|
TWV
The Telemann-Werke-Verzeichnis (Telemann Works Catalogue), abbreviated TWV, is the numbering system identifying compositions by Georg Philipp Telemann, published by musicologist Martin Ruhnke. The prefix TWV is generally followed by a Music genre, genre number, a letter indicating the Key (music), key (in some cases), and a work number. The genre number indicates the general type or medium of the work. A major key is in upper case, a minor key in lower case. The second number is the work's number within the genre. For example, Telemann's ''Concerto polonois in B flat major for strings and basso continuo'' is TWV 43:B3. His ''Orchestral suite in D major'' is TWV 55:D18, and his ''Overture in G minor'' is TWV 55:g4. Vocal works were catalogued in a similar way by Werner Menke in the Telemann-Vokalwerke-Verzeichnis (Telemann Vocal Works Catalogue), abbreviated TVWV. For example, Telemann's ''Johannes-Passion'' is TVWV 5:42. His ''Times of the Day'' cantata is TVWV 20:39. Genre number ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Church Cantatas By Liturgical Occasion
The following is a list of church cantatas, sorted by the liturgical occasion for which they were composed and performed. The genre was particularly popular in 18th-century Lutheran Germany, although there are later examples. The Liturgical calendar (Lutheran)#Reformation era, liturgical calendar of the German Reformation era had, without counting Reformation Day and days between Palm Sunday and Easter, 72 occasions for which a cantata could be presented. Composers such as Telemann composed cycles of church cantatas comprising all 72 of these occasions (e.g. ''Harmonischer Gottes-Dienst''). Such a cycle is called an "ideal" cycle, while in any given liturgical year feast days could coincide with Sundays, and the maximum number of Sundays after Epiphany and the maximum number of Sundays after Trinity could not all occur. In some places, of which Leipzig in Johann Sebastian Bach's time is best known, no concerted music was allowed for the three last Sundays of Advent, nor for the Sun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brockes Passion (Telemann)
Between 1716 and 1767, Georg Philipp Telemann wrote a series of ''Passions'', musical compositions reflecting on Christ's Passion – the physical, spiritual and mental suffering of Jesus from the hours prior to his trial through to his crucifixion. The works were written for performance in German churches in the days before Easter. A prolific composer, Telemann wrote over 40 ''Passions'' for the churches of Hamburg alone, of which 22 have survived according to the present state of research. He also wrote several Passion oratorios. Unlike the ''Passions'' intended for liturgical performance, they were not closely set to the literal text of the Gospels. History In his dissertation ''The Rise of Lyricism and the Decline of Biblical Narration in the Late Liturgical Passions of Georg Philipp Telemann'' (University of Pittsburgh, 2005), Jason Benjamin Grant describes the three basic periods of Telemann's Passion composition as follows: Style Stylistically, there are many difference ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georg Philipp Telemann
Georg Philipp Telemann (; – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him. Telemann is one of the most prolific composers in history, at least in terms of surviving oeuvre. He was considered by his contemporaries to be one of the leading German composers of the time, and he was compared favourably bo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ich Will Den Kreuzweg Gerne Gehen
{{Infobox musical composition , name = {{lang, de, Ich will den Kreuzweg gerne gehen , type = Church cantata , composer = {{nowrap, Georg Philipp Telemann , image = Ich will den Kreuzweg gerne gehen, TWV 1-884, first page of bass part (DK-Kk mu 6510.0136 manuscript).png , image_upright = 1.2 , caption = First page of bass part (DK-Kk mu 6510.0136 manuscript){{RISM, 150204801 , occasion = 21st Sunday after Trinity , catalogue = TWV 1:884 , text = by Erdmann Neumeister , written = c. 1700 , language = German , composed = 1710s , published = , scoring = {{hlist, bass , violin , continuo Georg Philipp Telemann composed the church cantata {{lang, de, Ich will den Kreuzweg gerne gehen (I will gladly walk the Cross way), TWV 1:884, for bass, violin and continuo for the 21st Sunday ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wer Ist Der, So Von Edom Kömmt
''Wer ist der, so von Edom kömmt'' is a pasticcio Passion oratorio based on compositions by Carl Heinrich Graun, Georg Philipp Telemann, Johann Sebastian Bach and others. The pasticcio was assembled around 1750. The only extant manuscript of the Pasticcio was written by Johann Christoph Farlau and an unknown scribe. Farlau was a pupil of Johann Christoph Altnickol, Bach's son-in-law. Since a reliable differentiation between the handwriting of the master and the pupil was only done in the early 21st century, older scholarship generally attributes the realisation of the Pasticcio to Altnickol and/or indicates Altnickol as the composer of the movements that can not be attributed to other composers. In the second half of the 20th century Bach scholarship turned its attention to the pasticcio as it was possibly Bach's elusive " 5th Passion", and for containing previously unknown work by the composer (). History The backbone of the ''Wer ist der, so von Edom kömmt'' pasticcio is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm 96
Psalm 96 is the 96th psalm of the Book of Psalms, a hymn. The first verse of the psalm calls to praise in singing, in English in the King James Version: "O sing a new song unto the Lord". Similar to Psalm 98 ("Cantate Domino") and Psalm 149, the psalm calls to praise God in music and dance, because he has chosen his people and helped them to victory. It is one of the royal psalms praising God as the King of His people. In the slightly different numbering system used by the Greek Septuagint and the Latin Vulgate, this psalm is Psalm 95. The psalm forms a regular part of Jewish, Catholic, Lutheran, and Anglican liturgies. The Latin conclusion, "Laetentur caeli", is used during the Christmas night liturgy. The psalm or verses of it have been paraphrased to hymns, and it has often been set to music, notably by Handel in his '' Chandos Anthems'', by Mendelssohn who quoted from it in a movement of his choral symphony ''Lobgesang'', and Zoltán Gárdonyi as part of three motets. Inc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ein Feste Burg Ist Unser Gott (Telemann)
Georg Philipp Telemann composed the motet ''Ein feste Burg ist unser Gott'', TWV 8:7, setting Luther's hymn in German, "Ein feste Burg ist unser Gott", for a four-part choir and continuo. The motet was first published around 1780. A modern edition was published by Carus-Verlag. History Georg Philipp Telemann, in his capacity as church music director in Hamburg, organised a festival in the city in 1730 to celebrate the bicentenary of the Augsburg Confession. He contributed two cantatas, which were performed at the Katharinenkirche on 25 June, before and after the service. In the same year, he composed the motet ''Ein feste Burg ist unser Gott'' as a choral setting of Luther's hymn "Ein feste Burg ist unser Gott", known in English as "A Mighty Fortress Is Our God", for a four-part choir and continuo. The motet was first published around 1780 in a collection of 34 motets. A modern edition was published by Carus-Verlag in 1978 and again in 1992, edited by Günter Graulich. Text ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 219
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 Anh
The (BWV; ; ) is a Catalogues of classical compositions, 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 BWV Anh., 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 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 145/b
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] |
Ich Lebe, Mein Herze, Zu Deinem Ergötzen, BWV 145
(I live, my heart, for your pleasure), 145, is a five-movement church cantata on a libretto by Picander which Johann Sebastian Bach, as its composer, probably first performed in Leipzig on Easter Tuesday, 19 April 1729. As a seven-movement pasticcio, with one of the added movements composed by Georg Philipp Telemann, it is an Easter cantata known as ' (as it was published in the 19th century) or as ''Auf, mein Herz!'' (after the incipit of the pasticcio's first movement). ' is one of less than a dozen extant cantatas and fragments of what is known as Bach's Picander cycle, or his fourth cantata cycle. According to the first publication of the cycle's librettos, this cycle ran from 24 June 1728 (Feast of John the Baptist) to the fourth Sunday after Trinity, 10 July 1729. History and words No composer's autograph of the cantata is extant. The cantata is listed as Fp‑Inc 6 in the Bach Repertorium of Carl Philipp Emanuel Bach (BR-CPEB). According to the Bac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 160
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] |
