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Was Gott Tut, Das Ist Wohlgetan, BWV 98
Johann Sebastian Bach composed the church cantata (What God does is well done), 98, in Leipzig for the 21st Sunday after Trinity and first performed it on 10 November 1726. History and words In his fourth year in Leipzig, Bach wrote the cantata for the 21st Sunday after Trinity. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians, "take unto you the whole armour of God" (), and from the Gospel of John, the healing of the nobleman's son (). The cantata opens with the first stanza of the chorale "" (1674) by Samuel Rodigast, but it is not a chorale cantata in the strict sense of Bach's second cantata cycle, cantatas on the stanzas of one chorale. He had then treated the same chorale completely in (1724), and would do it later once more in (1732). The text of the chorale concentrates on trust in God, whereas the two cantatas previously composed for the occasion, , and , both started from doubt and distress. The poet Christoph Birkmann refers to g ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Church Cantata (Bach)
Throughout his life as a musician, Johann Sebastian Bach composed cantatas for both secular and sacred use. His church cantatas are cantatas which he composed for use in the Lutheran church, mainly intended for the occasions of the liturgical year. Bach's ''Nekrolog'' mentions five cantata cycles: "Fünf Jahrgänge von Kirchenstücken, auf alle Sonn- und Festtage" (Five year-cycles of pieces for the church, for all Sundays and feast days), which would amount to at least 275 cantatas,Alfred Dörffel. Bach-Gesellschaft Ausgabe Volume 27: '' Thematisches Verzeichniss der Kirchencantaten No. 1–120''. Breitkopf & Härtel, 1878. Introduction, p. VI or over 320 if all cycles would have been ideal cycles.Günther Zedler''Die Kantaten von Johann Sebastian Bach: Eine Einführung in die Werkgattung''.Books on Demand, 2011. p. 24–25/ref> The extant cantatas are around two-thirds of that number, with limited additional information on the ones that went missing or survived as fra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Was Gott Tut, Das Ist Wohlgetan, BWV 99
Johann Sebastian Bach composed the church cantata (What God does is well done), 99, in Leipzig for the 15th Sunday after Trinity and first performed it on 17 September 1724. The chorale cantata is based on the hymn "" by Samuel Rodigast (1674). History and words Bach composed the cantata in his second year in Leipzig as part of his second annual cycle of chorale cantatas for the 15th Sunday after Trinity. The prescribed readings for the Sunday were from the Epistle to the Galatians, Paul's admonition to "walk in the Spirit" (), and from the Gospel of Matthew, from the Sermon on the Mount, the demand not to worry about material needs, but to seek God's kingdom first (). The cantata text is based on the chorale "" (1674) by Samuel Rodigast, which is generally related to the Gospel. Bach used the chorale in several other cantatas, especially later in another chorale cantata, "". All six stanzas begin with the same line. An unknown author retained the text of the first and last s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Instruments
Musical instruments used in Baroque music were partly used already before, partly are still in use today, but with no technology. The movement to perform music in a historically informed way, trying to recreate the sound of the period, led to the use of historic instruments of the period and to the reconstruction of instruments. The following table lists instruments, classified as brass instruments, woodwinds, strings, and basso continuo. The continuous bass is played by a group of instruments, depending on the given situation. Many instruments have an Italian or French name which is used as a common name also in English. The use of instruments by composers is shown in examples mostly by Johann Sebastian Bach. Table of instruments Baroque instrumentation The typical orchestra of the Baroque period is based on string instruments (violin, viola) and continuo. A continuous bass is the rule in Baroque music; its absence is worth mentioning and has a reason, such as describi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass (voice Type)
A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ''The New Grove Dictionary of Opera'', a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4).; ''The Oxford Dictionary of Music'' gives E2–E4/F4 Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the ''basso cantante'' (singing bass), ''basso buffo'' ("funny" bass), or the dramatic ''basso profondo'' (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German ''Fach'' system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alto
The musical term alto, meaning "high" in Italian (Latin: ''altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Such confusion of "high" and "low" persists in instrumental terminology. Alto flute and alto trombone are respectively lower and higher than the standard instruments of the family (the standard instrument of the trombone family being the tenor trombone), though both play in ranges within the alto clef. Alto recorder, however, is an octave higher, and is defined by its relationship to tenor and soprano recorders; alto clarinet is a fifth lower than B-flat clarinet, already an 'alto' instrument. There is even a contra-alto clarinet, (an octave lower than the alto clarinet), with a range B♭0 – D4. Etymo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
Bach's Third Cantata Cycle
On Trinity Sunday 27 May 1725 Johann Sebastian Bach had presented the last cantata of his second cantata cycle, the cycle which coincided with his second year in Leipzig. As director musices of the principal churches in Leipzig he presented a variety of cantatas over the next three years. New cantatas for occasions of the liturgical year composed in this period, except for a few in the chorale cantata format, are known as Bach's third cantata cycle. His next cycle of church cantatas, the Picander cycle, did not start before St. John's Day 24 June 1728. Sacred music of this period by Bach which doesn't belong to a cantata cycle includes council election cantatas, Passion music for Good Friday, and music for weddings and funerals. Annually returning services After Trinity of 1725 Johann Sebastian Bach began a third annual cycle, but with less consistency than the previous two. The oldest extant cantata of the third cycle was composed for the ninth Sunday after Trinity 1725. The th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meinen Jesum Laß Ich Nicht
"" ("I shall not leave my Jesus") is a German Lutheran hymn, with lyrics by Christian Keimann written in 1658. The theme of the hymn is trust in Jesus, based on memorial sermons for John George I, Elector of Saxony recalling conversations of the elector with his minister on his deathbed. The hymn inspired composers to vocal settings. Johann Sebastian Bach based his chorale cantata ''Meinen Jesum laß ich nicht'', BWV 124 on the first melody by Andreas Hammerschmidt ( Zahn No. 3449), and Max Reger used a later melody by Johann Ulich for a chorale cantata in 1906. The hymn appears, with Ulich's tune, in the Protestant hymnal '' Evangelisches Gesangbuch'' as EG 402, in modernized German as "Meinen Jesus lass ich nicht". History Christian Keimann worked as director of a Gymnasium in Zittau when he wrote the hymn. It was first published in Andreas Hammerschmidt's choral book ''Fest-, Buß- und Danklieder'' (Songs of feast, penitence and thanks) of 1659, and was probably wri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christian Keymann
Christian Keymann (also ''Christian Keimann''; 27 February 1607 – 13 January 1662) was a German hymnwriter. He is known for writing the chorale "Meinen Jesum laß ich nicht" in 1658, which served as the base for Bach's chorale cantata '' Meinen Jesum laß ich nicht, BWV 124'', and other compositions. Career Keymann was born in Pankratz, Habsburg Bohemia, in 1607, the son of Zacharias Keimann, a Lutheran pastor. From 1627 to 1634, he studied at the University of Wittenberg. After graduation he worked at the gymnasium of Zittau, first as associate director, then as rector in 1638. He died of a stroke in 1662. Hymns Two of his most popular hymns were translated into English; "O rejoice, ye Christians, loudly" ("Freuet euch, ihr Christen alle") found in Chorale Book, No. 33, and "Jesus will I never leave" ("Meinen Jesum laß ich nicht") found in United Brethren's Hymn Book, No. 464. Donald G. Bloesch in his book ''The struggle of prayer'' (1980) describes it as a "moving hymn". H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacob
Jacob (; ; ar, يَعْقُوب, Yaʿqūb; gr, Ἰακώβ, Iakṓb), later given the name Israel, is regarded as a patriarch of the Israelites and is an important figure in Abrahamic religions, such as Judaism, Christianity, and Islam. Jacob first appears in the Book of Genesis, where he is described as the son of Isaac and Rebecca, and the grandson of Abraham, Sarah, and Bethuel. According to the biblical account, he was the second-born of Isaac's children, the elder being Jacob's fraternal twin brother, Esau. Jacob is said to have bought Esau's birthright and, with his mother's help, deceived his aging father to bless him instead of Esau. Later in the narrative, following a severe drought in his homeland of Canaan, Jacob and his descendants, with the help of his son Joseph (who had become a confidant of the pharaoh), moved to Egypt where Jacob died at the age of 147. He is supposed to have been buried in the Cave of Machpelah. Jacob had twelve sons through four ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Movement (music)
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately as stand-alone pieces, a performance of the complete work requires all the movements to be performed in succession. A movement is a section Section, Sectioning or Sectioned may refer to: Arts, entertainment and media * Section (music), a complete, but not independent, musical idea * Section (typography), a subdivision, especially of a chapter, in books and documents ** Section sig ..., "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena". Sources Formal sections in music analysis {{music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
