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Reconstruction Of Music By Johann Sebastian Bach
Lost versions of compositions by Johann Sebastian Bach can be reconstructed on the basis of extant versions of similar music. Reasons for such reconstructions include extension of the repertoire and testing hypotheses about the genesis history of known pieces. For instance, in the late 19th century it was discovered that Bach likely transcribed his Concerto for two harpsichords in C minor, BWV 1060, from a lost earlier version for violin and oboe. Reconstructions of BWV 1060 to its presumed original version, published from the 1920s, extended the Bach repertoire for oboists. A more elaborate undertaking was the reconstruction of Bach's lost St Mark Passion, BWV 247, ''St Mark Passion'', BWV 247: its libretto, printed in 1732, survived without music.Picander (=Christian Friedrich Henrici)''Ernst-Schertzhaffte und Satyrische Gedichte'', Volume III.Leipzig: Joh. Theod. Boetii Tochter (1732; 2nd printing 1737)pp. 49–69. Bach's two surviving Passions (''St Matthew Pa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Sebastian Bach
Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the '' Brandenburg Concertos''; instrumental compositions such as the Cello Suites; keyboard works such as the '' Goldberg Variations'' and '' The Well-Tempered Clavier''; organ works such as the '' Schubler Chorales'' and the Toccata and Fugue in D minor; and vocal music such as the '' St Matthew Passion'' and the Mass in B minor. Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at the age of 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical education in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach-Werke-Verzeichnis
The (BWV; ; ) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. For example, BWV 992 was composed many years before BWV 1. BWV numbers were assigned to 1,126 compositions in the 20th century, and more have been added to the catalogue in the 21st century. The Anhang (Anh.; Annex) of the BWV lists over 200 lost, doubtful and spurious compositions. History The first edition of the ''Bach-Werke-Verzeichnis'' was published in 1950. It allocated a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following the 19th-century Bach Gesellschaft (BG) editio ... [...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] |
Ton Koopman
Antonius Gerhardus Michael Koopman (; born 2 October 1944), known professionally as Ton Koopman, is a Dutch conductor, organist, harpsichordist, and musicologist, primarily known for being the founder and director of the Amsterdam Baroque Orchestra & Choir. He is a professor at the Royal Conservatory of The Hague and the University of Leiden. In April 2003 he was knighted in the Netherlands, and received the Order of the Netherlands Lion. Biography Koopman had a "classical education" and then studied the organ (with Simon C. Jansen), harpsichord (with Gustav Leonhardt), and musicology at the Amsterdam conservatory. He specialized in Baroque music and received the Prix d'Excellence for both organ and harpsichord. In the organ, he never learned how to play with heels and toes, and because of his short height, always plays with his toes on the pedalboard. This is an authentic Baroque practice. Koopman founded the Amsterdam Baroque Orchestra in 1979 and the Amsterdam Baroque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Herr, Wenn Die Stolzen Feinde Schnauben, BWV 248 VI
(Lord, when our insolent enemies snort), BWV 248VI (also written as BWV 248 VI), is a church cantata for Epiphany, which Johann Sebastian Bach composed as the sixth part of his ''Christmas Oratorio'', written for the Christmas season of 1734–35 in Leipzig.Bach Digital Work The cantata was first performed on . History Bach had been presenting church cantatas for the Christmas season in the Thomaskirche (''St. Thomas'') and Nikolaikirche (''St. Nicholas'') since his appointment as director musices in Leipzig in 1723, including these cantatas for Epiphany: * As part of his first cantata cycle: ''Sie werden aus Saba alle kommen'', BWV 65, first performed in 1724. * As part of his second cantata cycle: ''Liebster Immanuel, Herzog der Frommen'', BWV 123, first performed in 1725.Bach Digital Work Cantata fragment BWV 248 VI a , also indicated as BWV 248a, is a fragment of a cantata, transmitted without text, the opening chorus of which Bach likel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 248a
(Lord, when our insolent enemies snort), BWV 248VI (also written as BWV 248 VI), is a church cantata for Epiphany, which Johann Sebastian Bach composed as the sixth part of his ''Christmas Oratorio'', written for the Christmas season of 1734–35 in Leipzig.Bach Digital Work The cantata was first performed on . History Bach had been presenting church cantatas for the Christmas season in the Thomaskirche (''St. Thomas'') and Nikolaikirche (''St. Nicholas'') since his appointment as director musices in Leipzig in 1723, including these cantatas for Epiphany: * As part of his first cantata cycle: ''Sie werden aus Saba alle kommen'', BWV 65, first performed in 1724. * As part of his second cantata cycle: ''Liebster Immanuel, Herzog der Frommen'', BWV 123, first performed in 1725.Bach Digital Work Cantata fragment BWV 248 VI a , also indicated as BWV 248a, is a fragment of a cantata, transmitted without text, the opening chorus of which Bach like ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michaelmas
Michaelmas ( ; also known as the Feast of Saints Michael, Gabriel, and Raphael, the Feast of the Archangels, or the Feast of Saint Michael and All Angels) is a Christian festival observed in some Western liturgical calendars on 29 September, and on 8 November in the Eastern tradition. Michaelmas has been one of the four quarter days of the English and Irish financial, judicial, and academic year. In Christian angelology, the Archangel Michael is the greatest of all the angels; he is particularly honored for defeating Lucifer in the war in heaven. History In the fifth century, a basilica near Rome was dedicated in honour of Saint Michael the Archangel on 30 September, beginning with celebrations on the eve of that day. 29 September is now kept in honour of Saint Michael and all Angels throughout some western churches. The name Michaelmas comes from a shortening of "Michael's Mass", in the same style as Christmas (Christ's Mass) and Candlemas (Candle Mass, the Mass where t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auf, Schmetternde Töne Der Muntern Trompeten, BWV 207a
' (Arise, blaring tones of high-spirited trumpets), BWV 207.2 (previously BWV 207a), is a secular cantata composed by Johann Sebastian Bach and likely premiered in 1735. It utilizes the music from the third movement of the Brandenburg Concerto No. 1 in F major. Composition This cantata was composed for the name day of the Elector of Saxony, King Augustus III of Poland which was celebrated on 3 August. The work was likely premiered in Leipzig in 1735. It is largely based on an earlier secular cantata ''Vereinigte Zwietracht der wechselnden Saiten'', BWV 207.1, which was first performed in 1726. It is counted among the works Bach wrote for celebrations of the Leipzig University, ''Festmusiken zu Leipziger Universitätsfeiern''. Scoring and structure The cantata is scored for soprano, alto, tenor, and bass soloists, four-part choir, three trumpets, timpani, two flauto traverso, two oboes d'amore, tenor oboe (taille), bassoon, two violins, viola, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Secular Cantatas By Johann Sebastian Bach
Apart from his hundreds of church cantatas, Johann Sebastian Bach wrote secular cantatas in Weimar, Köthen and Leipzig, for instance for members of the Royal-Polish and Prince-electoral Saxonian family (e.g. '' Trauer-Ode''), or other public or private occasions (e.g. '' Hunting Cantata''). The text of these cantatas was occasionally in dialect (e.g. '' Peasant Cantata'') or in Italian (e.g. ''Amore traditore''). Many of the secular cantatas were lost, but for some of these the text and the occasion are known, for instance when Picander later published their libretto (e.g. BWV Anh. 11– 12). Some of the secular cantatas had a plot carried by mythological figures of Greek antiquity (e.g. '' Der Streit zwischen Phoebus und Pan''), others were almost miniature buffo operas (e.g. ''Coffee Cantata''). Extant secular cantatas are published in the New Bach Edition (Neue Bach-Ausgabe, NBA), Series I, volumes 35 to 40, with the two Italian cantatas included in volume 41. The Ba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vereinigte Zwietracht Der Wechselnden Saiten, BWV 207
(united discord of quivering strings), BWV 207.1 (formerly BWV 207), is a secular cantata composed by Johann Sebastian Bach and first performed on 11 December 1726 in Leipzig. History and text Bach wrote several works for celebrations of the Leipzig University, ''Festmusiken zu Leipziger Universitätsfeiern''. He composed this congratulatory cantata to celebrate the appointment of Gottlieb Kortte as professor of Roman Law. The librettist of the work is unknown: it may have been Picander, who had been providing libretti for Bach from at least the previous year when they collaborated on another academic cantata, . Bach incorporated music from his first Brandenburg Concerto, which was composed years earlier, for the opening chorus. The concerto's third movement is used, with trumpets replacing the concerto's horns, and some of the instrumental music is given to the choir. Bach led the first performance on 11 December 1726. The cantata became the basis for a similar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aria
In music, an aria ( Italian: ; plural: ''arie'' , or ''arias'' in common usage, diminutive form arietta , plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, 'Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic po ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parody (music)
Parody music, or musical parody, involves changing or copying existing (usually well known) musical ideas, and/or lyrics, or copying the particular style of a composer or performer, or even a general style of music. In music, parody has been used for many different purposes and in various musical contexts: as a serious compositional technique, as an unsophisticated re-use of well-known melody to present new words, and as an intentionally humorous, even mocking, reworking of existing musical material, sometimes for satirical effect. Examples of musical parody with completely serious intent include parody masses in the 16th century, and, in the 20th century, the use of folk tunes in popular song, and neo-classical works written for the concert hall, drawing on earlier styles. "Parody" in this serious sense continues to be a term in musicological use, existing alongside the more common use of the term to refer to parody for humorous effect. Etymology The word "parody" derives fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
