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Sei Lob Und Ehr Dem Höchsten Gut, BWV 117
' (Praise and honour be to the highest good), BWV 117, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig between 1728 and 1731 for no specific occasion, based on the hymn by Johann Jacob Schütz. History and text Bach composed the chorale cantata in Leipzig between 1728 and 1731 for no specific occasion, based on the hymn by Johann Jakob Schütz. Musicologist Julian Mincham suggests two possibilities: it may have been intended as a "general-purpose" cantata, able to be used for almost any occasion with only minimal changes; or it may have been written for a ceremony of some kind, likely a wedding. Scoring and structure The work is scored for three vocal soloists (alto, tenor, and bass), a four-part choir, two flutes, two oboes, two oboes d'amore, two violins, viola, and basso continuo. Despite being only twenty minutes long, the cantata includes nine movements. #Chorale: ' #Recitative (bass): ' #Aria (tenor): ' #Chorale: ' #Recitativ ... [...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) edition f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Triple Meter
Triple metre (or Am. triple meter, also known as triple time) is a musical metre characterized by a ''primary'' division of 3 beats to the bar, usually indicated by 3 (simple) or 9 (compound) in the upper figure of the time signature, with , , and being the most common examples. The upper figure being divisible by three does not of itself indicate triple metre; for example, a time signature of usually indicates compound duple metre, and similarly usually indicates compound quadruple metre. Shown below are a simple and a compound triple drum pattern. \new Staff \new Staff Stylistic differences In popular music, the metre is most often quadruple,Schroedl, Scott (2001). ''Play Drums Today!'', p. 42. Hal Leonard. . but this does not mean that triple metre does not appear. It features in a good amount of music by artists such as The Chipmunks, Louis Armstrong or Bob Dylan. In jazz, this and other more adventurous metres have become more common since Dave Brubeck's albu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Word Painting
Word painting, also known as tone painting or text painting, is the musical technique of composing music that reflects the literal meaning of a song's lyrics or story elements in programmatic music. Historical development Tone painting of words goes at least as far back as Gregorian chant. Musical patterns expressed both emotive ideas and theological meanings in these chants. For instance, the pattern ''fa-mi-sol-la'' signifies the humiliation and death of Christ and his resurrection into glory. ''Fa-mi'' signifies deprecation, while ''sol'' is the note of the resurrection, and ''la'' is above the resurrection, His heavenly glory ("''surrexit Jesus''"). Such musical words are placed on words from the Biblical Latin text; for instance when ''fa-mi-sol-la'' is placed on "''et libera''" (e.g., introit for Sexagesima Sunday) in the Christian faith it signifies that Christ liberates us from sin through his death and resurrection. Word painting developed especially in the late 16th cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Obbligato
In Western classical music, ''obbligato'' (, also spelled ''obligato'') usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking ''ad libitum''. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified instrument, without changes or omissions. The word is borrowed from Italian (an adjective meaning ''mandatory''; from Latin ''obligatus'' p.p. of ''obligare'', to oblige); the spelling ''obligato'' is not acceptable in British English, but it is often used as an alternative spelling in the US. The word can stand on its own, in English, as a noun, or appear as a modifier in a noun phrase (e.g. ''organ obbligato''). Independence ''Obbligato'' includes the idea of independence, as in C.P.E. Bach's 1780 Symphonies "''mit zwölf obligaten Stimmen''" ("with twelve ''obbligato'' parts") by which Bach was referring to the independent woodwind parts he was usi ... [...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] |
Da Capo
Da capo (, also , ) is an Italian musical term that means "from the beginning" (literally, "from the head"). It is often abbreviated as D.C. The term is a directive to repeat the previous part of music, often used to save space, and thus is an easier way of saying to repeat the music from the beginning. In small pieces, this might be the same thing as a repeat. But in larger works, D.C. might occur after one or more repeats of small sections, indicating a return to the very beginning. The resulting structure of the piece is generally in ternary form. Sometimes, the composer describes the part to be repeated, for example: ''Menuet da capo''. In opera, where an aria of this structure is called a ''da capo aria'', the repeated section is often adorned with grace notes. The word ''Fine'' (Ital. 'end') is generally placed above the stave at the point where the movement ceases after a 'Da capo' repetition. Its place is occasionally taken by a pause (see fermata)."Grove, George; Ful ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...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 poetry; me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motif (music)
In music, a motif IPA: ( /moʊˈtiːf/) (also motive) is a short musical phrase, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "The motive is the smallest structural unit possessing thematic identity". The ''Encyclopédie de la Pléiade'' regards it as a "melodic, rhythmic, or harmonic cell", whereas the 1958 ''Encyclopédie Fasquelle'' maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject. It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity". Grove and Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term 'fig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Albert Schweitzer
Ludwig Philipp Albert Schweitzer (; 14 January 1875 – 4 September 1965) was an Alsatian-German/French polymath. He was a theologian, organist, musicologist, writer, humanitarian, philosopher, and physician. A Lutheran minister, Schweitzer challenged both the secular view of Jesus as depicted by the historical-critical method current at this time, as well as the traditional Christian view. His contributions to the interpretation of Pauline Christianity concern the role of Paul's mysticism of "being in Christ" as primary and the doctrine of justification by faith as secondary. He received the 1952 Nobel Peace Prize for his philosophy of "Reverence for Life", becoming the eighth Frenchman to be awarded that prize. His philosophy was expressed in many ways, but most famously in founding and sustaining the Hôpital Albert Schweitzer in Lambaréné, French Equatorial Africa (now Gabon). As a music scholar and organist, he studied the music of German composer Johann Sebasti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arioso
In classical music, arioso (also aria parlante ) is a category of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means ''airy''. The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with recitativo accompagnato. Arioso is similar to recitative due to its unrestrained structure and inflexions, close to those of speech. It differs, however, in its rhythm. Arioso is similar to aria in its melodic form, both being closer to singing than recitative; however, they differ in form, arioso generally not resorting to the process of repetition. Well-known examples At the start of the finale in the first act of Mozart's ''The Magic Flute'', the andante of the priest (''Sprecher'') "''Sobald dich führt der Freundschaft Hand ins Heiligtum zum ew'gen Band''" is an example of arioso. "''Amor ti vieta''", sung by Loris at Giordano's ''Fedora'' could be a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recitative
Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic ''recitativo secco'' ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through ''recitativo accompagnato'' (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
