Podcasts about bach society

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above.  Want to be an Art Hound? Submit here. Click here. Shakespeare in the sculpture park Rachel Coyne of Lindstrom is looking forward to heading to nearby Franconia Sculpture Park on July 27 to see Shakespeare in the park. Classical Actors Ensemble will perform Shakespeare's mistaken-identity comedy “Twelfth Night, or What You Will,” The show is free. Picnics are encouraged, as are patrons of all ages. This week's performances include Friday at Newell Park in St. Paul, Saturday at Lake of the Isles in Minneapolis and Sunday at Vermillion Falls Park in Hastings. All shows start at 7 p.m. and run for two hours. “Twelfth Night” runs at various Twin Cities parks through July 14.  The Franconia Sculpture Park is a particularly special location, Rachel says, because the actors move around the sculpture park and incorporate some of the art into their performance. She still remembers the group's performance of “The Tempest” last year, which staged the show's happy ending with Franconia's giant ring sculpture in the background, forming a literal full circle for the story. She looks forward to seeing which sculptures the performers play around — and on — this year. Pro tip from Rachel: Bring a picnic, and don't forget your bug spray. — Rachel Coyne Romeo and Juliet with Latin flair Claudia V. Garcia, who describes herself as a “paralegal by day, actor/singer/artist by soul,” loved Teatro del Pueblo's adaptation of “Romeo and Juliet,” entitled “Love in a Time of Hate.” Developed in association with the Bach Society of Minnesota, the show's run continues tonight through June 30 at Luminary Arts Center in Minneapolis.  Claudia says: I laughed, cheered, got butterflies cried and was very proud, mucho orgullo, to see our raza represented in such a beautiful production. The cast is excellent, represented by a plethora of talented local Latinx artists and people of color in the Twin Cities. You hear hip hop, spoken word, little bit of bilingual Spanglish. A lot of connections to modernity. And that really resonated with younger crowds, bringing “Romeo and Juliet” into the now.— Claudia V. Garcia A North Shore soundscape Minneapolis musician Crystal Brinkman wants people to know about “The Seeker,” a self-led audio story with original music designed for Sugarloaf Cove in Schroeder on the North Shore. Created and voiced by Diver Van Avery, “The Seeker” is a 45-minute story that unfolds along an easy, one-mile hiking trail. The story is available through October. Avery has been very connected to that specific location in their own life and got the opportunity to research and be at that site over many months, creating an immersive story experience to connect with the land. There are two upcoming events this summer. On July 27, there will be a free, family-friendly community concert featuring the musicians Crystal Myslajek and Peter Morrow, who contributed to “The Seeker” soundtrack. The concert is 1 p.m. to 3 p.m. On Aug. 18, Diver will conduct a free creative writing workshop at the Sugarloaf Cove Nature Center. Registration required.  “The Seeker” is available through October. Crystal says: This story really brings you through Diver's very gorgeous and poetic words through the headphones that you are wearing — which can either be your own or Sugarloaf Cove Visitor Center does have headphones to borrow. Their voice is leading you through spaces and places that very much have to do with where you are but then also is grounded in themes of love and connection. And it's all supported by this gorgeous original music.— Crystal Brinkman

“Romeo and Juliet” has been reimagined countless times. The musical “West Side Story” relocated the tale to blue-collar Manhattan, while director Baz Luhrmann colorfully stylized and modernized the play in his 1996 film “Romeo + Juliet.” Twin Cities theater company Teatro del Pueblo's adaptation of “Romeo and Juliet” goes beyond changing the location and period.  Called “Romeo and Juliet: Love in a Time of Hate,” the show has been rewritten to include characters speaking Spanish and performing spoken word poetry — and centers Latin American culture.  “We thought that, you know, the main thing is to take Shakespeare, tweak it, but maintain that beautiful language,” said co-director and co-adapter Alberto Justiniano.The new play adds elements to Shakespeare's tragedy, including examining the treatment of the working class and the range of ideologies within Latino communities.  “One of the things that I was hoping to bring is that connection between the Spanish and the Shakespeare,” said co-director Harry Waters Jr.  The play began with a treatment by Justiniano and was then workshopped over a number of years through a method called “devised theater,” where a core group of artists gave their input and changes.That spirit of collaboration has extended into the rehearsal room.  “I've always opened up that opportunity for actors to give us an unfettered, and, you know, uncensored reactions and their ideas. And then we sort of flesh them out and see which ones can actually work to help the story,” Waters added.  The play still features famous moments, including Romeo and Juliet's chance encounter at a party hosted by Juliet's parents and the couple's secret wedding. This production also includes new moments and characters, including a fast-talking narrator named Santi, inspired by southern California cholo culture.  “The language is a combination from the old Bard ... But there's also free verse, and then there's spoken word,” Justiniano said.  The idea of “Love in a Time of Hate” came about nearly six years ago, when Teatro Del Pueblo discovered there was interest in Shakespeare among Latino actors in the Twin Cities. At first, Justiniano was perplexed.  “But it got me thinking, what if we were to take Shakespeare and make it our own?”The show is a collaborative effort with the Minnesota Chapter of the Bach Society, which will provide music for the show. Marco Real-d'Arbellas is the associate artistic director of the Society and has overseen finding compositions for the play.“It's kind of going through the centuries and just picking up and finding these connections with London, Italy and Latin America,” said Real-d'Arbellas. Taking music that spans centuries and styles, including opera and Latin American folk music, Real-d'Arbellas is mixing both old and new music to engage audiences. “It's just a real nice mashup of music and languages, which I think would really help the action of the play.” The show's setting is the future, with dystopian themes, in the city of Nogales on the border of the United States and Mexico. It is ambiguous as to which country it takes place in, however. The cast features a supermajority of Latinos. “There's a couple of people that this is their first time being on stage,” Waters said of the cast.“What I was truly struck with at the first read-through, is that there was a roomful of brown people in the Twin Cities, who had never all worked together before.”Abigail Chagolla plays Juliet's nurse in “Romeo and Juliet: Love in a Time of Hate.” The show is an opportunity for her to play a character who, like herself, is Latina.  “I've only had, like, three other opportunities where I actually got to play a Latina woman,” Chagolla said. She adds that being in a show that is so heavily Latino has been beautiful — both because of the shared experiences of the cast, but also the differences.“Latinidad, it's a spectrum, right? Like, not everybody comes from the same sort of background. And so it's not a monolith. And being able to get different types of experiences in the room and then have those experiences used in the show is very beautiful.” 

Full show transcript available at discoverdaytonpodcast.com.    Today's Friday, May 20th, 2022, and it's time for your weekly News Roundup episode, where I read the news so you don't have to. A lot happened this past week, including stories about an uptick in Covid cases, an EPA report about our local waterways, and new inductees into the Dayton Walk of Fame. There's also a lot happening in the future, so you won't want to miss this episode. Things going on today actually start about 30 minutes from this episode's release, so tune in and listen now!  Transcript:   Hello and welcome to the Discover Dayton podcast, the show that's all about the Gem City's past, present, and future. I'm Arch Grieve and I'm your host, and today's episode is the weekly news roundup for Friday, May 20th, 2022. A lot happened recently, including stories about an uptick in Covid cases, an EPA report about our local waterways, and new inductees into the Dayton Walk of Fame. You won't want to miss it as there's a lot happening today, including in about 30 minutes from this episode's release, so tune in now!   To start off this week's news I'd like to say Happy National Bike to Work Day! If you're listening to this before 7:00-9:00am you still have time to make it to the Five River MetroParks Bike to Work Day celebration, which is happening this morning. The first 500 riders to register and check in at the event receive a gift, and you can pre-register now online at MetroParks.org. The event takes place from 7:00-9:00am at the RiverScape Metro Park on Monument Ave. and features a free pancake breakfast, live music, a bike expo, and more, so hopefully I'll see you there!   Well in a reminder that Covid-19 is still unfortunately with us, Coronavirus cases in Ohio have been going up steadily for the past 6 weeks in a row, with weekly cases being over 15,000, as reported about a week and a half ago. That's up a lot from where they were at the beginning of April, when the state averaged a little over 3,500 cases per week. According to the Ohio Department of Health, over 7 million Ohioans have gotten at least one shot, but only 3.56 million have received two shots and a booster.    If you remember a while back me talking about Dayton Public Schools possibly reopening the World of Wonder school to serve students who are learning English as a second language, well that plan is now official after school board members voted unanimously to do so this past Tuesday. The school will be open to students in grades K-6 who live in Residence Park, but also open up to 12th grade for English language learners. Superintendent Lolli explained that the school will have separate English-native and English-learner classes, but that those will be combined during lunch, recess, and possibly classes like art and extracurriculars.    Also in DPS news, if you're interested in mentoring a Dayton Public School student, DPS is starting the Transform Career Mentoring Program, which will match about 100 high school students with local mentors. Mentors will be matched with 10th and 11th graders to help them with decisions on things like colleges and careers and mentors and mentees are expected to connect for a minimum of five minutes per week.    The locally-organized TEDxDayton event will be taking place on October 14th, which is a ways out, but more pressingly they are now accepting applications for speakers. TED is a nonprofit dedicated to spreading ideas, and TED stands for Technology, Entertainment, and Design. So, if you're interested in being a TEDx speaker, you can apply at tedxdayton.com. Applying is no guarantee to speak, and I would know because I've applied and not made it in the past, but a volunteer-run committee will review your application if you apply and then may invite you to audition. If selected, they'll work with you to prepare to tell your story, so maybe give it a shot!   The Ohio EPA recently released a report about our local waterways that said that they're about as healthy as they were two years ago, although that's not necessarily a great thing. The report is required by the Clean Water Act to be released every two years, and in it they explained that in terms of local waterways, the stretch of the Great Miami from Tawawa Creek in Sidney to where Mad River joins it in Dayton is classified as “not impaired,” but that from Dayton to where it enters the Ohio River it is impaired by polychlorinated biphenyl, or PCB, a toxic industrial chemical that does not go away easily. The Mad River and Little Miami are also considered impaired by PCBs, although the Stillwater is not. In good news, one section of the Little Miami is being delisted because it meets a different set of cleanliness goals, so it's not all bad news at least completely.    A local Dayton couple is suing rapper Travis Scott after they allege that his Astroworld musical festival last fall resulted in the death of their unborn child, as well as 10 people who also died. The couple, Shanazia Williamson and Jarawd Owens, filed suit against Scott, the festival organizers, and the security companies that were hired, and are seeking over $1 million in damages. They explain in their suit that Williamson was trampled and crushed during the event, which resulted in her unborn child's death. So far, over 700 other concert-goers have filed suit as well, and Rolling Stone reports that nearly 5,000 people suffered some type of injury. Scott denies responsibility and has performed this month for the first time since the tragedy, which also resulted in the death of a UD student, Franco Patino, of Illinois. His family is also filing suit against the rapper.     There were protestors at the Ohio Statehouse on Saturday protesting against the likely adoption of abortion bans by the Ohio state legislature. Those protests were joined by others, including in Xenia and one here in Dayton at the Courthouse Square, where hundreds gathered to protest against abortion bans. In the wake of the leaked Supreme Court decision overturning Roe v. Wade, many states such as Ohio are considering banning abortion, and in Ohio the bills that seek to do just that are Senate Bill 123 and House Bill 598. Ohio's version of the abortion ban, if it passes, which seems likely, will outlaw abortion except in cases where the mother's life is in danger or to prevent irreversible bodily impairment of the pregnant person, but no exceptions in the case of rape or incest.    Well it will be at least another year until marijuana is legalized in Ohio fully as state officials recently settled a case with the Coalition to Regulate Marijuana Like Alcohol, who had been pushing to have their signatures accepted on this year's ballot for voters to weigh in on. In exchange for delaying until 2023, the coalition will not have to re-collect signatures again for next year and the state will accept the over 140,000 signatures they've already collected.    The Carillon Historical Park here in Dayton has some new exhibits you might want to check out now. There is now a new industrial block of buildings on the grounds where you can see an expanded print shop, a new demonstration foundry, a soap shop, and a landscaped plaza where Carillon will hold programs for children. The Gem City Letterpress Company was the first hands-on experience the museum offered to visitors back in 1988, but it's now expanded and will be joined by the new Rubicon Foundry and Air City Soap Company. Paper printing was a big business in Dayton years ago, and Dayton History's Vice President, Alex Heckman, explained to the Dayton Daily News that due to Dayton's location next to the river, there were a lot of of paper mills here in the 1930s, in fact 25 out of Ohio's 36 paper mills were in Dayton, and because it was easier to do the printing next to where the paper mills were, there were 77 paper printing companies at one point as well. If you're interested in getting involved you can volunteer at Carillon as well, simply call volunteer coordinator Kay Locher at 937-293-2841 ext. 102. For more information about the museum, visit daytonhistory.org.    The Dayton Playhouse is bringing back its annual event, FutureFest, for the first time since the pandemic, the event where they produce six previously unproduced plays over the course of three days. FutureFest is a nationally-recognized all-volunteer event, and they received 378 play submissions this year. They have their six finalists who will be performing at the festival selected now, and at the festival those plays will be judged by professional adjudicators. One of the plays is particularly timely, and is called “Griswold,” which is about Estelle Griswold of the Supreme Court case Griswold v. Connecticut, which enabled unmarried couples the right to obtain birth control. You can learn more at wordpress.thedaytonplayhouse.com.    Salem Avenue in Dayton is now undergoing what will likely be over a year-long reconstruction process on the strip between Riverview and North Avenues. A reconstruction is not a simple repaving and actually involves much more work, hence the length of the project. Traffic will be down to a single lane during the construction process, so city leaders urge people to find alternate routes. The rebuilding is overdue, however, as some sections of the underlying base pavement are reported by the city to be over 100 years old. Once reopened, the road will have five lines, with two on each side and a center lane in between, as well as a two-way 10-foot wide cycle track. This is just phase 2 of the entire project, and the final phase 4 is not expected to be done until the end of 2025.    The Dayton Walk of Fame recently inducted some new members, including one of my favorite local bands, Guided by Voices. The walk began in 1996 and recognizes individuals with outstanding achievements in the arts, education, invention, community or military service, philanthropy, and more. The inductees this year as follows: Phyllis G. Bolds - a black woman who graduated from Dunbar High School in 1950 and went on to become internationally-known for her work in aircraft dynamics.  Neal Gittleman - artistic director and conductor of the Dayton Philharmonic Orchestra for almost thirty years.  Roger Glass - president and CEO of Marion's Piazza who is known for his philanthropy work, including helping to found Equitas Health.  A.B. Graham - who was considered the founding father of 4-H youth programming.  Sharon Rab - the founder and co-chair of the Dayton Literary Peace Prize.  Guided by Voices - known as the “forefathers of lo-fi rock,” who are headed by frontman Bob Pollard. They're still active of course and just this past March released Crystal Nuns Cathedral.  The inductees will be formally inducted and honored at a luncheon at Sinclair in October. Visit daytonregionwalkoffame.org for more information.    Well if you're into BBQ then you're gonna want to hear this next story, but a Dayton woman, Erica Roby, recently competed in World Championship BBQ Cooking Contest in Memphis, Tennessee, where she took fourth place in a competition that the USA Today calls the “most prestigious BBQ contest.” She came in fourth place for ribs out of 104 teams. Roby also competed in the Food Network's season 2 of BBQ Brawl, which she won. If you want to try her BBQ, she plans on cooking for the Yellow Springs Juneteenth Celebration this year as well as having some local popups in August. You can find her on Instagram at @bluesmokeblaire. Also in related news, I will be having an interview with AJ Bauer coming up soon, and he's the owner of Smokin BBQ in the Oregon District, so if you're a fan of BBQ don't miss that one!   Well apparently there's a thief in Dayton who is in possession of a key that can, quote, “unlock all Dayton-area mailboxes,” who has been stealing checks from people. So far the Montgomery County Sheriff's office has reported that at least 26 checks have been stolen from outdoor mailboxes since February. US Postal Service spokespeople say that there is an active investigation that is ongoing, and while they argue that mailing checks is still secure, the sheriff's office is telling people they should go inside the post office to mail checks for the time being.     And finally in our news stories for this week, I actually just got back from a week of birding in northern Ohio, Illinois, and Iowa, which I mention because while I was gone apparently the bird flu popped up in Dayton. The Highly Pathogenic Avian Influenza virus has been found in birds locally, which can infect chickens, duck, geese, pheasants, quail, and guinea fowl, and there is no cure. It can infect humans, so City Manager Shelley Dickstein warned recently in a commission meeting for people not to handle dead birds, so stay safe out there if you come across one.     And now for local events happening soon:   Well today, Sideshow, one of the Dayton Yellow Cab's annual shows, is coming back this month today and tomorrow after taking several years off due to Covid-19. This year performers will include Far From Eden, Tino, Nautical Theme, Snake Oil Revival, and more. Ticket information is available at yellowcabtavern.com.   If you're looking for something fun to do with friends tomorrow that has an opportunity to win prizes, then you're in luck, because there's a downtown Dayton scavenger hunt going on, which is being put on by the Downtown Dayton Partnership. The scavenger hunt takes place from 11:00am-5:00pm and starts in the Oregon District but will lead you all over downtown Dayton. Answers will be recorded on a clue sheet, although some hunt locations will require you to text photos of the things you find. The 1st place prize is $300 cash, so nothing to sneeze at. There is a $10 registration fee per team, although in return you receive $10 in Downtown Dollars, which you can use at any participating downtown business. All teams also get entered into a raffle prize drawing as well. There's no limit on the number of people per team. Visit downtowndayton.org to sign your team up and learn more.    Well if you're in town on Sunday, May 22nd, which happens to be my birthday, then you can go to the Branch and Bone brewery's Brunch with Chef Dane event, which is happening from 12:00pm noon until they run out. They'll be serving up dishes like donut breakfast sandwiches, country ham, polenta eggs, and more. Visit branchandboneales.com for more information.    Also on Sunday, Carillon Historical Park hosts its annual “party in the park” event, AKA Fleurs de Fete, from 1:00-4:00pm. The event features over 200 wine samplings and food from local eateries, in addition to live music. Pre-sale tickets are $70 and you must be 21 or older to purchase tickets. Visit daytonhistory.org for more event information.    Another thing happening Sunday is the FreenCommunity Art Workshop: Peace Pole event. For this event the Dana L. Wiley Gallery is teaming up with Front Street for a workshop that allows people to paint a wooden tile that will placed on the Peace Pole at the Dayton International Peace Museum. Materials are provided and the event is free and open to everyone and goes from 2:00-4:00pm. The event takes place at the Dana L. Wiley gallery at 1001 E. Second St, and you can sign up on the Dayton Peace Musem's Facebook page at facebook.com/daytoninternationalpeacemuseum.    Also on Sunday there's an event being put on by the Dayton Woman's Club, which is the Founders' Hall of Fame High Tea event. This event is $25 and features a guest speaker, T. Douglas Toles of Toles Media, who will be talking about Dayton's Founding Mothers. It goes from 3:00-5:00pm on Sunday and you can learn more at daytonwomansclub.org.    Once again on Sunday, Dayton's Bach Society will be performing “Renewed,” a tribute to Paul Laurence Dunbar. This event features three world premiers of works set to Dunbar poems by composer Adolphus Hailstork and the winner's of the Bach Society's Young Composers Competition. Tickets are $25 and can be found at bachsocietyofdayton.org.    Standup comedian, actor, and TV show host, Donnell Rawlings, will perform at Wiley's later this month on May 27th and 28th. Tickets go for $45 and can be purchased online at wileyscomedy.com.    Next Sunday May 29th at Carillon is the Dayton Heritage Festival, which goes from 12:00-8:30pm. It's free for Dayton History members and $12 per adult or $8 per child. The event celebrates Dayton's history and features special activities, costumed interpreters, and more.    Also on Sunday May 29th, downtown's Bozack's Cocktail Lounge is hosting a Beards, Brims, and Bourbon event. Tickets are $10 in advance or $15 at the door, and more information can be found at facebook.com/bozacks.    Also happening Sunday, although a bit pricier, Master Mixologist Mike Jones will be leading a workshop entitled Cocktail Basics Part II: The Cheat Code, where he will explore cocktail basics and explain how to design and craft your own drinks. Tickets are $150, and the event takes place from 4:30-6:30pm at the 1eleven Flavor House downtown. Visit 1elevenflavorhouse.com for more information.    The following Monday, May 30th, the Dayton Track Club is hosting a Memorial Day 5K at the Eastwood MetroPark from 9:00am to noon. Race entry ticket are $30, and participants do receive a t-shirt. Visit daytontrackclub.com for more information.    Also happening next Monday is an ethnic cheese and dessert workshop at Evans Bakery, which is partnering with St. Anne's Cheese Company, who I recently had on the show, so check out Episode 27 with Annie Foos to learn more about that, or visit stannescheeseco.com. The cost is $29 and it goes from 11;00am to 1:00pm. The event on May 31st will feature Jewish food, but the June 11th event will feature Turkish food.    All right well that's about it for this episode, although before I go I recently saw another podcast doing this and thought it was a great idea, so if there's someone or some organization that you'd like me to interview, I'd like to hear from you. Please call me at 513-400-3538 and leave me a voice message explaining who you would like me to contact, why you want me to have them on the show, and one question you'd like me to ask them. I'm anxious to see where this leads, so I hope you'll call! Thanks so much for listening everyone, and stay funky, Dayton. 

Next Sunday, Palm Sunday, April 10 and then Good Friday, April 15 Deacon Rick Erickson and the Bach Society will present the St. John Passion, which Bach wrote for a Good Friday service. 

Good News: The Royal Horticultural Society in the UK is looking into the value presented by hedges! Learn more HERE. The Good Word: Great thoughts on the subject of nature from Henry David Thoreau! Good To Know: Some fascinating (and important!) information about black tea. Good News: A collaboration in Taiwan is recycling disposable masks […]

Fernando Cordella, diretor artístico da Bach Society Brasil é considerado um dos cravistas mais ativos de sua geração na América Latina. Em 2015 recebeu, o prêmio TOYP JCI Brasil como a figura mais expressiva no Brasil do ano, na categoria “Êxito Cultural”. Diretor artístico e maestro titular da Sociedade Bach Porto Alegre e Bach-Brasil. Desde 2016 é o professor da classe de cravo da EMMSP – Escola Municipal de Música de São Paulo e um dos coordenadores da Oficina de Música Barroca da mesma instituição. Tem atuado fortemente como solista e maestro convidado nas principais orquestras do Brasil e exterior. Atuou sob direção de: Peter van Heyghen, Nathalie Stutzmann, Luiz Otávio Santos, Michaela Comberti, Olivia Centurioni, Bart Naessens, Roman Garrioud, Juan Manuel Quintana, Rodolfo Richter, entre outros. Iniciou seus estudos com a pianista Dirce Knijnik, e no cravo teve Nicolau de Figueiredo como seu principal mestre. Vencedor do Premio Açorianos 2011 como melhor intérprete da categoria música erudita pelo disco “CRAVOS – de Frescobaldi a Mozart”. https://www.bachbrasil.com/

Acclaimed for her ‘sterling tone’ in the New York Times, Kris Kwapis appears regularly as soloist and principal trumpet with period-instrument ensembles across North America, including Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Bach Collegium San Diego, Staunton Music Festival, Indianapolis Baroque Orchestra, Chicago’s Haymarket Opera Company, Tafelmusik, Bach Society of Minnesota, Oregon Bach Festival, Callipygian Players, Bourbon Baroque, and Lyra Baroque, making music with directors such as Andrew Parrott, Monica Huggett, Alexander Weimann, Barthold Kuijken, Matthew Halls, Jacques Ogg, and Masaaki Suzuki. Her playing is heard on Kleos, Naxos, ReZound, Lyrichord, Musica Omnia and Dorian labels, including the 2013 GRAMMY nominated recording of Handel’s Israel in Egypt, and broadcast on CBC, WNYC, WQED (Pittsburgh), Portland All-Classical (KQAC), Sunday Baroque and Wisconsin Public Radio. A student of Armando Ghitalla on modern trumpet, with a BM and MM in trumpet performance from the University of Michigan, Dr. Kwapis holds a DMA in historical performance from Long Island’s Stony Brook University. She often lectures on historical brass performance practice with appearances at the Metropolitan Museum of Art, University of Wyoming, University of Minnesota-Duluth, University of Louisville, Madison Early Music Festival, Pacific Lutheran University, Seattle Recorder Society, and Rutgers University, in addition to writing program notes and delivering pre-concert lectures. On modern trumpet, Kris was adjunct professor of trumpet at Hofstra University in Hempstead, NY from 2000-2010 and taught as a sabbatical replacement at Pacific Lutheran University in Tacoma, WA for the fall semester of 2019. Dr. Kwapis enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Jacobs School of Music Historical Performance Institute (baroque trumpet and cornetto) since 2010 in addition to teaching at her home in Seattle and online. When not making music, Kris explores the visual art medium of encaustic painting, cooking and gardening.

En este episodio hablamos de los primeros 20 años de vida de Johann Sebastian Bach, los sucesos mas importantes de su vida, personas a las que perdió, lugares donde vivió, escuelas donde estudió y sus primeros encuentros con la música.- https://www.patreon.com/herejeselpodcast -Ale Durán - https://twitter.com/FunkBob -- https://www.instagram.com/ale_duran_erana/ - Lola Montalvo- https://twitter.com/lola_montalvo - Bobby López- https://twitter.com/BobbyEsqvlz -- https://www.instagram.com/bobbyesqvlz/ - Fuentes de InformaciónLibrosLa verdadera vida de Johann Sebastian Bach. Hombre y sus obras. Klaus Eidam. Editor Siglo Veintiuno de España Ed. 1999. ISBN 8432310212, 9788432310218 Johann Sebastian Bach: The Learned Musician. Christoff Wolf. Oxford University Press, 2002. ISBN 0199248842, 019816534X DocumentalBach: A Passionate Life. Documental de la BBC. Conducido por John Eliot Gardiner. Directors: Cesca Eaton, David Jeffcock. https://www.youtube.com/watch?v=3ZVn9NZqyxsSitios web con info y músicaSt. Mathew Passion. Sitio web de la Netherlands Bach Society. https://www.bachvereniging.nl/en/bwv/bwv-244/St. John Passion. Sitio web de la Netherlands Bach Society. https://www.bachvereniging.nl/en/bwv/bwv-245/St. Mathew Passion por John Mangum. Sitio web de LA Phil, Gustavo Dudamel, Music and Artistic Director. https://es.laphil.com/musicdb/pieces/3632/st-matthew-passionCanales de Youtube de piezas musicales relacionadas al capítuloCanon en Re mayor de Pachelbel https://www.youtube.com/watch?v=oDvtJlmIJgcTocata y Fuga en Re menor en dos órganos distintos (uno viejito y uno más moderno) https://www.youtube.com/watch?v=PEHGxpRoZQM https://www.youtube.com/watch?v=FHNLdHe8uxYSuite 1 para Cello de la Bach Society https://www.youtube.com/watch?v=cGnZHIY_hoQJohann Sebastan Bach. Sitio Web de Melomanos. http://www.melomanos.com/la-musica/compositores/johann-sebastian-bach/Fe de erratas En el minuto 19:47 Alejandro menciona que Johann Ambrosius Bach (el padre de Sebastian Bach) murió a los 9 meses de que se casó, lo correcto es que murió a los 9 meses de que murió su primera esposa.

Episode 54 features two of St. Louis Missouri’s finest musicians. Both have been long-time friends of our host, John Romeri, from his days at St. Louis Cathedral. In recent years they have formed a partnership that is unbeatable and through that collaboration have produced concerts and CD recordings that are top-notch!!Scott is a native St. Louisan and has been singing since the age of 8, beginning his singing career in the Cathedral of St. Louis Pontifical Boys Choir. He earned a Bachelors Degree in Fine and Performing Arts/Music and Theatre from St. Louis University, and has studied voice with Christine Armistead at Washington University. He currently serves as Principal Tenor for the American Kantorei in Concordia Seminary's Bach at the SemConcert Series. Scott is the Executive Director of St. Louis Cathedral Concerts. Since 1993 Scott has served as the Tenor section leader for the Cathedral Basilica of St. Louis Choir and Archdiocesan Choir of St. Louis. He also serves as cantor for the Cathedral Parish, as well as at major Archdiocesan events. He was a cantor/soloist for 100,000+ in attendance and a worldwide television broadcast audience for the Papal Mass in St. Louis, Missouri in 1999. He has toured as soloist throughout the United States, Italy, England, Germany, and Austria. His performances have included Verdi’s Requiem in Rome, Italy; Hector Berlioz’s Te Deum in the Cathedral Basilica of St. Louis, and numerous performances of Handel’s Messiah. He has also performed with Union Avenue Opera and the St. Louis Muny.John Powell Walsh began piano and organ lessons in elementary school and has had a love affair with music ever since. Continuing his education through graduate school and even the Haarlem International Academy for Organists in the Netherlands. John is one of the most prominent church musicians in St. Louis. He was one of the Papal Organists for the Visit of John Paul II to St. Louis. He is featured with numerous musical organizations in St. Louis from the Bach Society to the Ronald Arnatt Chorale. He was the founder of The Archangel Players, The St. Cecilia Consort and the St. Louis Hills Arts Council. He is presently the Organist for the St. Louis Abbey and Priory School.Enjoy these two amazing musicians as they tell of their extraordinary lives as church musicians. Listen to music from their two latest CD’s.To purchase these or any of their CD’s https://www.scottkennebeck.com/buy-cd MUSIC: The Bells of St. Mary’s A. Emmett Adams CD: Angels Bending Near The EarthMUSIC: Still Still Still German Carol arr. Philip Ledge CD: Angels Bending Near The EarthMUSIC: Birthday of a King William H. Neidlinger CD: Angels Bending Near The EarthMUSIC: Little Boy Blue Reginald de Koven CD: Words to Music: Songs of Eugene FieldMUSIC: Virgin Slumber Song Max Reger CD: Angels Bending Near The EarthOriginal Air date Saturday, December 15, 2018

Carrie Allen Tipton is a writer, editor, lecturer, and academic with a PhD in Musicology, MM in Piano Performance and BME in Music Education. She also served as the Director of the Lecture Series for the Bach Society Houston and too many prestigious academic accomplishments to mention. She is also the host of the Notes on Bach Podcast. A podcast that shares scholarly information about Bach to the general public.  We talk about how she got the idea to start her podcast. What shows she was influenced by and her love of radio. Carrie also shares the smart way that she created a proposal for the Bach Society of Houston, so they could form a strategic partnership and sponsor the show from the start. Without financial constraints, she was able to put the time in to produce the quality show she wanted to make. They even helped with promotion and creating a professional logo.  Show Notes [03:20] Carrie was doing work for the Bach Society in Houston. She discovered that people enjoyed learning about Bach from scholars, but they had no place to find the information on their own.  [04:19] As a music scholar, Carrie knew that there was a whole world of information about Bach that these enthusiasts weren't being exposed to.  [04:42] Carrie also discovered how the Ben Franklin's World podcast connects people with scholars that write about the colonial period. Carrie thought this was so cool, and she knew that no one in the music world was doing something like this. [05:17] She approached the Bach Society about sponsoring a podcast that would connect Bach fans with scholarly information.  [06:01] She wanted a podcast about musicology. She also wanted the strength of an organization behind it. The Bach society provides funding, helps promote, and even generated a logo for the show.  [08:34] Carrie has had a long standing relationship with radio. Radio allowed her to listen to classical music as a child. [09:41] She always loved the mission of public radio, and she had the voice for it.  [10:20] When Carrie discovered podcasting, she thought it was people taking radio into their own hands. She knew that was something that she wanted to do. [10:42] She then thought it was worth writing a budget proposal for the Bach Society Houston.  [10:57] Carrie writes a lot of articles for the general public about music, culture, history, religion, and the arts. She also does a lot of freelance editing and lecturing.  [11:23] 80% of the work that Carrie does have a public facing component, so podcasting fit in beautifully with that. [13:01] Carrie releases episodes according to the academic calendar or artistic year from August to May.  [15:01] Nonprofits are always looking for new ways to meet a new audience. A podcast was not a big stretch for the Back Society. [16:36] To educate a potential partner, give them a link to a similar show. For Carrie that was Ben Franklin's World.  [17:23] Emphasize how your expertise could be showcased in a podcast and emphasize your background and show communication experience.  [19:12] Carrie shares success defining moments like when the Oxford University Press tweeted out a link to her show. Some others have embedded her podcast on their websites. Seeing her numbers grow also represents success. [23:41] To prepare for her show, Carrie will read the book three months in advance. She has an elaborate note taking process. Most of the books on the show are argument driven. She scrutinizes the argument and the evidence. After spending two or three weeks reading the book, she puts it away. She then pulls out her notes and hashes out an interview outline. She gives the guest the outline two weeks before the show. She also asks for feedback.  [26:23] She needs to improve technology preparation with the guests.  [30:35] Make sure the guest has USB headphones and a quiet room. Don't overwhelm them.  [31:41] Carrie uses Trello for keeping organized with her podcast. [35:19] Carrie learned that ideas and thinking are important from her parents. Her dad said that it's good to be a thinker. [36:15] Carrie reads self-help, mysteries, and everything in between. She's currently reading Virgil Wander.  [37:42] Her radio songs are late 90s country.  [38:47] She likes Dax Shepard's Armchair Expert podcast and the BBC's In Our Time.  [40:31] Takeaways from Darrell: She partnered with Bach Society Houston from day one. Carrie was intentional about finding that partner. She presented a strategic vision. Show how you are a content expert, show communication background, and share similar examples. Links and Resources: Pro Podcast Solutions Carrie Allen Tipton Notes on Bach Podcast Carrie Allen Tipton on Twitter Carrie Allen Tipton on LinkedIn Bach Society of Houston Ben Franklin’s World Virgil Wander Armchair Expert with Dax Shepard In Our Time Podcast

The Bach Society performs a musical telling of the Passion of Jesus.

Scott, Dennis and I talk about Maurice Durufle Requiem, self-critical, Gregorian chant, choral work, Cathedral Basilica Concerts, Bach Society of St. Louis, cathedralconcerts.org, bachsociety.org, best kept secret in St. Louis, how they handle the space, White Snake, live in this musical world, wired up, majesty of great music, The Queen's Six, Meghan Markle and Prince Harry, conductors do research, music by dead guys, what is the composer trying to get across, Windsor Castle, Bach's life in Leipzig, Chanticleer, this will be great in 300 years, music from Sistine Chapel, Big Muddy Dance Company, thanks to Mendelssohn, 118 artists from around the world, St. Joseph Gospel Choir, Berlioz, wound up in an organ bench, the musicology, immerse yourself in the incredible beauty and surprising mosaics at the Cathedral Basilica.

Ars Lyrica and the Bach Society Houston perform an English oratorio by Handel.

The Bach Society Houston presents a concert featuring all of the motets by J.S. Bach.

Il ciclo di cantate proposte dalla Bach Society si conclude con il concerto della Riforma, previsto domenica 29 ottobre nel tempio valdese di Torre Pellice. I concerti sono stati proposti nei momenti delle festività dell'anno liturgico: Avvento, Epifania, Pasqua e Pentecoste. Protagonisti anche i templi delle valli valdesi della val Pellice, val Chisone e Germanasca e Pinerolo.Il concerto della Riforma concluderà questo ciclo nella domenica in cui si ricordano i 500 anni dell'affissione delle 95 tesi da parte di Martin Lutero.Domenica 29 ottobre, alle 20,30 nel tempio valdese di Torre Pellice in via Beckwith, si esibiranno il coro e i solisti dell'Ensemble Frau Musika, accompagnati dal Coro delle Valli Valdesi e dai musicisti professionisti dell'orchestra.Il programma prevede l'esibizione delle cantate 192 Nun danket alle Gott ; 232 Messe in h-Moll - Kyrie; 80 Ein feste Burg ist unser Gott.Ne parliamo con Riccardio Bertalmio, Marco Poet e il pastore Sergio Manna.

Il ciclo di cantate proposte dalla Bach Society si conclude con il concerto della Riforma, previsto domenica 29 ottobre nel tempio valdese di Torre Pellice. I concerti sono stati proposti nei momenti delle festività dell'anno liturgico: Avvento, Epifania, Pasqua e Pentecoste. Protagonisti anche i templi delle valli valdesi della val Pellice, val Chisone e Germanasca e Pinerolo.Il concerto della Riforma concluderà questo ciclo nella domenica in cui si ricordano i 500 anni dell'affissione delle 95 tesi da parte di Martin Lutero.Domenica 29 ottobre, alle 20,30 nel tempio valdese di Torre Pellice in via Beckwith, si esibiranno il coro e i solisti dell'Ensemble Frau Musika, accompagnati dal Coro delle Valli Valdesi e dai musicisti professionisti dell'orchestra.Il programma prevede l'esibizione delle cantate 192 Nun danket alle Gott ; 232 Messe in h-Moll - Kyrie; 80 Ein feste Burg ist unser Gott.Ne parliamo con Riccardio Bertalmio, Marco Poet e il pastore Sergio Manna.

Prosegue il ciclo di cantate nella valli valdesi proposte dalla Bach Society: domenica 14 maggio concerto di Pasqua nel tempio valdese di Pinerolo, alle 21.La Pasqua rappresenta il culmine dell'anno liturgico della chiesa riformata: essa è preparata attraverso liturgie complesse e solenni che culminano il Venerdì Santo con l'esecuzione di una sontuosa Passione concertata. Le tre cantate in programma dimostrano come a Bach interessasse sfruttare lo strumento compositivo della cantata per sperimentare nuovi stili e unioni timbriche, attraverso una struttura relativamente modificabile.Ne parliamo con Marco Poet, membro dell'ensemble Frau Musika e organizzatore degli eventi.

Prosegue il ciclo di cantate nella valli valdesi proposte dalla Bach Society: domenica 14 maggio concerto di Pasqua nel tempio valdese di Pinerolo, alle 21.La Pasqua rappresenta il culmine dell’anno liturgico della chiesa riformata: essa è preparata attraverso liturgie complesse e solenni che culminano il Venerdì Santo con l’esecuzione di una sontuosa Passione concertata. Le tre cantate in programma dimostrano come a Bach interessasse sfruttare lo strumento compositivo della cantata per sperimentare nuovi stili e unioni timbriche, attraverso una struttura relativamente modificabile.Ne parliamo con Marco Poet, membro dell'ensemble Frau Musika e organizzatore degli eventi.

Nuovo appuntamento del ciclo di cantate nelle chiese valdesi per la rassegna "Cantate di Bach". Domenica 22 gennaio concerto con le cantate di Bach dedicate all'Epifania al tempio valdese di Pomaretto, alle ore 21.Per l’occasione l’Ensemble Frau Musika sarà affiancato dal Coro delle Valli Valdesi per il 500° sotto la direzione di Riccardo Bertalmio.Presentazione da parte del pastore valdese Sergio Manna, Paolo Corsani, partecipante al progetto e Marco Poet, presidente dell'associazione Frau Musika.

Nuovo appuntamento del ciclo di cantate nelle chiese valdesi per la rassegna "Cantate di Bach". Domenica 22 gennaio concerto con le cantate di Bach dedicate all'Epifania al tempio valdese di Pomaretto, alle ore 21.Per l'occasione l'Ensemble Frau Musika sarà affiancato dal Coro delle Valli Valdesi per il 500° sotto la direzione di Riccardo Bertalmio.Presentazione da parte del pastore valdese Sergio Manna, Paolo Corsani, partecipante al progetto e Marco Poet, presidente dell'associazione Frau Musika.

JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" 
. www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" 
(PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art 
, 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" 
. Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" 
. baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company

J.S. Bach's "Magnificat" (Channel Classics) and Purcell's "Dido & Aeneas" (Ambronay).