Complete Excerpt. Bach: Music for Christmas. Bach: Magnificat in E flat; Missa in F. Bach: The Sacred Cantatas. Bach: Kantaten No. Bach: Kantaten, BWV Bach: Sacred Cantatas, Vol. Bach: Cantatas for Christmas. Bach: Cantatas BWV 91, Bach: Complete Edition. Bach: Cantatas, Vol. Bach: The Masterworks. Bach Cantatas, Vol. Bach Edition: Complete Works. Bach: Cantatas, BWV The Essential J. Bach Christmas Cantatas. Bach: Sacred Cantatas 4. Bach: Das Kantatenwerk, Vol. Bach Edition: Cantatas I. Bach Edition: Vol. Church Cantatas, Vol. The organ loft is visible at the top of the picture.
All but three of them were composed during the period —, while Bach was court organist at the ducal court in Weimar.
The remaining three, along with a short two-bar fragment, were added in or later, after Bach's appointment as cantor at the Thomasschule in Leipzig. The collection was originally planned as a set of chorale preludes spanning the whole liturgical year. The chorale preludes form the first of Bach's masterpieces for organ with a mature compositional style in marked contrast to his previous compositions for the instrument. Many of the chorale preludes are short and in four part.
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A specialist Baroque ensemble, the Choir has become famous for its stylistic conviction and extensive repertoire, encompassing music from the Renaissance period to Classical music of the 20th century. Georg Christian Lehms, copper engraving c. He published poetry, novels, libretti for operas, and the texts of cantatas.
Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number Op.
Emmanuel Music - Bach Cantata BWV - Translation
Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available. History Reger was a German composer, born in Brand in He studied music theory in Sondershausen, then piano and theory, in Wiesbaden. A pianist himself, he composed works for both piano and organ. He moved to Munich in In he was appointed musical director at the Leipzig University and professor at.
Portrait of Johannes Brahms The following is a list of compositions by the composer Johannes Brahms 7 May "3 April classified by opus number Op. With opus number From 1 to 20 Op. This is a Nonesuch Records discography, organized by catalog number. Retrieved 2 June Schuhmacher, Gerhard. Bach Choir of Bethlehem. Retrieved 14 December University of Alberta. Smith, Craig. Emmanuel Music.
Reed, Philip. Mincham, Julian. Gardiner, John Eliot Soli Deo Gloria at Hyperion Records website. Retrieved 31 December Hofmann, Klaus Church cantata Bach topic Throughout his life as a musician, Johann Sebastian Bach composed cantatas for both secular and sacred use. Nikolaus Herman topic Die Sonntagsevangelia, title page of his publication Nikolaus Herman first name also Nicolaus or Niklas; c. Christmas cantata topic A Christmas cantata or Nativity cantata is a cantata, music for voice or voices in several movements, for Christmas.
It consists of six parts, each part is a com Folders related to Christmas cantata: Christmas cantatas Revolvy Brain revolvybrain 17th-century music genres Revolvy Brain revolvybrain 18th-century music genres Revolvy Brain revolvybrain. Church cantata topic A church cantata or sacred cantata is a cantata intended to be performed during a liturgical service. 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 Sundays of Lent apart when Annunciation fell on a Sunday in that period, or in Holy Week , so the "ideal" year cycle German: Jahrgang for such places comprised only 64 cantatas or 63 without Folders related to Church cantata: Classical church music Revolvy Brain revolvybrain Cantatas Revolvy Brain revolvybrain.
The first, for bass, continues to expound upon the theme of rejoicing now that pain has been left behind, but it also introduces a new idea, to be more fully explored in the alto aria. It is the notion that in sending His Son to become a Man on earth and provide salvation for the world, God ensured that Jesus would become even more lowly and humble than we humans.
Aria: "Süßer Trost, mein Jesus kömmt" (BWV 151 No 1) for Woodwind Quintet
The tonality of the recitative is important, moving from the major of the first movement to the minor of the third. The alto aria is the centrepiece of the cantata. But Bach had a sensitivity to every nuance of the text and he illustrated points within the musical lines, rhythms and textures that others would pass over.
This note, so obviously standing outside the shape of an otherwise cognate melody, is surely a case in point. If so, why should the one outstanding note not suggest His hand, raised up so as to shower them upon us? Similarly significant is the only extended melisma in the entire movement on the word winden—-the act of entwining wreathes of blessing bars The five-note figure which first appears in bar 5 is later inverted from bar 19 and both forms of this motive are used continually throughout the movement.
The figure as it appears in bar 5 then inverted in bar The turning of an idea upside down is a perfect way of musically expressing contrast and points of disparity.
But a study of the creative process is, in itself, fascinating as we uncover the extraordinary concentration of musical ideas that carry their own physical and metaphorical suggestions. This is a movement which contrasts strongly with the opening and closing sections of this cantata. There is an earthy muscularity about it as it conveys, as perhaps only great music can, the idea of permanent strength and confidence arising out of temporary meekness and humility.
The second and final recitative for tenor is short, lacks any form of embellishment and is addressed to Christ directly—-You, precious Son of God have brought the light of salvation to us through Your own abasement—-and our hearts embrace You. The tonality is the reverse of that of the bass aria; it takes us from the minor of the alto aria to the major of the finale chorale.
Symbolically, it leads us away from lowliness towards those higher rewards that salvation provides. Bach, the consummate pragmatist, knew when to bow to practical constraints but he never allowed imposed restrictions to curb his ever-active imagination. The resources he chose, or had imposed upon him for the performance of this work, may have been small but the creative ingenuity that grew from this situation resulted in a work of totally original proportion and compass.
It is a mark of great artists that limitations inspire rather than restrict their inventiveness. One would imagine that the students of a school supervised by Cantor Bach, a great music reader himself, would have been capable of performing such an undemanding piece as this on sight and virtually without rehearsal.
The text speaks equally simply of the opening of the door to Paradise, to the glory of God. God and His Son have been honoured throughout this cantata, but the celebration of their magnificence has been rather muted. To a degree, it has been overshadowed by two allied emotions; an empathy with the degradation and suffering of the Saviour who became Man, and the ecstasy of which we may partake, flowing from His act of sacrifice.