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Now Thank We All Our God
"Now thank we all our God" is a popular Christian hymn. Catherine Winkworth translated it from the German "", written by the Lutheran pastor Martin Rinkart. Its hymn tune, Zahn No. 5142, was published by Johann Crüger in the 1647 edition of his ''Praxis pietatis melica''. Background Martin Rinkart was a Lutheran pastor who came to Eilenburg, Saxony, at the beginning of the Thirty Years' War. The walled city of Eilenburg became the refuge for political and military fugitives, but the result was overcrowding, deadly pestilence and famine. Armies overran it three times. The Rinkart home was a refuge for the victims, even though he was often hard-pressed to provide for his own family. During the height of a severe plague in 1637, Rinkart was the only surviving pastor in Eilenburg, conducting as many as 50 funerals in a day. He performed more than 4,000 funerals in that year, including that of his wife. Rinkart was a prolific hymn writer. In Rinkart's (Leipzig, 1636), "" ap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hymn
A hymn is a type of song, and partially synonymous with devotional song, specifically written for the purpose of adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The word ''hymn'' derives from Greek (''hymnos''), which means "a song of praise". A writer of hymns is known as a hymnist. The singing or composition of hymns is called hymnody. Collections of hymns are known as hymnals or hymn books. Hymns may or may not include instrumental accompaniment. Although most familiar to speakers of English in the context of Christianity, hymns are also a fixture of other world religions, especially on the Indian subcontinent (''stotras''). Hymns also survive from antiquity, especially from Egyptian and Greek cultures. Some of the oldest surviving examples of notated music are hymns with Greek texts. Origins Ancient Eastern hymns include the Egyptian ''Great Hymn to the Aten'', composed by Pharaoh Akhenaten; the Hurrian ''Hy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hymn Writer
A hymnwriter (or hymn writer, hymnist, hymnodist, hymnographer, etc.) is someone who writes the text, music, or both of hymns. In the Judeo-Christian tradition, the composition of hymns dates back to before the time of David, who composed many of the Psalms. The term hymnodist, in the United States more than in other regions, broadens the scope to include the study of hymns. History Early Church and Middle Ages Many hymn writers in the early Church gained prominence and achieved canonisation. Saint John of Damascus (c. 675 or 676 – 749) was noted for his work as a hymn writer; some of the most popular English hymns which are translations of his works include ''Come ye faithful, raise the strain'', ''Let us rise in early morning'' and ''The day of resurrection'', all associated with the season of Eastertide and all translated by John Mason Neale. Most early hymnists were anonymous, so it is uncertain how many of them were women. Saint Hildegard of Bingen (1098–1179) is the ea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cambridge University Press
Cambridge University Press is the university press of the University of Cambridge. Granted letters patent by Henry VIII of England, King Henry VIII in 1534, it is the oldest university press A university press is an academic publishing house specializing in monographs and scholarly journals. Most are nonprofit organizations and an integral component of a large research university. They publish work that has been reviewed by schola ... in the world. It is also the King's Printer. Cambridge University Press is a department of the University of Cambridge and is both an academic and educational publisher. It became part of Cambridge University Press & Assessment, following a merger with Cambridge Assessment in 2021. With a global sales presence, publishing hubs, and offices in more than 40 Country, countries, it publishes over 50,000 titles by authors from over 100 countries. Its publishing includes more than 380 academic journals, monographs, reference works, school and uni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Great Eighteen Chorale Preludes
The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ. History Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and ''Konzertmeister'' (director of music) in Weimar, at the court of Wilhelm Ernst, Duke of Saxe-Weimar. As a result of encouragement from the Duke, a devout Lutheran and music lover, Bach developed secular and li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 657
The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ. History Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and ''Konzertmeister'' (director of music) in Weimar, at the court of Wilhelm Ernst, Duke of Saxe-Weimar. As a result of encouragement from the Duke, a devout Lutheran and music lover, Bach developed secular and lit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorale Prelude
In music, a chorale prelude or chorale setting is a short liturgical composition for organ using a chorale tune as its basis. It was a predominant style of the German Baroque era and reached its culmination in the works of J.S. Bach, who wrote 46 (with a 47th unfinished) examples of the form in his Orgelbüchlein, along with multiple other works of the type in other collections. Function The precise liturgical function of a chorale prelude in the Baroque period is uncertain and is a subject of debate. One possibility is that they were used to introduce the hymn about to be sung by the congregation, usually in a Protestant, and originally in a Lutheran, church. This assumption may be valid for the shorter chorale preludes (Bach's setting of 'Liebster Jesu, wir sind hier, BWV 731, for example), but many chorale preludes are very long. It could be the case that these were played during extended ceremonial in church or in cathedrals. Style Chorale preludes are typically polyphonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 386
Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: * four-part harmony * SATB vocal forces * pre-existing hymn tune allotted to the soprano part * text treatment: ** homophonic ** no repetitions (i.e., each syllable of the hymn text is sung one time) Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant: * Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known. * All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the '' Three Wedding Chorales'' collection ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 252
Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: * four-part harmony * SATB vocal forces * pre-existing hymn tune allotted to the soprano part * text treatment: ** homophonic ** no repetitions (i.e., each syllable of the hymn text is sung one time) Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant: * Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known. * All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the '' Three Wedding Chorales'' collection ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 192
(Now thank ye all our God), BWV 192, is a church cantata for Trinity Sunday composed by Johann Sebastian Bach in Leipzig in 1730. It is an incomplete cantata, because its tenor part is missing. It is a chorale cantata, setting the unmodified three stanzas of Martin Rinckart's "Nun danket alle Gott" ("Now Thank We All Our God"). It has been regarded as an expansion of Bach's chorale cantata cycle. History and text Bach composed ''Nun danket alle Gott'' as a chorale cantata for Trinity, setting the unmodified text of the three stanzas of Martin Rinckart's hymn of thanksgiving "Nun danket alle Gott". It was first performed on 4 June 1730. Alfred Dürr assumed that it could have been written for a wedding. It has also been regarded as a cantata for Reformation Day. The cantata is not always seen as included in Bach's chorale cantata cycle. The original score is held by the Staatsbibliothek zu Berlin. The tenor part was lost and has been reconstructed by several scholars; e.g., Günt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 79
Johann Sebastian Bach composed the church cantata (God the Lord is sun and shield), 79, in Leipzig in 1725, his third year as Thomaskantor, for Reformation Day and led the first performance on 31 October 1725. The text was written by an unknown poet, who did not refer to the prescribed readings for the day. Bach began the libretto for the feast with a quotation from Psalm 84 and included two hymn stanzas, the first from Martin Rinckart's "", associated with Reformation Day in Leipzig, as the third movement, and as the last movement the final stanza of Ludwig Helmbold's "". Bach composed a work of "festive magnificence", structured in six movements, with an aria following the opening chorus, a pair of recitative and duet following the first chorale. He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, two transverse flutes (added for a later performance), two oboes, strings and continuo. He achieved a unity wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach Cantata
The cantatas composed by Johann Sebastian Bach, known as Bach cantatas (German: ), are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. As far as known, Bach's earliest cantatas date from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. Most of Bach's church cantatas date from his first years as and director of church music in Leipzig, a position which he took up in 1723. Working for Leipzig's and , it was part of Bach's job to perform a church cantata every Sunday and holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service. In his first years in Leipzig, starting after Trinity of 1723, Bach regularly composed a new cantata every week, although some of these cantatas were adapted (at least in part) from work he had composed before his Leipzig era. Works from three annual cycles of cantatas for the lit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mendelssohn Bartholdy
Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 18094 November 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture and incidental music for ''A Midsummer Night's Dream'' (which includes his " Wedding March"), the '' Italian Symphony'', the ''Scottish Symphony'', the oratorio '' St. Paul'', the oratorio '' Elijah'', the overture '' The Hebrides'', the mature Violin Concerto and the String Octet. The melody for the Christmas carol " Hark! The Herald Angels Sing" is also his. Mendelssohn's '' Songs Without Words'' are his most famous solo piano compositions. Mendelssohn's grandfather was the renowned Jewish philosopher Moses Mendelssohn, but Felix was initially raised without religion. He was baptised at the age of seven, becoming a Reformed Chr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
