Zahn dedicated himself particularly to the recovery and critical revision of melodies and hymns developed during and after the Reformation, which he started p ... [...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 t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Eber
Paul Eber (8 November 1511 – 10 December 1569) was a German Lutheran theologian, reformer and hymnwriter, known for the hymn for the dying, " Herr Jesu Christ, wahr Mensch und Gott". Life He was born at Kitzingen in Franconia, and was educated at Nuremberg then Wittenberg, where he became the close friend of Philipp Melanchthon. In 1541 he was appointed professor of Latin grammar at Wittenberg, and in 1557 professor of the Old Testament at Wittenberg University. His range of learning was wide, and he published a handbook of Jewish history, a historical calendar intended to supersede the Roman Saints' Calendar, and a revision of the Latin Old Testament. He was an effective preacher and faithful collaborator of Melanchthon. A proponent of a mild Lutheran doctrine, he played an important role in the theological conflicts of the time, trying to mediate between the extreme tendencies, particularly between the Gnesio-Lutherans and the Crypto-Calvinists. From 1559 to the close of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
