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Church Cantatas Of Bach's Third To Fifth Year In Leipzig
On Trinity Sunday 27 May 1725 Johann Sebastian Bach had presented the last cantata of his second cantata cycle, the cycle which coincided with his second year in Leipzig. As director musices of the principal churches in Leipzig he presented a variety of cantatas over the next three years. New cantatas for occasions of the liturgical year composed in this period, except for a few in the chorale cantata format, are known as Bach's third cantata cycle. His next cycle of church cantatas, the Picander cycle, did not start before St. John's Day 24 June 1728. Sacred music of this period by Bach which doesn't belong to a cantata cycle includes council election cantatas, Passion music for Good Friday, and music for weddings and funerals. Annually returning services After Trinity of 1725 Johann Sebastian Bach began a third annual cycle, but with less consistency than the previous two. The oldest extant cantata of the third cycle was composed for the ninth Sunday after Trinity 1725. The t ... [...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a list of the instrumental compositions printed during the composer's lifetime, followed by an approximate list of his unpublished work.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] |
Wer Sich Selbst Erhöhet, Der Soll Erniedriget Werden, BWV 47
WER or Wer may refer to: * Weak echo region, in meteorology, an area of markedly lower reflectivity within thunderstorms resulting from an increase in updraft strength * Word error rate, in computational linguistics, a common metric of measuring the performance of a speech recognition system * Windows Error Reporting, a feature of Windows XP and later operating systems * Western Entrance to the Riedbahn, the western approach of the Riedbahn in Mannheim, Germany * Wer (god), an Akkadian god * Were, an archaic term for adult male humans * Wiki Educational Resources Limited, the legal name of the first Wikimedia UK chapter * ''Wer'' (film), a 2013 horror film See also * Ver (other) * Vera (other) * Vere (other) * Verus (other) Verus may refer to: People * Verus (gladiator) (fl. 80), Roman gladiator * Verus (senator) (died 219), Roman centurion and senator * Gnaeus Julius Verus (born c. 112), Roman general and senator * Lucius Verus (130 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wer Weiß, Wie Nahe Mir Mein Ende? BWV 27
' (Who knows how near to me my end?), 27, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the 16th Sunday after Trinity and first performed it on 6 October 1726. History and words Bach composed the cantata in his fourth year in Leipzig for the 16th Sunday after Trinity. The prescribed readings for the day were from the Epistle to the Ephesians (), and from the Gospel of Luke (). An unknown poet included in the first movement the first stanza of the chorale "" by Ämilie Juliane von Schwarzburg-Rudolstadt and closed the cantata with the first stanza of the hymn "" by Johann Georg Albinus., The chorale theme "Wer nur den lieben Gott läßt walten" (Zahn 2778) was first documented by Georg Neumark in Jena, but the melody can be likely traced back to Kiel, 1641. The five-part ( SSATB) harmonization of the concluding chorale " Welt, ade! ich bin dein müde" is not by Bach but by Johann Rosenmüller (published for the first time in 's ''Geistliche Harffe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Es Erhub Sich Ein Streit, BWV 19
' (There arose a war), 19, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726 for the Feast of Saint Michael and first performed it on 29 September 1726. It is the second of his three extant cantatas for this feast. History and words Bach took up his position in Leipzig in 1723. His first years in the city were particularly productive in terms of cantatas for the church calendar. As well as being a Christian festival, St. Michael's Day was important in the commercial life of Leipzig as it marked the start of one of the city's annual trade fairs. The prescribed readings for the day were from the Book of Revelation, Michael fighting the dragon (), and from the Gospel of Matthew, heaven belongs to the children, the angels see the face of God (). The text of the cantata was written by Christian Friedrich Henrici, better known as Picander. By now a regular collaborator of the composer, Picander had provided the libretto for a previous St Michael's Day ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wer Dank Opfert, Der Preiset Mich, BWV 17
Johann Sebastian Bach composed the church cantata (He who offers thanks praises Me), 17 in Leipzig for the fourteenth Sunday after Trinity and first performed it on 22 September 1726. In his fourth year as Thomaskantor in Leipzig, Bach performed 18 cantatas composed by his relative Johann Ludwig Bach, a court musician in Meiningen. He then set some of the texts himself, including this cantata, written probably by Ernst Ludwig, Duke of Saxe-Meiningen. They follow a pattern: seven movements are divided in two parts, both beginning with biblical quotations, Part I from the Old Testament, Part II from the New Testament. The text is based on the prescribed gospel reading telling of Jesus cleansing ten lepers. It is opened by a verse from Psalm 50, quotes a key sentence from the gospel and is closed by a stanza from Johann Gramann's hymn "". The cantata, structured in two parts to be performed before and after the sermon, is modestly scored for four vocal soloists and choir (SATB), a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ihr, Die Ihr Euch Von Christo Nennet, BWV 164
Johann Sebastian Bach composed the church cantata (You, who call yourselves of Christ), 164 in Leipzig for the 13th Sunday after Trinity and first performed it on 26 August 1725. History and words Bach wrote the cantata in his third year in Leipzig for the 13th Sunday after Trinity. He used a cantata text written by Salomon Franck in Weimar, published in in 1715, as he had done already in , four weeks before. The prescribed readings for the Sunday were from the Epistle to the Galatians, Paul's teaching on law and promise (), and from the Gospel of Luke, the parable of the Good Samaritan (). The love of one's neighbour is the dominant theme of this cantata, whereas in the two preceding years the cantata texts of , and , had stressed the equality of loving God and neighbour. The closing chorale is the fifth (and last) verse of Elisabeth Cruciger's hymn "" (1524). Bach first performed the cantata on 26 August 1725. Scoring and structure As in several other cantatas on words ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Geist Und Seele Wird Verwirret, BWV 35
(Spirit and soul become confused), 35, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto voice in Leipzig for the twelfth Sunday after Trinity and first performed it on 8 September 1726. Bach composed the cantata in his fourth year as ''Thomaskantor'' (musical director) in Leipzig. The text is based on the day's prescribed reading from the Gospel of Mark, the healing of a deaf mute man. The librettist is Georg Christian Lehms, whose poetry Bach had used already in Weimar as the basis for solo cantatas. The text quotes ideas from the gospel and derives from these the analogy that as the tongue of the deaf mute man was opened, the believer should be open to admire God's miraculous deeds. The cantatas for this Sunday have a positive character, which Bach stressed in earlier works for the occasion by including trumpets in the score. In this work, he uses instead an obbligato solo organ in several movements. The cantata is structured in seven m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Herr, Deine Augen Sehen Nach Dem Glauben, BWV 102
Johann Sebastian Bach composed the church cantata (Lord, Your eyes look for faith), 102 in Leipzig for the tenth Sunday after Trinity and it was first performed on 25 August 1726. History and text The cantata of Bach's third annual cycle in Leipzig was written for the Tenth Sunday after Trinity. The prescribed readings for the Sunday were from the First Epistle to the Corinthians, different gifts, but one spirit (), and from the Gospel of Luke, Jesus announcing the destruction of Jerusalem and cleansing of the Temple (). The words of the cantata are only generally connected to the readings, asking the soul to return immediately to God's ways. Two movements are based on Bible words, the opening chorus on , movement 4 on . The cantata is closed by verses 6 and 7 of the hymn "" by Johann Heermann (1630), sung on the melody of Martin Luther's "" based on the Lord's Prayer. The words of the free poetry have been attributed to different authors: C. S. Terry suggests Christian Weis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tue Rechnung! Donnerwort, BWV 168
Johann Sebastian Bach composed the church cantata (Settle account! Word of thunder), 168 in Leipzig for the ninth Sunday after Trinity and first performed it on 29 July 1725. Bach set a text by Salomo Franck, a librettist with whom he had worked in Weimar. The text, which Franck had published in 1715, uses the prescribed reading from the Gospel of Luke, the parable of the Unjust Steward, as a starting point for thoughts about the debt of sin and its "payment", using monetary terms. He concluded the text with a stanza from Bartholomäus Ringwaldt's hymn "". Bach structured the cantata in six movements and scored it intimately, as he did for many of Franck's works, for four vocal parts, combined only in the chorale, two oboes d'amore, strings and basso continuo. It is the first new composition in his third year as ' in Leipzig. History and words Bach composed the cantata in Leipzig for the Ninth Sunday after Trinity as the first cantata of his third cantata cycle, being the f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Es Ist Dir Gesagt, Mensch, Was Gut Ist, BWV 45
(It has been told to you, man, what is good), 45 is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the eighth Sunday after Trinity and first performed it on 11 August 1726. History and words Bach composed the cantata in Leipzig for the Eighth Sunday after Trinity. It is part of his third cantata cycle. The prescribed readings for the Sunday are from the Epistle to the Romans, "For as many as are led by the Spirit of God, they are the sons of God" (), and from the Gospel of Matthew, the warning of false prophets from the Sermon on the Mount (). Here and in , composed three weeks before, the text is similar in structure and content to cantatas of Johann Ludwig Bach. The text is attributed to Ernst Ludwig, Duke of Saxe-Meiningen, published in a 1705 collection. The poet chose for the opening a verse of the prophet Micah, "He hath shewed thee, O man, what is good; and what doth the Lord require of thee, but to do justly, and to love mercy, and to walk hu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Es Wartet Alles Auf Dich, BWV 187
Johann Sebastian Bach composed the church cantata (Everything waits for You), 187 in Leipzig for the seventh Sunday after Trinity and first performed it on 4 August 1726. The text came from a 1704 libretto cycle published in Meiningen, following a symmetrical pattern in seven movements, which opens with a quotation from the Old Testament, is focused on a central quotation from the New Testament, and ends with a closing chorale. Symmetrical recitatives and arias form the other movements. Bach set the opening as a chorus based on two verses from Psalm 104, set the central movement as a bass solo on a quotation from the Sermon on the Mount, and concluded with two stanzas from Hans Vogel's hymn "" in a four-part setting. The arias and recitatives are performed by three vocal soloist. The cantata is scored for a Baroque instrumental ensemble of two oboes, strings and continuo. Bach later used the music from four movements of this cantata for his Missa in G minor, BWV 235. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
