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Ich Lasse Dich Nicht, BWV Anh. 159
' (I will not let you go unless you bless me), 1164 (renumbered from ), is a motet for SATB double choir which was attributed to Johann Sebastian Bach when it was first published in 1802. Around 1823 the motet was published as a composition by Johann Christoph Bach, Johann Sebastian's father's cousin, after which its attribution became a matter of discussion among scholars. The motet consists of two movements: the oldest extant manuscript of its first movement was partly written by Johann Sebastian, in 1712, or early 1713 at the latest. Its second movement is without doubt a chorale harmonisation by Johann Sebastian composed before , when a version of this setting was copied in the Dietel manuscript, but it is uncertain when, and by whom, it was added to the first movement. Notwithstanding an 18th-century catalogue entry apparently describing the motet as a work for four voices with basso continuo, it is transmitted as an a cappella composition for eight voices without any fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motet
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the name ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dictum (music)
In music, a ''dictum'' (Latin 'something that has been said'; plural dicta) is a type of libretto for a church cantata consisting of quotes from sacred scripture. When Erdmann Neumeister introduced the cantata concept for sacred music in early 18th-century Protestantism, Protestant Germany, his librettos originally had only two types of movements: recitatives and arias. The text of these movements was the poetic (i.e., in verse (poetry), verse) elaboration of some religious thought. In Neumeister's original concept both of these types of movements were to be sung by vocal soloists. Soon thereafter, for instance in a set of Church cantatas of Bach's third to fifth year in Leipzig#Libretto cycle published in Meiningen, cantata librettos published in Meiningen in 1704, two other types of movements, both deriving from earlier genres such as Chorale concerto and Geistliches Konzert, were combined in the cantata librettos: chorales and dicta. The chorale movements typically quoted from Lu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melchior Franck
Melchior Franck (c. 1579 – 1 June 1639) was a German composer of the late Renaissance and early Baroque eras. He was a hugely prolific composer of Protestant church music, especially motets, and assisted in bringing the stylistic innovations of the Venetian School north across the Alps into Germany. Life Details of his early life are sparse, as is common for composers of the time. He was born in Zittau, and possibly studied with Christoph Demantius there, and also later with Adam Gumpelzhaimer in Augsburg. By 1601 Franck was in Nuremberg, as a music teacher; there he met Hans Leo Hassler, and learned from him both the Venetian polychoral style and the polyphonic style of the high Renaissance, both of which he incorporated into his own composition. In 1602 he took a position as ''Kapellmeister'' in Coburg to Prince Johann Casimir, and he remained in Coburg for the rest of his life. For the earlier portion of this time, the situation was ideal for him; he was supported by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Evangelienmotetten
''Evangelienmotetten'' or Gospel motets (sometimes called ''Spruchmotetten'', "Bible-text motets") were settings to music of verses from the New Testament. They were selected as an essence or ''Kernspruch'' ("text-kernel") of the verses in question, with the intention of highlighting dramatically or summarising in a terse fashion a significant thought from the Gospels. There is a long tradition in Germany, dating back to the medieval era, of highlighting the importance of gospel readings through polyphonic musical settings of gospel texts. They became an increasingly popular genre from the 16th century onwards and were intended for use in Lutheran church services. They could thus be written in either Latin or German. The latter came to predominate by the end of the 16th century due to the emphasis placed by the Reformation on the need to make the Bible accessible to all people through the use of the vernacular language. During the late 16th and early 17th centuries a number of comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motet (Bach)
It is uncertain how many motets Johann Sebastian Bach composed, because some have been lost, and there are some doubtful attributions among the surviving ones associated with him. There is a case for regarding the six motets catalogued BWV 225–230 as being authenticated, although there is some doubt about one of them, ''Lobet den Herrn, alle Heiden''. A seventh motet, ''Ich lasse dich nicht'', BWV Anh. 159, which was formerly attributed to Bach's older cousin Johann Christoph Bach, appears to be at least partly by J.S. Bach, and if so was probably composed during his Weimar period. BWV 228 is another motet which appears to have been written at Weimar, between 1708 and 1717, the others having been composed in Leipzig. Several of the motets were written for funerals. There is some uncertainty as to the extent that motets would have been called for in normal church services—there is evidence that the form was considered archaic. The text of ''Jauchzet dem Herrn, alle Welt'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Max Schneider (music Historian)
Max Schneider (20 July 1875 – 5 May 1967) was a German music historian. Life Born in Eisleben, Schneider studied musicology at the University of Leipzig with Hermann Kretzschmar and Hugo Riemann and composition with Salomon Jadassohn. After his time as second Kapellmeister in Halle from 1897 to 1901, he continued his studies of music history with Kretzschmar. In 1904, he moved to Berlin, where he worked from 1905 to 1915 as a "scientific assistant" at the Alte Bibliothek. At the Royal Music Institute of Berlin, Schneider learnt orchestration and received the title of professor in 1913. In 1915, he accepted a professorship at the University of Breslau; two years later he obtained his doctorate with a dissertation on the beginnings of the basso continuo. From 1927, he was director of the in Breslau. In 1928, he succeeded Arnold Schering as professor for musicology at the Martin-Luther-University of Halle-Wittenberg. After 1933, Schneider was member of the organizations Natio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New Bach Edition
The New Bach Edition (NBE) (german: Neue Bach-Ausgabe; NBA), is the second complete edition of the music of Johann Sebastian Bach, published by Bärenreiter. The name is short for Johann Sebastian Bach (1685–1750): New Edition of the Complete Works (''Johann Sebastian Bach (1685–1750): Neue Ausgabe sämtlicher Werke''). It is a historical-critical edition (German: ''historisch-kritische Ausgabe'') of Bach's complete works by the Johann Sebastian Bach Institute (Johann-Sebastian-Bach-Institut) in Göttingen and the Bach Archive (Bach-Archiv) in Leipzig, When Bach died most of his work was unpublished. The first complete edition of Bach's music was published in the second half of the nineteenth century by the Bach Gesellschaft (Bach-Gesellschaft Ausgabe, BGA). The second complete edition includes some discoveries made since 1900, but there are relatively few such scores. The significance of the NBE lies more in its incorporation of the latest scholarship. Although the NBE is an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach-Gesellschaft Ausgabe
Joh. Seb. Bach's Werke () is the Bach Gesellschaft's collected edition of Johann Sebastian Bach's compositions, published in 61 volumes in the second half of the 19th century. The series is also known as Bach-Gesellschaft edition (german: Bach-Gesellschaft Ausgabe; BGA). It is also referred to as ''Bach-Gesamtausgabe'' (BG; ). It is a German-language edition: title pages and notes by editors are exclusively in German. A supplemental volume was published in 1926, quarter of a century after the Bach Gesellschaft's dissolution. Another late addition to the series was Max Schneider's 1935 revision of the fourth volume. All volumes, including the 20th-century additions, were published by Breitkopf & Härtel. As complete edition of Bach's works it was succeeded by the New Bach Edition, published from 1954 to 2007. Volumes The Year (Yr.) in the second column refers to the volume's date of publication, that is the date of the editor's ('Preface') if different from the date on the title pa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Altbachisches Archiv
, also (ABA, old-Bachian archive), is a collection of 17th-century vocal music, most of which was written by members of the Bach family. History Johann Ambrosius Bach, Johann Sebastian's father, supposedly started to collect compositions by his relatives. Johann Sebastian Bach's obituary starts with an overview of the composers whose works are contained in the . Carl Philipp Emanuel Bach, Johann Sebastian's son and co-author of his obituary, retained the collection and gave it its name. After his death the largest part of the collection came, via , in the possession of the Sing-Akademie zu Berlin. All nine motets of the Sing-Akademie's part of the ABA collection, including BWV 1164, at the time attributed to Johann Christoph Bach, were published in the early 1820s. The manuscripts of two compositions contained in the Sing-Akademie's part of the ABA collection were sold to the Royal Library in Berlin (later renamed as Berlin State Library): thus BNB I/B/11 and BWV ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach Family
The Bach family refers to several notable composers of the Baroque music, baroque and Classical period (music), classical periods of music, the best-known of whom was Johann Sebastian Bach (1685–1750). A family genealogy was drawn up by Johann Sebastian Bach himself in 1735 when he was 50 and was completed by his son Carl Philipp Emanuel Bach, Carl Philipp Emanuel. Ancestors of Johann Sebastian Bach Four branches of the Bach family were known at the beginning of the 16th century; a Hans Bach of Wechmar, a village between Gotha and Arnstadt in Thuringia, is known to have been alive in 1561. He is believed to be the father of Veit Bach. * Veit (Vitus) Bach (c. 1550–1619, Wechmar) was, according to Johann Sebastian's genealogy, "a white-bread baker in Hungary" who had to flee Hungary because he was a Lutheranism, Lutheran, settling in Wechmar. He "found the greatest pleasure in a little cittern which he took with him even into the mill"; * His son Johannes Bach I (c. 1580–16 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carl Philipp Emanuel Bach
Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788), also formerly spelled Karl Philipp Emmanuel Bach, and commonly abbreviated C. P. E. Bach, was a German Classical period musician and composer, the fifth child and second surviving son of Johann Sebastian Bach and Maria Barbara Bach. C. P. E. Bach was an influential composer working at a time of transition between his father's Baroque style and the Classical style that followed it. His personal approach, an expressive and often turbulent one known as ' or 'sensitive style', applied the principles of rhetoric and drama to musical structures. His dynamism stands in deliberate contrast to the more mannered galant style also then in vogue. To distinguish him from his brother Johann Christian, the "London Bach", who at this time was music master to Queen Charlotte of Great Britain, C. P. E. Bach was known as the "Berlin Bach" during his residence in that city, and later as the "Hamburg Bach" when he suc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thomaskantor
(Cantor at St. Thomas) is the common name for the musical director of the , now an internationally known boys' choir founded in Leipzig in 1212. The official historic title of the Thomaskantor in Latin, ', describes the two functions of cantor and director. As the cantor, he prepared the choir for service in four Lutheran churches, Thomaskirche (St. Thomas), Nikolaikirche (St. Nicholas), Neue Kirche (New Church) and Peterskirche (St. Peter). As director, he organized music for city functions such as town council elections and homages. Functions related to the university took place at the Paulinerkirche. Johann Sebastian Bach was the most famous , from 1723 to 1750. Position Leipzig has had a university dating back to 1409, and is a commercial center, hosting a trade fair first mentioned in 1165. It has been mostly Lutheran since the Reformation. The position of Thomaskantor at Bach's time has been described as "one of the most respected and influential musical offices of P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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