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Salomon Franck
Salomon (also Salomo) Franck, 6 March 1659 – 11 July 1725), was a German lawyer, scientist, and poet. Franck was working at Weimar at the same time as the composer Johann Sebastian Bach and he was the librettist of some of the best-known Bach cantatas. Biography Franck was born in Weimar. After studying law and theology at Jena he held government posts at Zwickau, Arnstadt, Jena and Weimar, where he died. Records show that, as of 1702, Franck was secretary of the high Consistory, managing the numismatic collection and the library records for the court of Duke of Saxe-Weimar, William Ernest. Franck had already written several secular cantata texts prior to his association with Johann Sebastian Bach, e.g. ''Himmelsflammende Wunschopfer'', which was performed at Weimar castle in 1697. Franck also wrote many sacred texts. His earliest church-cantata texts were written in the older form, consisting of verses from the Bible and strophic songs. In 1711 he used for the first ... [...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 Protestant c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 31
(Heaven laughs! Earth exults), 31, is a church cantata by Johann Sebastian Bach for the first day of Easter. Bach composed the cantata in Weimar and first performed it on 21 April 1715. History and words On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the (palace church), on a monthly schedule. Bach composed the cantata for Easter Sunday in 1715. The prescribed readings for the feast day were from the First letter to the Corinthians, "Christ is our Easter lamb" (), and from the Gospel of Mark, the Resurrection of Jesus (). The text was written by the Weimar poet Salomon Franck who published it in (Evangelical Devotional Offering). The verses consist purely of free poetry and interpret the Easter message, connected to the request to believers to let Jesus also be resurr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 182
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) edition f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
BWV 165
(O holy bath of Spirit and water), 165, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Trinity Sunday and led the first performance on 16 June 1715. Bach had taken up regular cantata composition a year before when he was promoted to concertmaster at the Weimar court, writing one cantata per month to be performed in the , the court chapel in the ducal ''Schloss''. was his first cantata for Trinity Sunday, the feast day marking the end of the first half of the liturgical year. The libretto by the court poet Salomo Franck is based on the day's prescribed gospel reading about the meeting of Jesus and Nicodemus. It is close in content to the gospel and connects the concept of the Trinity to baptism. The music is structured in six movements, alternating arias and recitatives, and scored for a small ensemble of four vocal parts, strings and continuo. The voices are combined only in the closing chorale, the fifth stanza of Ludwig Helmbold's hymn "", which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
BWV 163
(To each his own!), , is a church cantata by Johann Sebastian Bach. He composed the work in Weimar for the twenty-third Sunday after Trinity and first performed it on 24 November 1715. This work was part of Bach's sequence of monthly church cantatas for the Weimar court, which he began in 1714. It was the first piece performed after a mourning period of several months for Prince Johann Ernst. The text, written by the court poet Salomon Franck, is based on the prescribed gospel reading for the Sunday, " Render unto Caesar...", and includes several allusions to money and gold. The cantata has six movements, beginning with an aria for tenor, followed by two pairs of recitatives and arias, one for bass and the other for the duet of soprano and alto, and a concluding chorale. Similar to other cantatas on words by Franck, the work is scored for a small Baroque chamber ensemble of two violins, viola, two cellos and continuo. Bach composed a unique aria with a dark texture of a bass v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 161
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) edition f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 155
' (My God, how long, ah, how long), 155, is a church cantata by Johann Sebastian Bach. He first performed it in Weimar on the second Sunday after Epiphany, on 19 January 1716. History and words On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the ''Schlosskirche'' (palace church or ducal chapel), on a monthly schedule. He wrote this cantata for the Second Sunday after Epiphany. The prescribed readings for the Sunday were taken from the Epistle to the Romans, "We have several gifts" (), and from the Gospel of John, the Marriage at Cana (). The cantata text was written by the court poet Salomon Franck and published in 1715 in '. He expanded one thought from the gospel: Jesus is still hidden, but the "soul" may trust that he will appear at the right time. The poet uses images ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 152
(Step upon the path of faith), 152, is a church cantata by Johann Sebastian Bach. He composed this Bach cantata, dialogue cantata in Weimar for the Sunday after Christmas and first performed it on 30 December 1714. History and words On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes William Ernest, Duke of Saxe-Weimar, Wilhelm Ernst and Ernest Augustus I, Duke of Saxe-Weimar-Eisenach, Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the ''Schlosskirche, Weimar, Schlosskirche'' (palace church), on a monthly schedule. He composed the cantata for the List of church cantatas by liturgical occasion#First Sunday after Christmas (Christmas I), Sunday after Christmas. The prescribed readings for the Sunday were from the Epistle to the Galatians, through Christ we are free from the law (), and from the Gospel of Luke, Simeon (Gospel of Luke), Simeon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 147
Johann Sebastian Bach composed the church cantata ' (Heart and mouth and deed and life), 147 in 1723 during his first year as ''Thomaskantor'', the director of church music in Leipzig. His cantata is part of his first cantata cycle there and was written for the Marian feast of the Visitation on 2 July, which commemorates Mary's visit to Elizabeth as narrated in the Gospel of Luke in the prescribed reading for the feast day. Bach based the music on his earlier cantata BWV 147a, written originally in Weimar in 1716 for Advent. He expanded the Advent cantata in six movements to ten movements in two parts in the new work. While the text of the Advent cantata was written by the Weimar court poet Salomo Franck, the librettist of the adapted version who added several recitatives is anonymous. Bach began the cantata with a chorus for the full orchestra, followed by alternating recitatives and arias with often obbligato instrument. He scored it for four vocal soloists, a four-part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 132
Johann Sebastian Bach composed the church cantata ' (Prepare the paths, prepare the road), 132, in Weimar in 1715 for the fourth Sunday of Advent and led the first performance on 22 December 1715. Bach had taken up regular cantata composition a year before when he was promoted to concertmaster at the Weimar court, writing one cantata per month to be performed in the ', the court chapel in the ducal ''Schloss''. ' was his first cantata for the fourth Sunday in Advent. The libretto by the court poet Salomo Franck is related to the day's prescribed gospel reading, the testimony of John the Baptist. Franck derives from it thoughts about baptism as a preparation of the individual Christian who is addressed as a limb of Christ. Bach structured the music in six movements of alternating arias and recitatives, and scored it for a small ensemble of four vocal parts, oboe, strings and continuo. The voices are combined only in the closing chorale, the fifth stanza of Elisabeth Cruciger's h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
