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Fugue In G Minor, BWV 131a
The Fugue in G minor, BWV 131a, is a piece of organ music attributed to Johann Sebastian Bach. It is a transcription of the last movement of his Bach cantata, cantata , BWV 131. The cantata is definitely by Bach, while the arrangement for organ is regarded by some authorities (from Philipp Spitta, Spitta onwards) as spurious. The organ version likely originated after the cantata, which was composed in 1707. Publication The piece was published in 1891 in the Bach-Gesellschaft Ausgabe, the first complete edition of the composer's works. It was edited by Ernst Naumann.Bach-Gesellschaft Ausgabe, Vol. 38. Leipzig: Breitkopf und Härtel, 1891. Relationship with the cantata The key of G minor, sometimes associated with sadness, is used extensively in the cantata, which sets Psalm 130, one of the penitential psalms. Scoring of the cantata In the cantata the fugue (a Fugue#Permutation fugue, permutation fugue) is sung by the choir. The score of the cantata does not feature an organ part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 131a
The Fugue in G minor, BWV 131a, is a piece of organ music attributed to Johann Sebastian Bach. It is a transcription of the last movement of his Bach cantata, cantata , BWV 131. The cantata is definitely by Bach, while the arrangement for organ is regarded by some authorities (from Philipp Spitta, Spitta onwards) as spurious. The organ version likely originated after the cantata, which was composed in 1707. Publication The piece was published in 1891 in the Bach-Gesellschaft Ausgabe, the first complete edition of the composer's works. It was edited by Ernst Naumann.Bach-Gesellschaft Ausgabe, Vol. 38. Leipzig: Breitkopf und Härtel, 1891. Relationship with the cantata The key of G minor, sometimes associated with sadness, is used extensively in the cantata, which sets Psalm 130, one of the penitential psalms. Scoring of the cantata In the cantata the fugue (a Fugue#Permutation fugue, permutation fugue) is sung by the choir. The score of the cantata does not feature an organ part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm 130
Psalm 130 is the 130th psalm of the Book of Psalms, one of the penitential psalms and one of 15 psalms that begin with the words "A song of ascents" (Shir Hama'alot). The first verse is a call to God in deep sorrow, from "out of the depths" or "out of the deep", as it is translated in the King James Version of the Bible and the Coverdale translation (used in the Book of Common Prayer) respectively. In Latin, it is known as De profundis. In the slightly different numbering system used in the Greek Septuagint version of the Bible, and in the Latin Vulgate, this psalm is Psalm 129. The New American Bible Revised Edition (2010) divides the psalm into two parts: verses 1-4 are a cry for mercy; verses 5-8 are a model expression of trust in God. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. It is paraphrased in hymns such as Martin Luther's "Aus tiefer Not schrei ich zu dir" in German. The psalm has often been set to music, b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arrangements Of Compositions By Johann Sebastian Bach
In music, an arrangement is a musical adaptation of an existing composition. Differences from the original composition may include reharmonization, melodic paraphrasing, orchestration, or formal development. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, and endings. Arranging is the art of giving an existing melody musical variety".(Corozine 2002, p. 3) In jazz, a memorized (unwritten) arrangement of a new or pre-existing composition is known as a ''head arrangement''. Classical music Arrangement and transcriptions of classical and serious music go back to the early history of this genre. Eighteenth century J.S. Bach frequently made arrangements of his own and other composers' pieces. On ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugues By Johann Sebastian Bach
In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short main ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach Cantatas (Koopman)
The Bach cantatas project of Ton Koopman was the first complete recording of all the cantatas, including the 21 secular cantatas. Koopman conducted the Amsterdam Baroque Orchestra & Choir and guest solo singers. The project began in 1995 and was completed in 2005 on 67 CDs. It was the second recording of the 193 sacred cantatas after the Harnoncourt-Leonhardt Bach cantatas project to use early instruments. Koopman unlike Nikolaus Harnoncourt and Gustav Leonhardt did not use boy choirs, but female sopranos, although Bach would have mainly used boys' voices to perform the soprano lines of his cantatas. Koopman's project started on Erato Records, but was nearly derailed when Warner — which had acquired the Harnoncourt-Leonhardt Bach cantata recordings when it acquired Teldec from Telefunken in 1988 — also acquired Erato, thus making Koopman's new project a duplication within Warner's catalogue. Koopman was initially confident, and the project continued under Warner ownership ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emmanuel Music
Emmanuel Music is a Boston-based collective group of singers and instrumentalists founded in 1970 by Craig Smith. It was created specifically to perform the complete cycle of over 200 sacred cantatas of J. S. Bach in the liturgical setting for which they were intended, an endeavor twice completed and a tradition which continues today. Over the years, Emmanuel Music has garnered critical and popular acclaim through its presentations of large-scale and operatic works by Bach, Handel, Schubert, and Mozart as well as its in-depth exploration of the complete vocal, piano, and chamber works of Debussy, Brahms, Schubert, Schumann, and currently, Beethoven. A unique aspect of Emmanuel performances is its selection of vocal and instrumental soloists from a corps of musicians who have long been associated with the group. Emmanuel Music has given rise to renowned musicians at the local, national, and international level; its long-standing association with Pulitzer Prize-winning composer John H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basso Continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing the continuo part are called the ''continuo group''. Forces The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello, double bass, bass viol, or bassoon. In modern performances of chamber works, the most common combination is harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ and cello for sacred music. A double bass may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue
In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Penitential Psalms
The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms Psalm 6, 6, Psalm 32, 31, Psalm 38, 37, Psalm 51, 50, Psalm 102, 101, Psalm 130, 129, and Psalm 143, 142 (6, 32, 38, 51, 102, 130, and 143 in the Hebrew numbering). *Psalm 6 – Domine, ne in furore tuo arguas me. (Pro octava). (O Lord, rebuke me not in thy indignation. (For the octave.)) *Psalm 31 (32) – Beati quorum remissae sunt iniquitates. (Blessed are they whose iniquities are forgiven.) *Psalm 37 (38) – Domine ne in furore tuo arguas me. (in rememorationem de sabbato). (O Lord, rebuke me not in thy indignation. (For a remembrance of the Sabbath.)) *Psalm 50 (51) – Miserere mei, Deus, secundum magnam misericordiam tuam. (Have mercy on me, O God, according to thy great mercy.) *Psalm 101 (102) – Domine, exaudi orationem meam, et clamor meus ad te veniat. (O Lord, hear my prayer, and let my cry come unto thee.) *Psalm 129 (130) – De profundis clama ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
G Minor
G minor is a minor scale based on G, consisting of the pitches G, A, B, C, D, E, and F. Its key signature has two flats. Its relative major is B-flat major and its parallel major is G major. According to Paolo Pietropaolo, it is the contrarian of musical keys. It is smart, argumentative, and stubborn. The G natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G harmonic minor and melodic minor scales are: : : Mozart's use of G minor G minor has been considered the key through which Wolfgang Amadeus Mozart best expressed sadness and tragedy, and many of his minor key works are in G minor, such as Piano Quartet No. 1 and String Quintet No. 4. Though Mozart touched on various minor keys in his symphonies, G minor is the only minor key he used as a main key for his numbered symphonies ( No. 25, and the famous No. 40). In the Classical period, symphonies in G minor almos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Organ Music
The organ repertoire is considered to be the largest and oldest repertory of all musical instruments. Because of the organ's (or pipe organ's) prominence in worship in Western Europe from the Middle Ages on, a significant portion of organ repertoire is sacred in nature. The organ's suitability for improvisation by a single performer is well adapted to this liturgical role and has allowed many blind organists to achieve fame; it also accounts for the relatively late emergence of written compositions for the instrument in the Renaissance. Although instruments are still disallowed in most Eastern churches, organs have found their way into a few synagogues as well as secular venues where organ recitals take place. Renaissance The earliest surviving keyboard compositions (keyboard music was not instrument-specific until the sixteenth century) are from England (Robertsbridge Codex c. 1365) and Italy (Faenza Codex, 15th century). The organ is specified in Marco Antonio Cavazzoni's ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Breitkopf Und Härtel , a German music publishing house
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Breitkopf may refer to: * Bernhard Christoph Breitkopf, (1695-1777) founder of Breitkopf & Härtel * Johann Gottlob Immanuel Breitkopf, (1719-1794) son of Bernhard Cristoph Breitkopf * Michael Breitkopf, member of German band Die Toten Hosen * Breitkopf & Härtel Breitkopf & Härtel is the world's oldest music publishing house. The firm was founded in 1719 in Leipzig by Bernhard Christoph Breitkopf. The catalogue currently contains over 1,000 composers, 8,000 works and 15,000 music editions or books on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
