Podcasts about Brandenburg Concertos

On this episode of The Hillsdale College Online Courses Podcast, Jeremiah and Juan (and a very special guest) discuss the genius of Johann Sebastian Bach before introducing Dr. Hyperion Knight. In “The History of Classical Music,” concert pianist and Hillsdale College Distinguished Fellow Hyperion Knight explains how music has developed and what distinguishes the greatest musical achievements through the life of Beethoven. Join this course, whether you are a music novice or an aficionado of the classical style, to learn what makes music great. The Baroque Era saw the emergence of musical genius in composition and virtuosity in performance. Significant pieces discussed include Vivaldi's Four Seasons, Handel's Messiah, and Bach's Brandenburg Concertos, St. Matthew Passion, and fugues.See omnystudio.com/listener for privacy information.

On this episode of The Hillsdale College Online Courses Podcast, Jeremiah and Juan (and a very special guest) discuss the genius of Johann Sebastian Bach before introducing Dr. Hyperion Knight. In “The History of Classical Music,” concert pianist and Hillsdale College Distinguished Fellow Hyperion Knight explains how music has developed and what distinguishes the greatest musical achievements through the life of Beethoven. Join this course, whether you are a music novice or an aficionado of the classical style, to learn what makes music great. The Baroque Era saw the emergence of musical genius in composition and virtuosity in performance. Significant pieces discussed include Vivaldi's Four Seasons, Handel's Messiah, and Bach's Brandenburg Concertos, St. Matthew Passion, and fugues.See omnystudio.com/listener for privacy information.

H4 The Musical: The guys find the lost Brandenburg Concertos and hear true modern musical tails from record producer and conservationist Scott Bledsoe. Sources: Lessons From History: Hidden heroes and ...

Welcome back to our yearly miniseries on the Brandenburg Concertos of J. S. Bach! This is part two of three. Today we look at the languid and luscious slow movement of Brandenburg Concerto No. 6. Music is (often) a setup of expectations, and then the satisfying fulfillment of those expectations OR the clever subversion of those expectations. Bach is especially good at this principle. We focus first on the unusual written-out cello part, separate from the basso continuo, creating a new entity but bound to the bass still (heterophony). Then we look at Christian's two moments, both of expectation and then subversion. Brandenburg 6 - movement 2 - Netherlands Bach Society

Welcome to our yearly miniseries on the Brandenburg Concertos of J. S. Bach!  Here we jump into Brandenburg 6, delighting in the weirdness that results when Bach decides to omit violins, preferring a dark, low sound of violas, violas de gamba, cello, and violone.  This brings us to some more examples across Bach's oeuvre, as well as some others by Brahms, Bruce Broughton, and John Williams.  As any creative person knows, setting limitations for yourself -- "no violins", for example -- is actually a good strategy for stimulating creativity, and results in a more unique creative output.  How fortunate for us, then, that Bach seems to agree. Brandenburg 6 - movement 1 - Netherlands Bach Society Other pieces that were used as audio examples: BWV 18 (cantata with 4 violas and no violins) - Netherlands Bach Society BWV 80 (Ein feste burg), middle movement (unison chorale) - Netherlands Bach Society Brahms - A German Requiem - movement 1: University of Chicago Orchestra, University Choir, Motet Choir, Members of the Rockefeller Chapel Choir, James Kallembach, conductor (recording used under Creative Commons Attribution Non-commercial No Derivatives 3.0 license) - refer to the first entry on this IMSLP page Other pieces that we talked about, but did not play as examples: Bruce Broughton - score from Tombstone (1993) - Gunfight at the O. K. Corral (4 bassoons can be heard in the first minute of this scene) John Williams - score from Harry Potter and the Sorcerer's Stone (2001) - Hogwarts Forever (French horn quartet) (can be heard from 0:00 - 1:50)

It seems appropriate to post a podcast about the masterpieces Bach dedicated on the same date (March 24) a little over three hundred years ago, 1721 to be exact. They were first published in 1850, one hundred years after Bach’s death. The original scores were passed down haphazardly, we don’t know where they went after READ MORE The post 96. The Brandenburg Concertos first appeared on Accelerando Podcast.

DescriptionBach's Brandenburg Concertos, originally titled ‘Six concertos for several instruments', were composed for the Margrave Christian Ludwig of Brandenburg—yet were never performed in Brandenburg. Take a minute to get the scoop!Fun FactEach concerto was written for a different combination of instruments and demonstrates a musical style that was popular in Bach's lifetime. It's thought that this variation was intended to show off the instrumental strength of the Cöthen Court Orchestra, giving each musician a chance to demonstrate their virtuosity.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Synopsis On today's date in 1938, a musical soirée was held at Dumbarton Oaks, a magnificent house on the crest of a wooded valley in Washington, D.C. This was the home of Mr. and Mrs. Robert Woods Bliss. Mr. Bliss had retired from a distinguished career in the U.S. Foreign Service, which included a posting in St. Petersburg in 1907, around the same time a young Russian composer name Igor Stravinsky was getting some of his first public performances there. Mr. and Mrs. Bliss commissioned Stravinsky to write a chamber work to be premiered at their 30th wedding anniversary, a work now known as the Dumbarton Oaks Concerto. “A little concerto in the style of the Brandenburg Concertos,” was how Stravinsky put it, adding, “I played Bach very regularly during the composition of the concerto, and I was greatly attracted to the Brandenburg Concertos. Whether or not the first theme of my first movement is a conscious borrowing from the third of the Brandenburg set, however, I do not know. What I can say is that Bach would most certainly have been delighted to loan it to me; to borrow in this way was exactly the sort of thing he liked to do.” Music Played in Today's Program Igor Stravinsky (1882 - 1971) Dumbarton Oaks Concerto

Episode 10 – Bachs Brandenburg-konserter BWV 1046 - 1051Jeg heter Astrid Kirschner, jeg er barokkfiolinist, og dette er en tiende episode av min podkast BAROKKPODDEN!, og den handler om Bachs fantastiske Brandenburg-konserter! Disse konsertene er en gruppe av seks instrumentalkonserter i concerto-grosso-stil som Bach oversendte til markgreve Christian Ludwig fra Brandenburg på 21.mars 1721. Først på 1800-tallet fikk konsertene tilnavnet ‘Brandenburg-konsertene', og frem til da lå de ukjent i et bibliotek i Berlin.Hver av disse instrumentalkonsertene har en spesiell og unik besetning:Konsert nr.1, F-dur BWV 1046, for 2 horn, 3 oboer, fagott, violino piccolo, strykere og basso continuoKonsert nr. 2, F-dur,  BWV 1047 for trompet, fiolin, obo, blokkfløte, strykere og basso continuoKonsert nr.3, G-dur, BWV 1048, for 3 fioliner, 3 bratsjer, 3 celli, og basso continuoKonsert nr.4, G-dur, BWV 1049, for fiolin og 2 blokkfløyter, strykere og basso continuoKonsert nr. 5 i D-dur, BWV 1050 for fiolin, traversfløte og cembalo, strykere og basso continuoKonsert nr. 6, B-dur BWV 1051 for 2 bratsjer, 2 gamber, violoncello, violone og cembaloKonsertene er utrolig forskjellige og full av interessante og raffinerte kompositoriske detaljer! La meg ta deg med på en guidet tur gjennom alle Brandenburg-konsertene; jeg håper du blir like glad i dem som jeg er!Og til alle podkast-episoder finnes det en passende spilleliste! Og selvsagt finnes det også en spilleliste for episode nr. 10 for dere der jeg har håndplukket mine favoritt-innspillinger av Brandenburg-konsertene! Spillelisten ligger allerede ute på Spotify og venter på dere! Søk den opp og kos deg med musikken! Bach, Bach og mer Bach!Dette er linken til spillelisten til denne episoden om BRANDENBURG-KONSERTENE!https://open.spotify.com/playlist/35HSYxIcY9fwIjMVDXyezH?si=e2ed087c87ee4775&pt=b6b37d4e082b5deb2cd75a27c89333d9Søk den opp og kos deg med musikken!(Denne linken virker kun innenfor Spotify! Hvis du lytter på Barokkpodden fra andre platformer enn Spotify, må du søke opp spillelisten separat!)*** Musikkeksemplene brukt i 10.episode av Barokkpodden er alle av denne innspillingen:The Brandenburg Concertos, Ensemble Zefiro, Alfredo Bernardini, 2018.Concerto nr.1, F-dur, 1.sats [ ] - 2.Adagio - 3.Allegro - 4. MenuettConcerto nr.2, F-dur: 1. [ ] - 2.Andante - 3.Allegro assaiConcerto nr.3, G-dur: 1. [ ] - 2.PrestoConcerto nr.4, G-dur: 1.Allegro - 2.Andante - 3.PrestoConcerto nr.5, D-dur: 1.Allegro - 2.Affetuoso - 3.AllegroConcerto nr.6, B-dur: 1. [ ] -2.Adagio ma non tanto - 3. [ ] ***Takk til Fond for Lyd og Bilde som støtter mitt prosjekt Barokkpodden!

The concertos may have never even been performed because Christian Ludwig didn't have good enough musicians to play the complex ...

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Welcome to our miniseries on Brandenburg Concerto No. 4!  In this first episode, we will talk about the first movement. Bach's Brandenburg Concertos are considered by many to be the pinnacle of instrumental Baroque music.  Come and join us as we explore why. This episode explores the many small building blocks that come together to make the first movement of this concerto into something greater than the sum of its parts. Two agile recorders compete with a showy violin part, all accompanied by a background orchestra (which isn't really in the background). How can we pick a single moment from this dense kaleidoscope of musical devices? Let's look at several of those devices in this episode.  Stay tuned for the next two episodes in this miniseries, where we explore movements 2 and 3.    Brandenburg Concerto No. 4 in G major BWV 1049 as performed by Netherlands Bach Society: https://www.youtube.com/watch?v=oSZJ__GIbms Ter Schegget and Sato on Bach Brandenburg Concerto No. 4 BWV 1049 | Netherlands Bach Society: https://www.youtube.com/watch?v=yKAPxpBlh3Q

Welcome to the Instant Trivia podcast episode 447, where we ask the best trivia on the Internet. Round 1. Category: Jimmy 1: The Kentucky Derby-winning jockey in 1878, or the president of the U.S. in 1978. Jimmy Carter. 2: He's won the U.S Open on 3 surfaces: grass (1974), clay (1976) and hard courts (1978, 1982, 1983). JImmy Connors. 3: He helped bring down Jim and Tammy Bakker, then got knocked off his own pulpit. Jimmy Swaggart. 4: Bobby Kennedy was chief council of the Senate committee investigating David Beck and this man. Jimmy Hoffa. 5: He was dyn-o-mite as mayor of New York from 1926 to 1932. Jimmy Walker. Round 2. Category: The 3 Bs 1: Beethoven tried all the latest scientific methods including sulphur vapors to cure this. Deafness. 2: Of the three B's, he's the one who composed the following:. Brahms. 3: Bach's 1721 "Concerts a Plusieurs Instruments" are popularly known as these "Concertos". "The Brandenburg Concertos". 4: The 2 who called Vienna home. Beethoven and Brahms. 5: Beethoven's only opera, based on J.N. Bouilly's "Leonore", it premiered in 1805. "Fidelio". Round 3. Category: Crossword Clues "I" 1: Titanic sinker(7). Iceberg. 2: Dante's Hell(7). Inferno. 3: Pianists tickle them(7). Ivories. 4: "Aha!", e.g.(12). Interjection. 5: A store's stock(9). Inventory. Round 4. Category: Cultured Celebrities 1: This "X-Files" star has expressed his admiration for the complex modern poetry of John Ashbery. David Duchovny. 2: TV's Felix Unger, he founded the National Actors Theatre to educate Americans in the classic plays. Tony Randall. 3: Yo, Adrian! This actor says that what "separates us from being totally bestial is...a sense of the aesthetic". Sylvester Stallone. 4: This crooner whose career was renewed on MTV in the '90s is also a painter influenced by the Impressionists. Tony Bennett. 5: This actress and sister of actress Jennifer made her debut as a novelist with 1994's "Singing Songs". Meg Tilly. Round 5. Category: Memoirs 1: He gets right to the point, the ear point, in "I Am Spock". Leonard Nimoy. 2: She tells of life before and after Burt in "My Life in High Heels". Loni Anderson. 3: Her book is "After All", after all, her show's theme song ended "You're gonna make it after all". Mary Tyler Moore. 4: "Palimpsest" is "A Memoir" by this "Burr" author. Gore Vidal. 5: "A Good Life: Newspapering and Other Adventures" is by this former Washington Post editor. Ben Bradlee. Thanks for listening! Come back tomorrow for more exciting trivia!

Garry Hynes and Marty Rea discuss Druid Theatre taking three O'Casey plays on tour, Peter Whelan on the 300th anniversary of Bach's Brandenburg concertos, and Chris Wasser chats about the new Apple TV series The Shrink Next Door

This Week on the show we talk with Nicola Cleary, Director of the upcoming Sligo Baroque Festival, which features JS Bach's Brandenburg Concertos. We chat with singer/songwriter, Mabel Chah, about her acting debut in Herself by Element Pictures, and project Manager for the Leitrim Local Live series, Siobhán O'Malley, fills us in on the many events taking place all over the county this weekend. All Podcasts can be found on Spotify, Apple Podcast, Soundcloud or wherever you find your podcasts. Just search OceanFmIreland. To contact the show or for previous episodes see www.oceanfm.ie/arts

What do we know about Johann Sebastian Bach (1685-1750). He was born in Eisenach, Germany, composer of the Baroque era, and the most celebrated member of a large family of north German musicians. In 1695, when he was just nine years old, his parents died. He was sent to live with his brother, Johann Christoph, an organist. Johann Sebastian Bach had a prestigious musical lineage and took on various organist positions during the early 18th century, creating famous compositions like "Toccata and Fugue in D minor." Some of his best-known compositions are the "Mass in B Minor," the "Brandenburg Concertos" and "The Well-Tempered Clavier." Bach died in Leipzig, Germany, on July 28, 1750. Today, he is considered one of the greatest Western composers of all time. Source: Encyclopedia Britannica and Biography.com. Thank you for listening.

The Brandenburg Concerto No. 1, BWV 1046.2 is the only one in the collection with four movements. The concerto also exists in an alternative version, Sinfonia BWV 1046.1 (formerly BWV 1046a), which appears to have been composed during Bach's years at Weimar. The Sinfonia, which lacks the third movement entirely, and the Polacca (or Poloinesse, polonaise) from the final movement, appears to have been intended as the opening of the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208. This implies a date of composition possibly as early as the 1713 premiere of the cantata, although it could have been used for a subsequent revival.The first movement can also be found as the sinfonia of a later cantata Falsche Welt, dir trau ich nicht, BWV 52, but in a version without the piccolo violin that is closer to Sinfonia BWV 1046a. The third movement was used as the opening chorus of the cantata Vereinigte Zwietracht der wechselnden Saiten, BWV 207, where the horns are replaced by trumpets.

The Brandenburg Concertos by Johann Sebastian Bach are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721. They are widely regarded as some of the best orchestral compositions of the Baroque era.

This week we feature Manorhamilton Youth Theatre with its production of The Strange Dr. Weird. Starts at 14.10 Before that we chat with Artistic Director of Sligo Baroque Festival, Nicola Cleary, about its Fundit campaign to bring the Brandenburg Concertos by JS Bach to Sligo. To contact the show or for previous episodes see www.oceanfm.ie/arts Arts North West is a weekly, magazine arts show that covers everything creative in the region. Featuring the best of music, theatre, storytelling, with the best of talent from Sligo, North Leitrim & South Donegal. Produced and Recorded in The Glens Arts Centre, Manorhamilton. It is supported by Pobal, The Arts Council & Leitrim County Council. Presented by Glens Artistic Director, Brendan Murray, it aims to afford artists of all disciplines the opportunity to engage with the community during this lockdown season.

This 41-year old LP album is still a jewel today. A very RARE jewel indeed. This album is still in almost new condition. This is the original release!! Purchase at: http://www.classicalmusicdiscoveries.store

Welcome to our miniseries on Brandenburg Concerto No. 3!  In this first episode, we will talk about the first movement. Bach's Brandenburg Concertos are considered by many to be the pinnacle of instrumental Baroque music.  Come and join us as we explore why. Alex's "moment of Bach" comes near the end of the first movement, when the music gets a little low and scary, and the cellos play some heavy metal music. Well, it sounds pretty metal! Stay tuned for the next two episodes in this miniseries, as we continue to marvel at Bach's creativity, and the elegance of his musical construction. The Brandenburg Concerto No. 3 is truly one of the greats.  The Netherlands Bach Society performance of this piece is a great way to spend 11 minutes of your free time: https://youtu.be/qr0f6t2UbOo Artwork for "A Moment of Bach" by Sydney LaCom

The FIVE that caught our eye... ONE The 300th story was Jul 2016 5yrs ago : Well our first story is really a collection of stories. We're seeing what seems to be a lot of truly dreadful news out there right now. Terrorist attacks in recent weeks in France and Germany the stabbings in Japan and continued suicide bombings in Syria and Iraq along with the failed coup in Turkey and its repercussions. Together, they have created a real sense of unease. And this comes at a time when Trumpism is on the march in America, the UK has voted for Brexit and uncertainty is all around. Are we witnessing some kind of trend? What's changed ? TWO Recorded over five years, the story of a young courier Demille navigating London's gig economy. THREE Celebrities in Australia anger stranded citizens over 'double standard' FOUR Bridgerton fans mourn as Regé-Jean Page's exit confirmed for second season FIVE Bach's Brandenburg Concertos turn 300 years and are celebrated via online concert 300 Years of the Škofja Loka Passion Play (Video) No 10 at 300—and not out

On today’s date in 1946, Igor Stravinsky's "Ebony Concerto" was premiered at Carnegie Hall by the Woody Herman jazz band. It was Stravinsky’s most extended foray into the world of jazz–and he was a bit worried how it would turn out. A few months before the premiere, Stravinsky wrote to Nadia Boulanger in Paris that the new score would be tailormade for Herman’s jazz band—and the two sides of a 78- rpm record: “I am composing a short concerto for the Woody Herman Band,” wrote Stravinsky. “Herman will record the music under my supervision,” continued Stravinsky, “and it will be done on two sides of one record: 1st side, Moderato (2 & 1/2 minutes) and Andante (2 minutes); 2nd Side: Theme and Vartiations (3 minutes). The orchestra will consist of clarinet, oboe. 5 saxophones, 5 trumpets, horn, 3 trombones, double-bass, harp, piano, guitar and percussion. I am somewhat unnerved by my lack of familiarity with this sort of thing.” He needn’t have worried. The fusion of the odd sonorities of Herman’s jazz band with Stravinsky’s neo-Classical inclinations resulted in a work that sounds a little like a swing-era version of one of Bach’s Brandenburg Concertos.

On today’s date in 1946, Igor Stravinsky's "Ebony Concerto" was premiered at Carnegie Hall by the Woody Herman jazz band. It was Stravinsky’s most extended foray into the world of jazz–and he was a bit worried how it would turn out. A few months before the premiere, Stravinsky wrote to Nadia Boulanger in Paris that the new score would be tailormade for Herman’s jazz band—and the two sides of a 78- rpm record: “I am composing a short concerto for the Woody Herman Band,” wrote Stravinsky. “Herman will record the music under my supervision,” continued Stravinsky, “and it will be done on two sides of one record: 1st side, Moderato (2 & 1/2 minutes) and Andante (2 minutes); 2nd Side: Theme and Vartiations (3 minutes). The orchestra will consist of clarinet, oboe. 5 saxophones, 5 trumpets, horn, 3 trombones, double-bass, harp, piano, guitar and percussion. I am somewhat unnerved by my lack of familiarity with this sort of thing.” He needn’t have worried. The fusion of the odd sonorities of Herman’s jazz band with Stravinsky’s neo-Classical inclinations resulted in a work that sounds a little like a swing-era version of one of Bach’s Brandenburg Concertos.

On the 24th March 1721, German composer Johann Sebastian Bach dedicated what were to become known as the Brandenburg Concertos to Margrave Christian Ludwig of Brandenburg-Schwedt, the younger brother of King Frederick I of ...

Continuing with the music of JOHANN SEBASTIAN BACH, we will present the Brandenburg concertos BWV 1047 and 1049

Continuing with the music of JOHANN SEBASTIAN BACH, we will present the Brandenburg concertos BWV 1047 and 1049

Paul Layendecker's weekly chat with Courtney Sheffer from the West Michigan Tourist Association. This week.  Sarett trails, Brandenburg Concertos and Chocolate Beer!

Shahid (who can't ride a bike) spends this episode educating Alice (who can ride a bike) on the wondrous career of Wendy Carlos - photographer, artist, trans woman, cat mom, dog mom, bisexual queen, mapmaker, etc. Not only is she an icon, but she's currently alive! Check out her website at http://www.wendycarlos.com/ Works Discussed (all by Wendy Carlos): Trio for Clarinet, Accordion, and Piano Dialogues for Piano and Two Loudspeakers Variations for Flute and Electronic Sounds Episodes for Piano and Tape Pomposities for Narrator and Tape Noah Switched on Bach (album) The Well-Tempered Synthesizer (album) A Clockwork Orange (film score) Landmarks Sonic Seasonings (album) Switched on Bach 2 (album) By Request (album) Brandenburg Concertos (album) Tron (film score) Digital Moonscapes (album) Beauty in the Beast (album) Secrets of Synthesis (album) Peter and the Wolf (album with Weird Al??) Switched on Bach 2000 (album) Tales of Heaven and Hell (album) Rediscovering Lost Scores, Vol. I and II (album) Background Music: Funeral of Queen Mary (from A Clockwork Orange) ------------------------------------ Classical Queeros is a podcast that aims to spotlight queer composers and make classical music more accessible. Follow us on Instagram @classicalqueeros and Twitter at @classicalqueero! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/classical-queeros/support

When we listen to the music of certain composers, we can immediately say "I recognize that sound!" But why? What techniques is that composer using in their music to convey that instantly recognizable sound to us? In this episode, I dive into the Baroque Era, and one of its icons, Johann Sebastian Bach. I look at some of his music - primarily keyboard music, but also a feature of the Brandenburg Concertos - and try to demystify the sound that has become so associated with him.

H+H Principal Keyboardist and Associate Conductor Ian Watson continues his discussion with host Guy Fishman to reminisce about H+H's recent performance of the complete Brandenburg Concertos by J.S. Bach in the Dominican Republic. Also features a conversation with Yolanda Borrás and John Thomas Dodson, the founders of the host festival, Conciertos de la Villa de Santo Domingo. Written and produced by Guy Fishman

H+H Principal Keyboardist and Associate Conductor Ian Watson joins host Guy Fishman to reminisce about H+H's recent performance of the complete Brandenburg Concertos by J.S. Bach in the Dominican Republic. Written and produced by Guy Fishman

On today's date in 1938, a musical soirée was held at Dumbarton Oaks, a magnificent house on the crest of a wooded valley near Washington, D.C. This was the home of Mr. and Mrs. Robert Woods Bliss. Mr. Bliss had retired from a distinguished career in the U.S. Foreign Service, which included a posting in St. Petersburg in 1907, around the same time a young Russian composer name Igor Stravinsky was getting some of his first public performances there. Mr. and Mrs. Bliss commissioned Stravinsky to write a Concerto for Chamber Orchestra to be premiered at their May 8, 1938 soirée in celebration of their 30th wedding anniversary, a work now known as the "Dumbarton Oaks Concerto." "A little concerto in the style of the Brandenburg Concertos," was how Stravinsky put it, adding, "I played Bach very regularly during the composition of the concerto, and I was greatly attracted to the Brandenburg Concertos. Whether or not the first theme of my first movement is a conscious borrowing from the third of the Brandenburg set, however, I do not know. What I can say is that Bach would most certainly have been delighted to loan it to me; to borrow in this way was exactly the sort of thing he liked to do."

On today's date in 1938, a musical soirée was held at Dumbarton Oaks, a magnificent house on the crest of a wooded valley near Washington, D.C. This was the home of Mr. and Mrs. Robert Woods Bliss. Mr. Bliss had retired from a distinguished career in the U.S. Foreign Service, which included a posting in St. Petersburg in 1907, around the same time a young Russian composer name Igor Stravinsky was getting some of his first public performances there. Mr. and Mrs. Bliss commissioned Stravinsky to write a Concerto for Chamber Orchestra to be premiered at their May 8, 1938 soirée in celebration of their 30th wedding anniversary, a work now known as the "Dumbarton Oaks Concerto." "A little concerto in the style of the Brandenburg Concertos," was how Stravinsky put it, adding, "I played Bach very regularly during the composition of the concerto, and I was greatly attracted to the Brandenburg Concertos. Whether or not the first theme of my first movement is a conscious borrowing from the third of the Brandenburg set, however, I do not know. What I can say is that Bach would most certainly have been delighted to loan it to me; to borrow in this way was exactly the sort of thing he liked to do."

((Cut Dave's diarrhea and Memory Pants. )) Vet sign: "Wash Your Paws." Dave turns it into Scrub Your Parents Down. Talking about X-Day with various SubGeniuses... X-Day will be in two weeks on a CRUISE SHIP. Suddenly other old people started wearing masks. Forgetting much easier than forgiving. Forgiving doesn't matter once you forget. Stang wants Alzheimer's pills for his memory. What if no one can travel in July? And everybody's broke. All the bartenders and waiters broke... Home-delivery strippers in Portland called Boober Eats. The Xists know our addresses; we don't have to be at some campground; can Rupture in Place. Let a Thousand Little X-Days Bloom. (X-Day possible cancellation slogans.) Or could use teleconferencing and Stay Home to Know What you Really Think. Too Much TP is always better than not enough. Fully paid trip to X-Day IN YOUR OWN HOME! Some are going nuts trying to live like Stang has for 30 years. World ended not with banging on highways but a whimper. Papa Joe Mama's letter about X-Day -- the Con designed this disease so none of us can escape! What would "Bob" do? Everything now resembles NEIGHBORWORLD! - everybody on the Internet ALL THE TIME. Teleconferencing with SubGeniuses. Zoom and security problems. Pretty dark and dismal and will get worse. Stang coaches Dave's speech. "I already got the chance to get old but some may not." There's a generation between Boomers and Milleniards that hates both of them. The smarty-pants quit reproducing. Stang and Dave reproduced. Grandkids going nuts stuck at home, using Kid Messenger. The time a photo of Stang's bruised veiny forearm was interpreted by FB AI robots as a foreSKIN. Funny foreskin jocularity. Some at home might READ, but instead they're texting. Background music is Wendy Carlos doing Brandenburg Concertos #2 Allegro. Caca soto means quiet poopoo. Stang can't draw or sing but can splice sentences together. We need to grow oil wells. Dave had natural gas since he was six. YourMommaDid, is that like a thermometer. Fanciful coronavirus cures. Fox should be sued for their virus disinformation. The cure: Joining the Church of the SubGenius. You may not live but you'll go to a better Hell that prepares you for SubGenius Heaven. Our local hot spot is the nuclear power plant. Hundred of out of towners are coming for annual repairs so the locals are paranoid. Drive-in services at the Cowboy Church. Stang's love of cowboy gospel music. REAL gospel is great whether black or cowboy. European tourists go to African American churches in South Carolina for the atmosphere. Stang's Pappy used to stand outside black churches to hear the singing when he was a kid -- and was still singing them in 2015. Child Pappy and Black churches. Now it's illegal to have a church service unless streaming. But there'll be fewer Republican voters soon. Trump rallies, gun shows, NASCAR to "pwn" the libtards. Stang only READS news. McLuhan's weird baloney is okay, it's his fan club... bad as members of the God fan club. Jesus, how could I judge him if he didn't exist, The census now: Are you a Mexican? What kind? Actually what kind of Hispanic? Stang's answer regarding ancestry: British Isles/Neanderthal. Or say Denisovan to throw 'em off. Monkeys use tools. Fish use tools. Octopuses are the smartest and they don't even have bones. But it's okay to eat them because they're cannibals. As SubGeniuses we won't say who's smart, just who's the most fun! Smart gets you nothin' but misery. They let prisoners out in Ohio - non murderers over 60 - not in Texas. Might let rapists and junkies out but not pot smokers or abortion havers. Obviously the powers that be are taking advantage of this chaos to lock down their permanent regime of right wing white supremacy. Erasing every single scientific advance - hate anything scientific because it's related to libtards. What can they do bt hate? They aren't equipped to do much else. Senators cashed in on the disaster and everybody forgot. "The President so crappy that America ran out of toilet paper." It's going around like other things that are going around. Stang's mild early hoarding. Just buying one extra every time. Dave's stash is only for a week. Stang's, a month. Need TWO months. We have soap -- TRIOLOGY SOAPS! With Dobbshead inside! Description of of Triology soaps. Stang hates the deoderent chemical smells. No prob as a 3-pack smoker. Now can't stand the detergent aisle. We may have had it already and didn't know. Stang's 3 friends who had all the symptoms in December and flunked flu test. Stang doesn't touch anybody but his dogs and two old ladies. Stang's not a socialist distancer. "Who needs public anything? Libraries? Roads?" Russia, China, Germany Cambodia... these things happen when all the uneducated people decide to throw everybody with glasses or bilingual into mass graves. Autocratic regimes everywhere. We'll be totalitarian dictators on our own spaceships two weeks fom now on the X-Day Cruise Ship! It'll be PACKED! Stang preaches against Devil Virus televangelist-style. 60% of those pew-packers won't be voting! So old and obese. Poebucker details: Monskoes (skinny poebuckers) and Quaints (obese poebuckers). Not fat shaming, but poverty and morbid obesity. Dave's Confederate neighbor in uniform and holding AR-15 in front yard. He's a nobody but he's got a GUN! Who's the dumb one. "Democrats don't have guns or motorboats." They'll be surprised when they discover not only did a lot of libtards have guns but they're CRACK SHOTS! All Stang has is the Sword of Bob, an old smelly pipe. If no men, no wars -- but in world without men, some women would fill the niche! ARMY OF FERAL HOGS attack! Wei just arrived. We're eating cyanobacteria Nostoc. Tastes like what it grows on. Should grow it on ice cream. Welcome, Wei. Wei's mic has an on button, Mic 1, the good one. Want Dave on streaming parties, but like GGG he resists computer shit. Talking to another idiot is what the Church of the SubGenius is all about. SubGenius radio problem of talking over each other; Zoom forces people to have manners. Rawhide time for Buddy. The dogs keep us to a very tight schedule. The dogs program us as much as we do them. Ramus and Remus. Onan biz about the Angel of Death sent away temporarily by Dobbsheads. Did I read all this stuff last week? Maybe I do have Alzhiemers. X-Day not cancelled, but camping outlawed now. Many people defying safety due to Trump crap. There is a silver lining - a lot fewer Trumpers in the coming months. The IDIOCRACY documentary. Fuddruckers and Boober Eats. In the country of the Blind the One Eyed Man is King, but none of us have one eye. And the two-eyed person is FUCKED in that country. Details of "In the Country of the Blind" by H. G. Wells. Stang on Wells. Emergentiles = Morlocks, Rewardians = Eloi. Nice Eloi and Mean Morlocks. Morlocks/Eloi Rewardian/Emergentile rant. We only take one in ten. Most SG are Rewardians; only one in 10 CAN be Emergentiles. Dave worried about time on his phone. Always send copy of show and a tiny little check. Dave's dirty word: Opthamology. Wei's precocious sentence at age 1, Stang's at age 2. Dave solved all the world's problem at age 7! But only for about one minute, then the world got back to normal. When The Others run out of food they'll visit the neighbor with a veg garden but no guns. Our peed-on straw bale garden. Curing disease by drinking own pee. History of Bob Nelson show. There's no one at WCSB, programmed remotely. University shut down. Praise the millions of stations that carry this show. Buddy is eating Mr. Bill's arm. Wei has Mr. Bill's voice box that Claudia pulled out. Dave leaves. Sign-off. She chewed up Mr. Bill's brain! Let Mr. Bill's ghost never haunt this house INTERNET-ONLY BEGGING. Dave's GoFundMe link - CLEVELAND HOUSE AD! Now only $109,000. Hard-sell house ad. Rev. Cosmac could fix Mr. Bill's brain. Praise of Cosmac's crazy ways of building futuristic magic from ancient electronics. His lit-up glowing white mannequin that talks back to you via AI with glowing nipples. Made with 1950s transistors. When Horizon Zero Dawn world comes he'll thrive. MONEY FOR US! Minister ad. What if you get a disease? Can't get on the Saucers unless a descendants save you posthumously. Retroactive Memberships. Xists and dead people. Can bring dead to life but like Pet Semetary. Spend $ at subgenius.com. Desc. of Memb Pack. Frameable documents and starable art. Tree of Knowledge. Pamphlet ad. Stang dies on the air. GoFundMe for Lonesome Cowboy Dave

When Johann Sebastian Bach sent a set of six concertos to the Margrave of Brandenburg -- a German official -- the Margrave probably never even looked at the music. Bach called his pieces "concertos for a variety of instruments," because each one calls for a different instrumental combination.

When Johann Sebastian Bach sent a set of six concertos to the Margrave of Brandenburg -- a German official -- the Margrave probably never even looked at the music. Bach called his pieces "concertos for a variety of instruments," because each one calls for a different instrumental combination.

Sarah Metcalfe is CEO of Playlist for Life, the music and dementia charity founded by writer and broadcaster Sally Magnusson. Under her leadership Playlist for Life has established a growing UK network of community Help Points and was recently awarded £1.6million by the National Lottery to scale up playlist-use across the UK. Sarah was a Commissioner on the ILC Commission on Dementia and Music and is one of the steering group advising on BBC Music Day. She has been a speaker and advocate for the power of playlists at events including the NHS Innovation Expo, the International Palliative Care and Dementia Conference and on radio and TV. Prior to Playlist for Life she worked in policy, campaigns and community organising. She lives in Glasgow with her husband Jim and children, Rosa and Ally. Her playlist includes Baby Beluga and the Brandenburg Concertos. Luke and Sarah consider the overlaps between Playlist for Life and the work of music therapists, including exploring concepts such as 'musical relationship' and 'musical identity' as they relate to the processes of working with a person on their playlist. They also discuss whether playlists are dependent on technology such as iPods and music streaming, and whether they are necessarily an interactive or receptive intervention. For more information on Playlist for Life, training for health and care professionals or how to make and use a playlist, please visit www.playlistforlife.org.uk 

Samba, Brandenburg Concertos, Jake Shimabukuro, Metallica, Holiday Choral Concerts, Mariachi Holiday Concert, An Evening of Dance.

We'll look at the three remaining Brandenburg Concertos, Nos. 4,2 & 5.

We'll look at three of Bach's famous Brandenburg Concertos: Nos. 3, 6 & 1.

A series of classical tales, from the Iliad to the Inferno have been recast by modern poets. Sean O'Brien has written a version of Dante's Inferno, and, for the stage, Aristophanes' The Birds; he is Professor of Creative Writing at Newcastle University. Sandeep Parmar's poetry includes Eidolon, the classical rewrite Helen of Troy in America, and she is a Professor of English Literature at the University of Liverpool. Catherine Fletcher invites them to reflect on how to find the right words and images when translating a classic work into a modern idiom and what it means to work on something which is well known as two Proms present new work inspired by Bach's Brandenburg Concertos.

The Artist's Way is a creative self-help book that has sold over 4 million copies and garnered dedicated fans around the world. As part of Front Row's Inspire season we speak to its author Julia Cameron who explains the philosophy behind her 12 week programme and answers listener's questions. Stephen Mangan stars as an online therapist in new Channel 4 comedy Hang Ups, loosely based on US series Web Therapy starring Lisa Kudrow. Mangan, co-wrote and produced the series, which also features Katherine Parkinson, David Tennant, Charles Dance and Celia Imrie. Critic Emma Bullimore reviews. As part of the 2018 BBC Proms, yesterday saw Bach's six Brandenburg Concertos - each with their own different and distinctive orchestration - performed alongside six newly commissioned companion works. Music journalist and critic Alexandra Coghlan has the Front Row verdict. To mark Jamaican Independence Day, award-winning poet Kei Miller chooses his favourite piece by poets from his home country.Presenter: Stig Abell Producer: Jack Soper.

Sara Mohr-Pietsch recommends a recorded version of Bach's Brandenburg Concertos

Hannah French looks in depth at JS Bach's four orchestral suites, which play something of a Cinderella role to the Brandenburg Concertos. Though they are some of Bach's most festive works, they remain an incomplete set, never published, or even considered a collection in his lifetime. Basically, they are suites of dance-pieces in French Baroque style preceded by an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual. Telemann left us with 135 examples, Graupner 85 and Fasch a neat 100, so why did such a prolific and accomplished composer as Bach shun the genre? Hannah delves into some of the many recordings of the pieces to find out.

Hannah French looks at the tradition of Tafelmusik. Musique de Table. Table Music. It's music composed to divert, entertain, and yes, be performed around a table. Hannah visits the British Library to talk to the Curator of Music Manuscripts Andra Patterson about an incredible manuscript of Table Music held there: a 'booke of In nomines and other solfainge songs of 5, 6, 7 and 8 parts for voyces or Instruments'. The programme includes pieces by William Byrd, Johann Schein, Michael Praetorius, Vivaldi and Telemann. Telemann is undoubtedly the most celebrated composer of Tafelmusik. His 1733 collection is a substantial portfolio of about four-and-a-half hours of music which is rated alongside Vivaldi's L'Estro Armonico and Bach's Brandenburg Concertos in terms of breadth of ideas and creative use of form. It's arranged into three parts or 'productions', each containing a suite, a quartet, a concerto, a trio, a sonata, and a conclusion. Telemann had the knack of keeping up with the latest musical trends and giving people what they wanted to hear. He knew he was on the money with his Tafelmusik, announcing: 'This work will make me famous one day'...

This exemplar of the Baroque languished in obscurity for nearly a century after its composition… And in 1977 it was shot into space!  Find out how, exactly, Bach ended up voyaging through space on today's "A Classical Day in the Life".

Gottfried von der Goltz, Freiburger Barockorchester, and members of the ensemble speak with Library staff about their work and performing Bach's Brandenburg Concertos. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6297

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

In recent months, symphony orchestras have returned to the music of J.S. Bach with a vengeance. The New York Philharmonic is in the midst of a month-long Bach festival with the expressed goal of reclaiming the master's music for modern instruments. At the Philadelphia Orchestra, Bach's St. Matthew Passion and Brandenburg Concertos are on the calendar this spring. The orchestra also plans to re-record the Bach transcriptions of Leopold Stokowski – those sumptuous, technicolor arrangements that had been considered passé (if enjoyably so). "There's been a weird phenomenon for a long time that has made it pretty rare to see Bach on symphony orchestra programs," said New York Philharmonic music director Alan Gilbert in a recent video explaining the orchestra's project. He goes on to question the "exclusivity" of suggesting "there was one only one right way to play Bach." All of this is a far cry from the period-instrument movement's expressed goals to rediscover how Baroque music might have sounded using original instruments and performance practices. For years, if not decades, period-instrument players had gained the upper hand by researching appropriate tempos, ornamentation and instruments. In this podcast, host Naomi Lewin asks three guests about this phenomenon. "I think [orchestras] are panicking," said Monica Huggett, a leading baroque violinist and conductor. "In London, where I worked most of my career, the big orchestras stopped playing Bach because in the end, there was so much good historical performance that they really didn't need to do it any more and people really didn't want to hear it any more." James Oestreich, the consulting classical music editor at the New York Times, sees things differently. "I wouldn't agree that the large orchestras are panicking," he said. "I think they've lost their balance to some extent. I think they've lost confidence in the repertory to some extent. To hold up the music scene in a world capital like London or New York and say this should set standards for who performs what, I don't think is fair." Oestreich adds that the New York Philharmonic played lots of Bach in the 1990s, and the orchestra is "perhaps overselling" the novelty of its current festival. Lewin also asks a prominent New York pianist whether she's trying to reclaim Bach for the modern instrument. "I'm not doing anything unique by playing Bach on the piano," said the pianist Simone Dinnerstein. "I think that I just have more omnivorous tastes and think that Bach sounds very interesting and different when played in many different ways on many different instruments with modern orchestras, on authentic instruments." Weigh in: Do you enjoy the sound of Bach played on modern or on period instruments? Please leave your comments below. Guests: James Oestreich, the consulting classical music editor and a freelance writer for the New York Times. Monica Huggett, a leading baroque violinist and conductor who teaches at Juilliard. Simone Dinnerstein, a pianist who has made a number of Bach recordings. Her latest, called “Night,” with the singer-songwriter Tift Merritt, features a modern rendering of Bach. .chart_div { width: 600px; height: 300px; } loadSurvey( "bach-period-instruments", "survey_bach-period-instruments");

Harmonia begins an exploration the Orpheus Chamber Orchestra’s commissions inspired by the Brandenburg Concertos of J.S. Bach, a look at prominent countertenors from the 1990s, and Rolf Lislevand performs music of the Italian Renaissance on the featured recording “Diminuito.”

Early 20th Century recordings of Bach's music, including movements from Brandenburg Concertos 2 & 4, Cello Suite #3, Orchestral Suite # 3 and the Prelude & Fugue in E Minor. Performers include: The Busch Chamber Players, Edwin Fischer, Pablo Casals, Andre Segovia and Louis Verine.