Podcasts about Cantata

Quando a Princesa-Eleitora da Saxônia e Rainha da Polônia Christiane Eberhardine morreu, em 4 de setembro de 1727, um estudante da Universidade de Leipzig chamado Hans Carl von Kirchbach teve a ideia de promover, às suas próprias custas, uma cerimônia póstuma em homenagem à rainha, que seria realizada na Igreja de São Paulo, ligada à Universidade de Leipzig. Tendo obtido da direção da universidade permissão para realizar a cerimônia, Kirchbach encomendou uma cantata para ser exibida durante o evento. Para compor a música, ele contratou Bach, que trabalhava em Leipzig havia então quatro anos. Quanto à letra da cantata, ele pediu para o conceituado escritor, crítico literário e professor da Universidade de Leipzig Johann Christoph Gottsched. O resultado desse empenho de Hans Kirchbach é a cantata Lass, Fürstin, lass noch einen Strahl, “Deixa, princesa, deixa ainda um raio” (BWV 198), que foi apresentada no dia 17 de outubro de 1727, na Igreja de São Paulo da Universidade de Leipzig. Composta de duas partes e dez movimentos, a cantata é exibida nesta edição de Manhã com Bach. Christiane Eberhardine era venerada na Saxônia - região de predomínio do protestantismo e onde o próprio reformador Martim Lutero havia introduzido a Reforma Protestante dois séculos antes - porque ela se recusara a se converter ao catolicismo quando o seu marido, o rei Augusto II, o Forte, foi eleito rei da Polônia, em 1697. Para assumir o trono polonês, Augusto precisou renunciar ao protestantismo e adotar o catolicismo, no que não foi seguido pela esposa. Como mulher do rei, Christiane Eberhardine recebeu o título de Rainha da Polônia, mas se recusou a comparecer à cerimônia de posse do marido, onde seria coroada, e jamais pôs os pés na Polônia, apesar de toda a insistência de Augusto. Com isso, ela se tornou um símbolo da resistência protestante contra o catolicismo e uma espécie de protetora dos protestantes, que temiam que Augusto II implantasse uma contra-Reforma na Saxônia. Originalmente, a letra composta por Gottsched era um poema com nove estrofes. Bach faz uma série de modificações nessa estrutura, separando versos e com eles criando recitativos, árias e coros. Não há registro da reação de Gottsched a essas alterações, mas é bem possível que o famoso escritor e professor não tenha ficado muito satisfeito em ver seu texto alterado. Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 30 e 31 de maio de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

Discover more Sincerely Accra!Joseph and Pappy Kojo discuss his new album, "Cantata", and dive into the changes he has experienced in his personal life and his music over the years.Music Opener Oshe - Reynolds The Gentleman ft. Fra!Music BridgesCompany - Moffy ft. Darkua Thomas Pompoyeyaw - Pappy Kojo prod. by Guilty Beatz Customer - Pappy Kojo ft. Lil Shaker Mennda- Pappy Kojo Music Closer Bonanza - Pappy Kojo ft. B4BonahA GCR Production - Africa's Premiere Podcast Network

We'll look at Beethoven's early cantatas: the Cantata on the Death of Emperor Joseph II, WoO87, and the Cantata on the Accession of Emperor Leopold II, WoO88.

Quarter-Bin Podcast #239Batman 348, cover-dated June 1982. "Shadow Play" by Gerry Conway, Gene Colan & Klaus Janson. and "The Man, The Bullet, The Cat, pt 1," by Bruce Jones, Trevor von Eeden, & Pablos Marcos. What happens when we continue our "Batman phase" by inviting Keith G Baker on the show? How does it go when we accompany Batman as he moves back to Wayne Manor after a long stretch living at the Tower? And what does he do with the squatter he finds there?Listen to the episode and find out!  Click on the player below to listen to the episode:  Right-click to download episode directly You may also subscribe to the podcast through iTunes or the RSS Feed. Promo: Comics for Fun & ProfitNext Episode: Maybe Free Comic Book Day 2026, maybe Analog Magazine September 1986.Send e-mail feedback to relativelygeeky@gmail.com "Like" us on Facebook at https://www.facebook.com/relativelygeekyYou can follow the network on Twitter @Relatively_Geek and the host @ProfessorAlanYou can follow the network on  Bluesky @relativelygeeky.bsky.social  Source: Half Price BooksMusic in the episode: The Serpent's Cantata, by Echo Gate from Pixabay

Johann Sebastian Bach (1685-1750) - Cantata Herz und Mund und Tat und Leben BWV 147 1.      Herz und Mund und Tat und Leben (Chor)2.      Gebenedeiter Mund! (Rezitativ) 4:163.      Schäme dich, o Seele, nicht (Arie) 6:124.      Verstockung kann Gewaltige verblenden (Rezitativ) 9:545.      Bereite dir, Jesu (Arie) 11:326.      Wohl mir, daß ich Jesum habe (Choral) 16:097.      Hilf, Jesu, hilf (Arie) 18:518.      Der höchsten Allmacht Wunderhand (Rezitativ) 22:119.      Ich will von Jesu Wundern singen (Arie) 24:1710.   Jesus bleibet meine Freude (Choral) 27:13 Griet de Geyter, sopranoAlex Potter, altoGuy Cutting, tenorMatthias Winckhler, basso Netherlands Bach SocietyMarcus Creed, conductor

Title: A Coffee Ban Track: “Ei! wie schmeckt der Coffee süße” from Bach's coffee Cantata. Artist: Sum Jo with the Concertgebouw orchestra Publisher: 2006 Warner Classics

Johan Sebastian Bach (1685-1750) - "Was mir behagt, ist nur die muntere Jagd" BWV 208Cantata della caccia – cantata profana 1.      Recitative (Diana): Was mir behagt, ist nur die muntre Jagd! 00:002.      Aria (Diana): Jagen ist die Lust der Götter 00:423.      Recitative (Endymion): Wie, schönste Göttin? wie? 02:414.      Aria (Endymion): Willst du dich nicht mehr ergetzen 03:435.      Recitative (Diana): Ich liebe dich zwar noch! 07:426.      Recitative (Pan): Ich, der ich sonst ein Gott 10:137.      Aria (Pan): Ein Fürst ist seines Landes Pan 10:448.      Recitative (Pales): Soll dann der Pales Opfer hier das letzte sein? 13:189.      Aria (Pales): Schafe können sicher weiden (Sheep may safely graze) 14:0010.   Recitative (Diana): So stimmt mit ein 18:4211.   Chorus: Lebe, Sonne dieser Erden 18:5412.   Aria (Diana, Endymion): Entzucket uns beide, ihr Strahlen der Freude 21:3613.   Aria (Pales, Endymion): Weil die wollenreichen Heerden 23:2314.   Aria (Pan): Ihr Felder und Auen 24:5215.   Chorus: Ihr lieblichste Blicke, ihr freudige Stunden 27:20 Anastasiya Peretyahina, sopranoFriederike Urban, sopranoMartin Petzold, tenoreWolf-Matthias Friedrich, bassoLeipziger UniversitätschorPauliner BarockensembleDavid Timm, conductor

An Easter cantata sang by the Cedar Bluff Baptist Church Choir followed by an Easter sermon from Matthew 28:1-10 entitled "It Happened In The Garden."

This Message is brought to you by the Senior Pastor of the global, multicampus ministry, Petra Christian Centre, Pastor Ayo Ajani.

Johann Sebastian Bach (1685–1750) - Christ lag in Todesbanden BWV 4, cantata1.      Sinfonia: archi e continuo 2.      Versus 1 (chorus): "Christ lag in Todes Banden" 1:383.      Versus 2 (soprano, alto): "Den Tod niemand zwingen kunnt" 6:014.      Versus 3 (tenor): "Jesus Christus, Gottes Sohn"  10:015.      Versus 4 (chorus): "Es war ein wunderlicher Krieg" 11:576.      Versus 5 (bass): "Hier ist das rechte Osterlamm"  14:107.      Versus 6 (soprano, tenor): "So feiern wir das hohe Fest" 18:468.      Versus 7 (chorus): "Wir essen und leben wohl"  20:48  Dietrich Fischer-Dieskau, baritonoPaul Lachenmeier, trombettistaMünchener Bach-OrchesterMünchener Bach-ChorKarl Richter, conductor

O Oratório de Páscoa (BWV 249), de Johann Sebastian Bach, tem origem numa cantata secular de Bach, a cantata Entfliehet, verschwindet, entweichet, ihr Sorgen, “Fugi, desaparecei, escapai, vós, preocupações” (BWV 249a), que foi composta para comemorar o aniversário do duque Christian, da corte de Sachsen-Weissenfels, no leste alemão, e apresentada naquela corte no dia 23 de fevereiro de 1725. Pouco mais de um mês depois, em Leipzig, Bach aproveitou essa mesma música para a celebração da Páscoa e compôs o Oratório de Páscoa, executado pela primeira vez em 1º de abril daquele ano. Essa composição, com onze movimentos e rica instrumentação, é apresentada nesta edição de Manhã com Bach. Na cantata secular, quatro pastoras no campo se revezam para cantar louvores e votos de felicidade ao duque Christian. Já no Oratório de Páscoa, as quatro pastoras dão lugar a quatro personagens bíblicos, Maria Magdalena, Maria Jacobina, Pedro e João, que, de acordo com os Evangelhos, foram as primeiras pessoas a visitar o túmulo de Jesus, num domingo de Páscoa, e constatar que o corpo do mestre não estava mais lá. A voz do soprano é feita por Maria Jacobina e o contralto, por Maria Magdalena. Pedro faz a voz do tenor e João é o baixo. Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 4 e 5 de abril de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

O período em que Johann Sebastian Bach atuou como músico na cidade de Leipzig, no leste alemão - desde 1723 até sua morte, em 1750 -, é o destaque desta edição de Manhã com Bach, que conclui as comemorações pelo aniversário de 341 anos do compositor alemão, completados no dia 21 passado. Em Leipzig, Bach trabalhou como Kantor - ou diretor de música - da Sankt-Thomas Kirche, a igreja luterana de São Tomé, durante os 27 anos em que viveu na cidade. Nessa época, ele criou a maior parte das suas mais de 200 cantatas hoje preservadas, além de compor a Paixão Segundo São Mateus, a Paixão Segundo São João, o Magnificat, os seis motetos, a Missa em Si Menor e o Oratório de Natal, entre outras obras-primas da música universal. Paralelamente ao seu trabalho na área da música sacra, entre 1729 e durante toda a década de 1730, Bach foi diretor do Collegium Musicum de Leipzig - uma associação de músicos que realizava concertos semanais no Kaffee Zimmermann, uma cafeteria localizada no centro de Leipzig. Para esses concertos, Bach compôs concertos para teclado e outros instrumentos, além de cantatas seculares, entre elas a Cantata do Café (BWV 211). Como exemplo da produção de Bach em Leipzig - tão rica tanto em música sacra como em música de câmara -, esta edição de Manhã com Bach exibe o Concerto para Três Cravos em Ré Menor (BWV 1063) e a cantata Ein Herz, das seinen Jesum lebend weiß, "Um coração que sabe que seu Jesus vive" (BWV 134). Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 28 e 29 de março de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

Palm Sunday Lenten Cantata Recording of Entire Service

Pastor Ryan continues through the series in the gospel of Matthew titled "The King & His Kingdom" as he preaches a message titled "At The Cross" during this Sunday Evening service. This service also contains the 2026 Easter Cantata & Drama "He Lives!"

Cantata 03-29-26 "Palm Sunday Cantata" – First Baptist Choir

BACH: Cantata BWV 208 “Was mir behagt, ist nur die muntre Jagd” Cantata de caza (30.02). Y. Kenny (sop.), A.-M. Blasi (sop.), K. Equiluz (ten.), R. Holl (baj.), Coro Arnold Schönberg, Concentus Musicus Wien. Dir.: N. Harnoncourt. HÄNDEL: Sonata trio para dos violones y bajo continuo en Re menor, Op. 2 nº 3 (11.03). A. Harnoncourt (vl.), W. Pfeiffer (vl.), N. Harnoncourt (vc.), H. Tachezi (clv.).Escuchar audio

SONGS in this podcast episode: M1 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) M2 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20). M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40). M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55). M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06). M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (2:56) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) PROGRAM NOTES Johann Sebastian Bach was a German composer and organist from the late Baroque period. He was born in Eisenach, in what is now central Germany. Bach lived from 1685 to 1750, The Baroque period was a 150-year period in music, dating from 1600 to 1750. Baroque music is Western Classical Music that followed the Renaissance period. Baroque music features drama, ornamentation, major and minor tones, and was presented in new ways – – like the Opera, Concerto, and Sonata, Baroque composers included BACH, HANDEL, VIVALDI. M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27). Bach probably used the CLAVICHORD to compose most of his music. The Clavichord is small, lightweight and would not disturb people. The clavichord was very temperamental, because it required tuning before each play, just like a violin or guitar.  The keyboard instruments of the day were referred to as a general category: the “KLAVIER”….these included HARPSICHORD, CLAVICHORD, ORGAN and PIANOFORTE. Bach's favorite KLAVIER instrument was the LAUTENWERK or LUTE HARPSICHORD with animal gut strings.  The writing of music was in support of GOD and KINGS. Over time, Baroque Music evolved into what is today known as the modern Orchestra. Bach was a prolific composer, writing hundreds of pieces for solo instruments, particularly the organ. He also wrote pieces for orchestra and choir. Bach is MOST known for writing two or more  melodies or voices against each other. Also called point against point, or, Counterpoint. Bit Bucket A BWV catalog number is a unique identifier for musical works composed by Johann Sebastian Bach, standing for Bach-Werke-Verzeichnis (Bach Works Catalogue).  Today I will present 9 compositions, dating from 1710 to 1731, during the time Bach was about age 25 to 45. M1 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20) Our first piece — TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). an ORGAN COMPOSITION.     It is taken from a 1959 album of BACH ORGAN WORKS   . The movement is called ADAGIO ….which indicates “At Ease”, or “Slow and Stately”. Tempo is only 66-76 BPM. like the resting heart rate for many people. Great liner notes. HERE IS AN  excerpt from the liner notes on that album – – QUOTE “OUR BACH” said the obituary notice, “was the greatest organ and clavier player that ever lived”. Though it may seem strange to us now, Bach's genius during his life was recognized only as a master of the organ—not as a composer. It was actually over a hundred years after his death that his works revealed him as a unique and mighty composer. His reputation as an organist brought many invitations to test new organs and advise on the construction of them.  UNQUOTE As with most of his organ works , there is no autograph or manuscript score from Bach, his organ work manuscript copies are lost.  This song has a CONCERTO style and rhythm.  We will hear the 2nd or ADAGIO movement. . It is all very calm and beautiful and pastoral and serene…until Bach pulls out all the stops in the last minute of this ADAGIO movement. He is really rocking the walls and windows of that church. Without any further adieu, here is TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). PLAY M2 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M2 MUSICAL CREDIT: This Bach organ work  was recorded on the Luneburg Organ at St. Johanniskirche, in the town of Luneburg, in northern Germany, the organist is Professor Michael Schneider. This LP was produced and released on the SOMERSET label here in the US in 1959 The album title is BACH The Majesty of the Luneburger Organ. M2 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) Our next piece is the most famous church cantata written in 1714 for THE FIRST SUNDAY IN ADVENT. NUN KOMM DER HEIDEN HEILAND or in English “NOW COME, SAVIOR OF THE HEATHANS” A HEATHAN is a person with no religion, i.e., a PAGAN. In this chorale, Jesus is asked to …  come and save the pagans.  In 1714, Bach would have been 29 years of age. It turns out that this song goes back almost two centuries before BACH's time.  It's based on a LUTERAN CHORALE with words written by Martin Luther for the 1523 first Advent Sunday.  For centuries, this was the first hymn for the first Sunday of ADVENT.  What I will play next is an arrangement for as modern symphony orchestra (the Philadelphia Orchestra) and it is definitely JS BACH heard in those phrases. But it is a large orchestra – – Conducted by Leopold Stokowski.  This is an extremely restrained, demure, and understated interpretation of a Bach piece the most restrained I have ever heard. The recording you will hear next is performed by the Philadelphia Orchestra, with conductor   Leopold Stokowski. This recording is on a Vinyl LP titled THE SOUND OF GENIUS, produced by COLUMBIA MASTERWORKS, in 1960. It was one of many records that were shipped by mail to members of the Columbia Record Club. My parents were enthusiastic members. A new disc would arrive in the mail every month, such as this LP of classical music. Without further delay here is NOW COME, SAVIOR OF THE HEATHANS PLAY M1 SHOW PLUG – SHOW PLUG – DON'T TOUCH THAT DIAL ! ! That was…M1 NOW COME, SAVIOR OF THE HEATHANS” MUSICAL CREDIT: Arranger and Composer JS Bach, sometime between the years 1708-1717 Performance: Philadelphia Orchestra, conducted by Leopold Stokowski. Album: The Sound of Genius Limited Edition LP (1960) Members Only ! Label: Columbia Master Works BIT BUCKET This piece also is based on a song listed in the ZAHN Lutheran chorales catalog. ZAHN 1174 M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40) The next three pieces are called TWO PART INVENTIONS, composed by JS Bach around 1720   The inventions were composed for use in instruction of Bach's oldest son WILHELM FRIEDEMANN BACH who was 12 years old. Today, these inventions are introduced to music students in school grades 4-7. Learning the Two-Part Invention requires ROTE learning, practicing over and over until the two hands work completely independently of one another. The inventions teach, among other things, the use of COUNTERPOINT. Bach is MOST known for writing two melodies against each other. Also called point against point, or, Counterpoint. That is the feature of these inventions, in each one there are TWO PARTS, left and right hand parts. COUNTERPOINT is found mostly in Bach's FUGUES and in his INVENTIONS. Perhaps a brief demonstration is in order. Here is an excerpt from one of Bach's inventions. FIRST the right-hand part or first point – the melody SECOND the left-hand part or second point – the bass line LAST both parts played in counterpoint. In some of Bach works, the roles reverse, The left hand plays the first point – the melody And the right hand plays the second point – the bass line Could you do this by crossing hands on the keyboard – yes, but, the roles are reversed, so no cross-hand playing. I will now play  WENDY CARLOS's rendition of three BACH TWO-PART INVENTIONS from her 1969 recording titled “SWITCHED ON BACH” .. I will play all three, back-to-back. Each one is short – – average length ONE MINUTE EACH! PLAY M3 PLAY M4 PLAY M5 Credits: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) And now….. PLAY M4 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M4 MUSICAL CREDIT: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55) PLAY M5 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M5 We heard three inventions – – Bach's 2-PART INVENTION in F MAJOR And the 2-PART INVENTION in B-FLAT MAJOR And the 2-PART INVENTION IN D MINOR Each invention is very different than the other. Not just a key change like the work title would suggest ! Bach stated that he wrote his inventions “to be models of composition” in other words, to enable the student to form ways of developing musical ideas and “acquire a strong taste of composition” Bach wrote the inventions, one for of the notes A to G and one for each minor and major key. Today these inventions are over 300 years old ! MUSICAL CREDIT: Composer JS Bach Estimated dates between 1720-1723 Performer – Wendy Carlos – early prototype Moog Synthesizer Arranger and Recording Engineer – Wendy Carlos on MOOG SYNTHESIZER in 1968. Record and label:  Switched-On Bach, Columbia/CBS BIT BUCKET M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06) Next is Bach's “The Well-Tempered Clavier” written in 1722. He was 37. The title page to the Well-tempered Clavier song book reads : “The well-tempered Clavier, or Preludes and Fugues, through all the tones and semitones, both the [major] and [minor]. For the profit and use of the studious musical young…” Bach wrote these preludes and fugues in all keys in the chromatic scale … 12 major and 12 minor keys I have the version in D MAJOR. It's two sections – the prelude, and the fugue The Prelude is the introduction. LISTEN FOR the Stride Piano on the left hand !! It's a short 1:10. The Fugue is the second section. It's slower but with a more Bold left hand. Also short at 1:54. And now….PRELUDE & FUGUE No. 5 D-Major fromThe Well-Tempered Clavier PLAY M6 SHOW PLUG – DON'T TOUCH THAT DIAL !  That was…M6  PRELUDE & FUGUE No. 5 D-Major from The Well-Tempered Clavier MUSICAL CREDIT: Composer JS Bach and the autograph date is 1722 Pianist: Vasso Devetzi Label Festival Classique (1978) M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (3:22) Our next song is Jesu, Joy of Man's Desiring This song was also composed by JS Bach in that same year of 1723 – – prolific at age 38. This was written for the Christian Feast of the Visitation- celebrated at the end of May in Western Christianity. The song is a Lutheran hymn. … a CANTATA and it has a CHORALE or chorus piece repeated twice within this cantata. There are many arrangements and versions because this song is one of Bach's most beautiful, well-known, and popular. The version we will hear next is arranged for SOLO PIANO. the pianist is Leon Fleisher. And Now, Here is Jesu, Joy of Man's Desiring – Bach       1723 PLAY M7 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M7  Jesu, Joy of Man's Desiring MUSICAL CREDIT: JS Bach composer 1723 Performance: Leon Fleisher – Pianist    (courtesy of EPIC records) Album  THE SOUND OF GENIUS VOLUME 3   Label Columbia, 1962   (3:22) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) Here is another Chorale recording titled Chorale Prelude VACKET OFF “Wachet Auf”, which translates to SLEEPERS, WAKE! This hymn was transcribed from a Lutheran hymn written in 1599 by written by Phillippe Nicolai. This Cantata is truly a work from the middle ages. In 1731, Bach took this hymn and created a 7-movement cantata, we will hear the first movement or PRELUDE”.  This cantata is sung in church on the Trinity Sunday. Today this piece is very popular piece in general…it is POPULAR CLASSICAL MUSIC.    J.S. Bach wrote 46 of these cantatas for church, in all. ODD FACT  about this song… it was performed only once by Bach, in Leipzig that year. And now the FIRST MOVEMENT  from  VACKET OFF …the Prelude PLAY M8 SHOW PLUG – DON'T TOUCH THAT DIAL ! that was M4    The Chorale Prelude “Wachet Auf”, also known as SLEEPERS, WAKE! Song credits M4 Credits: Hymn by Phillippe Nicolai in 1599 Transcribed by JS Bach in 1731 Performance: Wendy Carlos – on an early prototype Moog Synthesizer Wendy Carlos arranger and recording engineer Album:  Switched-On Bach Label: Columbia/CBS, 1968 M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27) Our next AND LAST piece is from the Switched-On Bach album and s titled AIR ON A G-STRING. This title comes from Johann Sebastian Bach's Orchestral Suite No. 3 in D major,  written almost 300 years ago.   So what is the meaning of the song title Air on a G-String? Well, Bach composed this as an orchestral suite in 1730. 141 years later, August Wilhelm arranged the second movement for SOLO VIOLIN and he did something unique. He transposed the song down from D so that the entire piece could be played on one string of the violin, the G-String, which is the lowest register on that instrument. Here is an example of what this sounds like on the Violin G-String, thjs example with piano accompaniment—pardon the scratchy sound, is from an old 78 RPM disc in 1935. Play example  – Jacques Dumont (Violin) Bach Air On The G String with Andre Collard (piano) We went from Bach's orchestral piece, to Wilhelm's transcription for solo violin, to Wendy Carlos modern interpretation with her MOOG Synthesizer. Now here is Wendy Carlos' arrangement of Air on a G String, from her debut album, SWITCHED-ON BACH, in 1968. PLAY M9 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M9  MUSICAL CREDIT: Composer JS Bach 1730 Performance Wendy Carlos on early prototype MOOG SYNTHESIZER Arranger and Recording Engineer: Wendy Carlos  Album:  Switched-On Bach Label: Columbia/CBS, 1968 END OF PROGRAM VV-031

Sisters - Infinity - Bach Cantata series 2026

Jeremy Summerly chooses his favourite recording of J. S. Bach's Cantata BWV.147.

FALLA: Atlántida (Cantata escénica en un prólogo y tres partes) (selec.) (10.39). E. Tarrés (sop.), A. Ricci (mez.), V. Sardinero (bar.), E. Giménez (ten.), P. Pérez-Íñigo (sop.), Escolanía Nuestra Señora del Recuerdo, Coro y Orq. Nac. de España. Dir.: R. Frühbeck de Burgos.Escuchar audio

FALLA: Atlántida (Cantata escénica en un prólogo y tres partes) (selec.) (10.39). E. Tarrés (sop.), A. Ricci (mez.), V. Sardinero (bar.), E. Giménez (ten.), P. Pérez-Íñigo (sop.), Escolanía Nuestra Señora del Recuerdo, Coro y Orq. Nac. de España. Dir.: R. Frühbeck de Burgos.Escuchar audio

FALLA: Atlántida (Cantata escénica en un prólogo y tres partes) (selec.) (10.39). E. Tarrés (sop.), A. Ricci (mez.), V. Sardinero (bar.), E. Giménez (ten.), P. Pérez-Íñigo (sop.), Escolanía Nuestra Señora del Recuerdo, Coro y Orq. Nac. de España. Dir.: R. Frühbeck de Burgos.Escuchar audio

A Thrill of Hope - Arranged and Composed by Joel Raney

"Cantata Service Songs and Readings"YouTube Link: Thank you so much for joining us today! We also have a Podcast Link: www.lakewoodgrace.com/podcast Please connect with us by filling out a communication card here: www.lakewoodgrace.com/connect

Send us a textIt's the Boys Ranch Christmas Special!!!We swap carols, movies, and traditions while tracing why Christmas music unites people and how simple rituals build belonging for families and kids at Boys Ranch. Stories of Santa surprises, caroling nuns, and a candlelit Cantata bring humor, hope, and heart.• favorite parts of the season, from lights to gifts• when to start Christmas music and why it lifts mood• why shared carols feel universal and participatory• top three Christmas songs with personal reasons• family traditions that create belonging and meaning• tipping servers, gingerbread builds, and tree light sleepovers• Christmas movie rankings and what they teach us• It's A Wonderful Life as a lens on purpose and worth• Boys Ranch memories of Santa, gratitude, and joy• Cantata, transformed dining hall, and caroling nunsContact:podcasts@calfarley.org To Donate: https://secure.calfarley.org/site/Donation2?3358.donation=form1&df_id=3358&mfc_pref=TTo Apply:https://apply.workable.com/cal-farleys-boys-ranch/j/25E1226091/For More Information about Cal Farley's Boys Ranch:https://www.calfarley.org/Music:"Shine" -NewsboysCCS License No. 9402

We were reminded that Jesus actually cares about who we think He is. (Luke 21:27, Matthew 16:13–17)

Rhapsody in Blue: A Christmas Jubilee by Joseph Martin. Support the show

Cedar Bluff Baptist Church Choir singing the Christmas Cantata "One Small Child" followed by an expository sermon from pastor Justin Hall.

Welcome to the Podcast of Southwest Bible Fellowship in Tempe, Arizona. WHO ARE WE? • We are a group of people who are committed to living the grace life as set forth by the apostle of the Gentiles, the Apostle Paul. • We come together to study our Bibles, and yes, we believe we have God's perfect Word in the King James Bible. It and it alone is our final authority in all matters of faith and practice! • We do not come together and study our Bibles for the intent of being smarter than others. We understand that knowledge for the sake of knowledge is purely vain and serves no Godly purpose. • We do come together and study our Bibles for the intent of knowing our Lord Jesus Christ and the power of His resurrection. (Philippians 3:10) • We do come together and study our Bibles to understand that we have been crucified with Christ; nevertheless we live; yet not us, but Christ liveth in us: and the life which we now live in the flesh, we live by the faith of the Son of God, who loved us and gave himself for us. (Galatians 2:20) • We do come together and study our Bibles to understand that because Jesus Christ shed His blood for us and we should not live for ourselves but for Him, who died for us and rose again. (2 Cor. 5:15) • We do not claim to have attained to these lofty goals, but we press toward the mark of the prize of the high calling of God in Christ Jesus. (Philippians 3:14) You can donate to this ministry through www.butnow.org and the PayPal button on the homepage.

Pastor Matthew Shores preached

Our church recently presented A Son Is Given, a powerful Christmas cantata written by Adam Morgan that proclaims the gospel message through a compelling courtroom drama. Set within the framework of a trial, the cantata vividly portrays humanity standing guilty before a righteous Judge, only to discover hope, redemption, and justification through Jesus Christ. Through Scripture, narration, and music, A Son Is Given reminds us that Christ came not merely as a baby in a manger, but as the Savior who willingly took our place, paid our debt, and offered forgiveness and new life. This moving presentation points clearly to the heart of Christmas: God's gift of His Son, given so that we might be redeemed and declared righteous through faith in Him.

The sermon centers on the profound truth that Christmas is not merely a seasonal celebration but the fulfillment of God's eternal plan to redeem humanity through the gift of His Son, Jesus Christ. Drawing from Scripture, including the annunciation to Mary, the shepherds' visit, and the Magi's journey, it emphasizes that Jesus is the promised Messiah—Emmanuel, the Prince of Peace, and the Saviour of the world—whose birth marks the arrival of divine hope, joy, and salvation. The preacher underscores that eternal life is not earned through religious effort but received by faith as a free gift, illustrated through a personal testimony of conversion and a clear invitation to repent and believe. With a pastoral and urgent tone, the message calls listeners to respond personally to Christ's offer of salvation, affirming that God desires all to be saved and has already provided the way through Christ's sacrificial death and resurrection.

Grace Community Church at Deerfoot

A Song A Son A SaviorSong List· To Us a Child!· Hope of All the Earth   (Come, Thou Long-expected Jesus)· The Word to Dwell Among Us· He Is Born (A Song, A Son, A Savior)· Silent Night! Holy Night!· Sing Noel· Beauty and Majesty· Here I Am to Worship· How Great Our Joy! with Joy, Great Joy 

Grace Community Church at Deerfoot

Grace Community Church at Deerfoot

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