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Weimar Cantata (Bach)
Johann Sebastian Bach worked at the ducal court in Weimar from 1708 to 1717. The composition of cantatas for the (court chapel) on a regular monthly basis started with his promotion to ' in March 1714. Church cantatas From 1714 to 1717 Bach was commissioned to compose one church cantata a month. His goal was to compose a complete set of cantatas for the liturgical year within four years. In the course of almost four years there he thus covered most occasions of the liturgical year. The first version of BWV 1136, ''Liebster Gott, vergisst du mich'', BWV 1136 (formerly ), a lost cantata the libretto of which was written by Georg Christian Lehms and published in 1711 for the seventh Sunday after Trinity, may have been composed in Weimar. Before 1714 Apart from some Weimar cycle cantatas which may have been composed before they were adopted into that cycle (BWV 18, BWV 21, 21, BWV 54, 54 and BWV 199, 199): *Lost council election cantatas for Mühlhausen: ** 1709: second co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Sebastian Bach
Johann Sebastian Bach (German: Help:IPA/Standard German, [ˈjoːhan zeˈbasti̯an baχ]) ( – 28 July 1750) was a German composer and musician of the late Baroque music, Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral ''Brandenburg Concertos''; solo instrumental works such as the Cello Suites (Bach), cello suites and Sonatas and Partitas for Solo Violin (Bach), sonatas and partitas for solo violin; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the ' and the Toccata and Fugue in D minor, BWV 565, Toccata and Fugue in D minor; and choral works such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Reception of Johann Sebastian Bach's music, Bach Revival, he has been widely regarded as one of the greatest composers in the history of Western music. The Bach family had already produced several composers when Joh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Widerstehe Doch Der Sünde, BWV 54
(Just resist sin), BWV 54, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto in Weimar between 1711 and 1714, and probably performed it on the seventh Sunday after Trinity, 15 July 1714. It is Bach's first extant church cantata for a solo voice. The text of the short work was written by Georg Christian Lehms, for two arias and a connecting recitative. The topic is to resist sin, based on the Epistle of James. The text was published in a 1711 collection, dedicated to the Sunday Oculi. It is not known when Bach composed the work but is assumed that he performed it as part of his monthly cantata productions in 1714 on the seventh Sunday after Trinity, 15 July. The solo voice is accompanied by strings: two violin parts, two viola parts and continuo. The composition begins with a striking dissonant chord. History and words The history of the composition is not clear. The text was written by Georg Christian Lehms for Oculi, the third Su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorton (music)
A440 (also known as Stuttgart pitch) is the musical pitch corresponding to an audio frequency of 440 Hz, which serves as a tuning standard for the musical note of A above middle C, or A4 in scientific pitch notation. It is standardized by the International Organization for Standardization as ISO 16. While other frequencies have been (and occasionally still are) used to tune the first A above middle C, A440 is now commonly used as a reference frequency to calibrate acoustic equipment and to tune pianos, violins, and other musical instruments. History and use Before standardization to 440 Hz, many countries and organizations followed the French standard since the 1860s of 435 Hz, which had also been the Austrian government's 1885 recommendation. Johann Heinrich Scheibler recommended A440 as a standard in 1834 after inventing the "tonometer" to measure pitch, and it was approved by the Society of German Natural Scientists and Physicians at a meeting in Stuttgart the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tritt Auf Die Glaubensbahn, BWV 152
(Step upon the path of faith), 152, is a church cantata by Johann Sebastian Bach. He composed this 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 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), on a monthly schedule. He composed the cantata for the 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 and Anna talking to Mary (). The gospel is the passage following the canticle of Simeon. The cantata text was written by Salomon Franck, the Weimar court poet, who published it in ' in 1715. The gospel refers to Isaiah () and Psal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christen, ätzet Diesen Tag, BWV 63
(Christians, engrave this day), 63, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata for the First Day of Christmas, possibly in 1713 for the in Halle. He performed it again for his first Christmas as in Leipzig, on 25 December 1723. History and words The cantata is Bach's earliest extant cantata for Christmas Day, possibly composed in Weimar as early as 1713. The text of the cantata, which echoes theologians in Halle, suggests that it was composed with Halle's in mind, in 1713, when Bach applied to be organist of this church, or in 1716, when he was involved in rebuilding its organ. The text is possibly by that church's Johann Michael Heineccius, who also wrote the libretti for other Bach cantatas definitely written for Halle and had favoured Bach's application for organist at the church as a successor to Friedrich Wilhelm Zachow. Musicologist Christoph Wolff deduces from the "lavish forces" of four trumpets, timpani and three oboes on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nun Komm, Der Heiden Heiland, BWV 61
Johann Sebastian Bach composed the church cantata (Now come, Savior of the heathens), 61, in Weimar for the first Sunday in Advent, the Sunday which begins the liturgical year, and first performed it on 1714. The cantata text was provided by Erdmann Neumeister, who quoted the Book of Revelation and framed his work by two hymn stanzas, the beginning of Martin Luther's "", the main hymn for Advent with a melody based on Medieval chant, and the end from Philipp Nicolai's "". The librettist developed his thoughts like a sermon. Bach structured the cantata in six movements, beginning with a chorale fantasia, followed by a series of alternating recitatives and arias, and concluded by a four-part chorale. He scored it for three vocal soloists (soprano, tenor and bass), strings and continuo. Bach led the first performance on 2 December 1714. As , director of music of the main churches of Leipzig, he performed the cantata again on 28 November 1723. History and words On 2 March 171 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ich Hatte Viel Bekümmernis, BWV 21
Johann Sebastian Bach composed the church cantata (I had much grief), 21 in Weimar, possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as (and for all times), indicating that due to its general theme, the cantata is suited for any occasion. The text was probably written by the court poet Salomon Franck, who includes four biblical quotations from three psalms and from the Book of Revelation, and juxtaposes in one movement biblical text with two stanzas from Georg Neumark's hymn " Wer nur den lieben Gott lässt walten". The cantata is structured in eleven movements, including an opening sinfonia. It is divided in two parts to be performed before and after the sermon, and scored for three vocal soloists (soprano, tenor, and bass), a four-part choir, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erschallet, Ihr Lieder, Erklinget, Ihr Saiten! BWV 172
(), , is a church cantata by Johann Sebastian Bach, composed in Weimar for Pentecost Sunday in 1714. Bach led the first performance on 20 May 1714 in the , the court chapel in the ducal Schloss. ''Erschallet, ihr Lieder'' is an early work in a genre to which he later contributed complete cantata cycles for all occasions of the liturgical year. Bach was appointed in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed ''Erschallet, ihr Lieder'' as the third cantata in the series, to a text probably written by court poet Salomon Franck. The text reflects different aspects of the Holy Spirit. The librettist included a quotation from the day's prescribed Gospel reading in the only recitative, and for the closing chorale he used a stanza from Philipp Nicolai's hymn "" (1599). The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Weinen, Klagen, Sorgen, Zagen, BWV 12
(Weeping, lamenting, worrying, fearing), 12, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Jubilate, the third Sunday after Easter, and led the first performance on 22 April 1714 in the , the court chapel of the ''Schloss'' in Weimar. Bach was appointed in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed ''Weinen, Klagen, Sorgen, Zagen'' as the second cantata in the series, on a text probably written by court poet Salomon Franck. The work is structured in seven movements, an instrumental ''Sinfonia'', a choral passacaglia, a recitative on a Bible quotation, three arias and, as the closing chorale, the last stanza from Samuel Rodigast's hymn "" (1674). The cantata is scored for three vocal soloists, a four-part choir, trumpet, oboe, bassoon, two violins, two violas, and basso continuo. Bach performed the cantata again in his first year as – director of church music – ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jubilate Sunday
The Fourth Sunday of Easter (or the Fourth Sunday of Eastertide) is the fourth Sunday of the Easter season, being the day that occurs three weeks after the Christian celebration of Easter. Western Christianity Tridentine Catholicism (pre-1970) In the historical Roman Rite of the Catholic Church, this day was officially known as the Third Sunday after Easter. It was also nicknamed Jubilate Sunday due to the incipit ("Iubilate Deo") of the introit assigned to this day. The full text of the introit in its original Latin was: "Iubilate Deo, omnis terra, allelúia: psalmum dícite nómini eius, allelúia, allelúia, allelúia. Dícite Deo, quam terribília sunt ópera tua, Dómine! in multitúdine virtútis tuæ mentiéntur tibi inimíci tui." This introit is based on (which is now more commonly called Psalm 66 in accord with the Hebrew numbering used in modern Bibles). For a brief period of time (1847–1911), this Sunday was also celebrated as the Solemnity of St. Joseph, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Himmelskönig, Sei Willkommen, BWV 182
(King of Heaven, welcome), 182, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Palm Sunday, and first performed it on 25 March 1714, which was also the feast of the Annunciation that year. History and words In Weimar, Bach was the court organist of Johann Ernst von Sachsen-Weimar. On 2 March 1714, he was promoted to , an honour which included a monthly performance of a church cantata in the . According to Bach scholar Alfred Dürr, this cantata is Bach's first cantata in a series which was meant to cover all Sundays within four years. However, ''Widerstehe doch der Sünde'', BWV 54 has also been proposed as the first. In any event, BWV 182 preceded . Bach composed the cantata for the Marian feast of the Annunciation, always celebrated on 25 March, which fell on Palm Sunday in 1714. Other than in Leipzig, where ''tempus clausum'' was observed during Lent and no cantatas were permitted, Bach could perform in Weimar a cantata especially meant for t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Annunciation
The Annunciation (; ; also referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord; ) is, according to the Gospel of Luke, the announcement made by the archangel Gabriel to Mary that she would conceive and bear a son through a virgin birth and become the mother of Jesus Christ, the Messiah and Son of God, marking the Incarnation. According to the Annunciation occurred in the sixth month of Elizabeth's pregnancy with John the Baptist. Many Christians observe this event with the Feast of the Annunciation on 25March, an approximation of the northern vernal equinox nine full months before Christmas, the traditional birthday of Jesus. The Annunciation is a key topic in Christian art in general, as well as in Marian art in the Catholic Church, having been especially prominent during the Middle Ages and Renaissance. A work of art depicting the Annunciation is sometimes itself called an ''Annunciation'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
