Podcasts about cantatas

Tony Campolo, Cantatas, and Controversy by 2Pastors - Kate and Eulando

Obras refletem o compositor alemão sob diferentes ângulos e estados de espírito, afirma o historiador inglês

durée : 00:12:52 - Le Disque classique du jour du mardi 07 mai 2024 - Dans son nouvel enregistrement, l'ensemble La Smisuranza, avec sa formation unique de trois harpes doubles, accompagne le ténor Riccardo Pisani à Rome, dans un voyage sonore passionnant

Con el domingo de resurrección, la mayoría de los cristianos, especialmente católicos y ortodoxos, celebran el tiempo de pascua. Las artes en general han recordado este tiempo con grandes creaciones. En música cantatas, oratorios, motes y misas son algunas de las composiciones que conmemoran este tiempo y que el programa recuerda con obras de Hasse, Mozart y Zelenka.

This is the final episode introducing Bach's cantata cycle of 1724. In the first four cantatas of the cycle, we heard how Bach used Lutheran hymnal melodies as cantus firmi in different voice parts in each opening movement (sopranos, followed by altos, followed by tenors, followed by basses.)Here, the next two cantatas see less predictable treatments of the old melodies. Bach evidently valued these two cantatas, as later in life he arranged single movements from both BWV 10 and BWV 93 into his publication of organ music known as the “Schübler Chorales.” Pieces heard:BWV 10, Meine Seel erhebt den Herren (Full Performance of the cantata)BWV 648, Meine Seel erhebt den Herren (Organ version)BWV 93, Wer nur den lieben Gott lässt waltenCheck out WTF Bach's Youtube!New videos to start appearing soon.Your Support Is What Keeps Us Alive!https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachCheck this playlist:I mentioned this playlist in the episode: all the cantatas in the 1724 cycle. Love to my fans!The book I mentioned on the use of ‘Tonus Peregrinus”Join the list for updates if you haven't already:wtfbach.substack.comWrite us:bach (at) wtfbach (dot) com Get full access to WTF Bach at wtfbach.substack.com/subscribe

La música del compositor napolitano Domenico Scarlatti ha sido siempre un gran ejemplo de maestría en sus diferentes manifestaciones. Sus 555 sonatas para teclado han pasado a la historia pero hoy nosotros nos detenemos en 4 de sus cantatas, que tienen en común la aparición del amor en diversos estados anímicos. Los autores de esta recopilación han sido Daniel Pinteño y su grupo Concerto 1700, quienes las han interpretado de manera magistral en su disco Amorosi Accenti, acompañados de la soprano portuguesa Ana Vieira Leite. Carlos y Mario reciben la visita de Daniel para comentar, escuchar y disfrutar momentos preciosos de esas cantatas compuestas en Madrid hace ya casi 300 años pero que mantienen intacta su frescura y delicadeza. Así de apasionada es la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

SynopsisToday we celebrate hopeful beginnings — and happy endings.In Leipzig, on New Year's Day 1724, Johann Sebastian Bach led the first performance of “Singet dem Herrn ein Neues Lied“ (or “Sing to the Lord a New Song,” in English) — a work we now know as his Cantata 190.About 200 of Bach's church cantatas have survived. In 2000, British conductor John Eliot Gardiner decided to perform and record of all of them in the space of one liturgical year in historical churches in Europe and America. Starting on Christmas Day 1999, in Weimar, Germany, Gardiner, the Monteverdi Choir and English Baroque Soloists set out to do just that.It was an ambitious undertaking, and Gardiner said, “Just as in planning to scale a mountain or cross an ocean, you can make meticulous provision, calculate your route and get all the equipment in order, in the end you have to deal with whatever the elements — both human and physical – throw at you at any given moment.”Gardiner's Bach Cantata pilgrimage came to its triumphant conclusion on New Year's Eve in 2000 at St. Bartholomew's Church in New York City, with a performance of Cantata 190.Music Played in Today's ProgramJ.S. Bach (1685-1750): Cantata No. 190; Monteverdi Choir; English Baroque Soloists; John Eliot Gardiner, cond. SDG 137

Las obras para celebrar la Navidad suelen ser muy emotivas aunque pocas alcanzan el altísimo nivel que Johann Sebastian Bach consiguió en sus increíbles cantatas navideñas. Hoy repasamos 3 de ellas a través de sus mejores momentos: coros, arias y pasajes instrumentales. Son obras maestras creadas por uno de los mayores genios de la historia de la música clásica. Para comentarlas mientras las disfrutamos, nos acompaña David González Nuño, musicólogo y divulgador musical, quien se confiesa adicto a estas obras tan especiales. Acompáñanos en un recorrido musical delicioso en la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Manhã com Bach apresenta obra criada em 1734 para celebrar o aniversário do eleitor da Saxônia e rei da Polônia Augusto III

Obras para ocasiões solenes ou festivas foram depois transformadas pelo compositor em cantatas sacras

Compositor teve que submeter também a um “exame de competência teológica” para obter o cargo de "Kantor"

Compositor legou músicas da mais alta qualidade artística para os cristãos celebrarem a ressurreição de Cristo

Die Frucht des Gerechten ist ein Baum, GWV 1126/33Eröffnet euch ihr Augenquellen, GWV 1127/25Der Sieg ist da, GWV 1128/43Ihr werdet traurig sein, GWV 1129/19Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

The Standard Cantatas: Their Stories, Their Music, and Their Composers A Handbook

Nuestro homenaje al maestro en su aniversario. Matthäus-Passion, BWV 244 Zweiter Teil 39. "Erbarme dich"  Michael Chance, English Baroque Soloists, John Eliot Gardiner Bach, J.S.: Cantatas & Sacred Masterpieces  Das Alte Jahr Vergangen Ist Bwv 614  Kåre Nordstoga J.S.Bach: Organ Works  Solaris I + Nostalghia  François Couturier, Anja Lechner, Jean-Marc Larché, Jean-Louis Matinier Nostalghia - Song For Tarkovsky  Ich Ruf' Zu Dir, Herr Jesu Christ Bwv 639  Kåre Nordstoga J.S.Bach: Organ Works  Markus Passion, BWV 247 Chor "Geh, Jesu, geh zu deiner Pein!" (aus BWV 198)  Jordi Savall Bach: Markus Passion, BWV 247 Das Orgelbuchlein, BWV 599-644 Ich ruf zu dir, Herr Jesu Christ, BWV 639  Wolfgang Zerer Bach, J.S: Orgelbuchlein, Bwv 599-644  Dream  John Cage, Paolo Tarsi, Fauve! Gegen a Rhino dream in a landscape  Salve Regina (Arvo Pärt)  Estonian Philharmonic Chamber Choir, Paul Hillier, Christopher Bowers-Broadbent Arvo Pärt: Da pacem  Escuchar audio

Podcast conclui comemorações pelos 338 anos do compositor alemão, completados em 21 de março

Somebody needs to send out the message. Bells need to ring. People need to hear. That's why choirs sing his praises. Congregations join in the hymns and carols. Cantatas, concerts, and celebrations of many sorts point us toward Jesus. Our hope and belief is that right shall prevail. The wrong shall fail. That's why we must not stop and stay at the manger, but follow Jesus on to Calvary, and look with expectation to the life of the world to come. There will be perfect peace!

Robert Langer, a world-renowned scientist and Nobel Prize winner, visits Lexman to chat about his research into the properties of prehnite. The pair discuss the mineral's unique crystal structure and how it can be used in consumer products such as smartphones and water bottles. Langer also performs two of his most famous works - the cantatas "Nun Requiet" and "Requiem Aeternam".

durée : 00:13:35 - Pier Giuseppe Sandoni : Cantatas & Instrumental Works - Nicoleta Paraschivescu - Ce qui a jusqu'à présent été attribué à Johann Sebastian Bach est en réalité de Sandoni. Dans cet enregistrement, on retrouve les cantates et œuvres instrumentales de Pier Giuseppe Sandoni, toutes des premières mondiales, on écoute !

DescriptionDating back over one thousand years, it is said that Ukrainian choral music embodies a cultural identity and is truly a reflection of the soul of a nation. Join me, Steven Hobé, as we take a minute to get the scoop!Fun FactWith ever-changing borders and territories, Ukraine became a truly independent state only in 1991 after the collapse of the Soviet Union. Yet choral art in the Ukrainian lands stretches back for over 1,000 years. The so-called “Znamenny Chant” stood at the core of Eastern Byzantium church music and rites, but a good number of the early sources have not been fully deciphered to date. Eventually, responding to Western European developments, notation was reformed by the Kyiv square notation.About StevenSteven is a Canadian composer living in Toronto. 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 website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

Obras celebram a data máxima do cristianismo, que lembra a ressurreição de Jesus Cristo

“Manhã com Bach” conclui as comemorações pelos 337 anos do compositor alemão, completados em 21 de março passado

Feed Drop 2022 es un evento de intercambio de capítulos entre los podcasts de la red Emilcar FM. Hoy te queremos presentar un capítulo de Ars Mvsica, de Emilcar, Diego Ujaldón y José Miguel Morales.Cantatas navideñas de Bach.Sobre la bocina de fin de año volvemos, con nuestro capítulo 24, para hablaros de una pequeña selección de cantatas navideñas de Bach que hemos preparado para vosotros.BWV 63 Christen, atzet diesen TagBWV 64 Sehet, welch eine LiebeBWV 65 Sie werden aus Saba alle kommenBWV 121 Christum wir sollen loben schonLa grabaciones que usamos como referencia en el capítulo son esta de Gardiner y esta de Suzuki.

Sobre la bocina de fin de año volvemos, con nuestro capítulo 24, para hablaros de una pequeña selección de cantatas navideñas de Bach que hemos preparado para vosotros.- BWV 63 Christen, atzet diesen Tag- BWV 64 Sehet, welch eine Liebe- BWV 65 Sie werden aus Saba alle kommen- BWV 121 Christum wir sollen loben schonPuedes encontrar enlaces a estas cantatas en https://emilcar.fm/arsmvsica

J. S. Bach (1685-1750) - Christmas Cantatas Dazu ist erschienen der Sohn Gottes (Per questo è venuto al mondo il figlio di Dio) BWV 40 [00:00]1.Dazu ist erschienen der Sohn GottesCoro in fa maggiore per coro e tutti gli strumentiRiutilizzato nel Cum Sancto Spiritu della Messa BWV 2332.Das Wort ward Fleisch und wohnt in der WeltRecitativo in fa maggiore/si bemolle maggiore per tenore e continuo3.Die Sünd macht LeidCorale in sol minore per coro, 2 oboi, corno, archi e continuo4.Höllische Schlange, wird dir nicht bange?Aria in re maggioreper basso, 2 oboi, archi e continuo5.Die Schlange, so im ParadiesRecitativo in si bemolle maggiore per contralto, archi e continuo6.Schuttle deinen Kopf und sprichCorale in re minore per coro, 2 oboi, corno, archi e continuo7.Christenkinder, freuet euch!Aria in fa maggiore per tenore, 2 oboi, 2 corni e continuo8.Jesu, nimm dich deiner Glieder ferner in Genaden anCorale in fa minore per coro, 2 oboi, corno, archi e continuo*********Unser Mund sei voll Lachens (La nostra bocca sia tutta un sorriso) BWV 110 [14:40]1.Unser Mund sei voll LachensCoro in re maggiore per coro, 2 flauti traverse, 3 oboi, fagotto, 3 trombe, timpani, archi e continuoUtilizza l'ouverture della quarta suire per orchestra, BWV 10692.Ihr Gedanken und ihr SinnenAria in si minore per tenore, 2 flauti tenori e continuo3.Dir, Herr, ist Niemand gleich!Recitativo in fa diesis minore/la maggiore per basso, archi e continuo4.Ach Herr! was ist ein MenschenkindAria in fa diesis minore per contralto, oboe d'amore e continuo5.Ehre sei Gott in der HöheDuetto in la maggiore per soprano, tenore e continuoArrangiamento del “Virga Jesse floruit” del Magnificat, BWV 243a6.Wacht auf, ihr Adern und ihr GliederAria in re maggiore per basso, tromba, 2 oboi, oboe da caccia, archi e continuo7.Alleluja! gelobet sei Gott!Corale in si minore per coro, tromba, 2 flauti traverse, 2 oboi, oboe da caccia, archi e continuoSopranos: Katharine Fuge, Joanne Lunn; Counter-tenors: Robin Tyson, William TowersTenor: James GilchristBass: Peter HarveyMonteverdi ChoirEnglish Baroque SoloistsJohn Eliot Gardiner

J. S. Bach (1685-1750) - Christmas Cantatas [00:00] Gelobet seist du, Jesu Christ (Sii tu lodato, Gesù Cristo) BWV 91 1.Gelobet seist du, Jesu ChristCoro in sol maggiore per coro e tutti gli strumenti2.Der Glanz der höchsten HerrlichkeitRecitativo e corale in mi minore per soprano e continuo3.Gott, dem der Erdenkreis zu kleinAria in la minore per tenore, 3 oboi e continuo4.a. O Christenheit! Wohlan Recitativo in sol maggiore/do maggiore per basso, archi e continuob. Nichts ist es spat und fruhe Recitativo alternativo in sol minore per basso e continuo (organo)5.a. Die Armut, so Gott auf sich nimmt Duetto in mi minore per soprano, contralto, violini e continuob. Sein menschlich Wesen Duetto alternativo in mi minore per soprano, contralto, violini e continuo6.Das hat er alles uns getanCorale in sol maggiore per coro e tutti gli strumenti[16:15] Christum wir sollen loben schon (Dovremo lodare Cristo) BWV 121 1. Christum wir sollen loben schonCoro (Cornetto e Oboe d'amore e Violino I col Soprano, Trombone I e Violino II con l'Alto, Trombone II e Viola col Tenore, Trombone III col Basso, Continuo)2.O du von Gott erhöhte Kreatur Aria tenore (Oboe d'amore, Continuo)3.Der Gnade unermeßlichs WesenRecitativo contralto (Continuo)4.Johannis freudenvolles SpringenAria basso (Violino I/II, Viola, Continuo)5.Doch wie erblickt es dich in deiner KrippenRecitativo soprano (Continuo)6.Lob, Ehr und Dank sei dir gesagtCorale (Cornetto e Oboe d'amore e Violino I col Soprano, Trombone I e Violino II con l'Alto, Trombone II e Viola col Tenore, Trombone III col Basso, Continuo)Sopranos: Katharine Fuge, Joanne Lunn; Counter-tenors: Robin Tyson, William TowersTenor: James GilchristBass: Peter HarveyMonteverdi ChoirEnglish Baroque SoloistsJohn Eliot Gardiner

Hello and welcome to Bittersweet Symphony, a podcast where classical musicians share the bitter, the sweet and the bittersweet of life when the concert halls shut their doors and the audiences vanished. I'm Cliodhna Ryan and I'm a violinist. In this episode of the podcast, I'm talking with Scottish born violinist Liz McLaren, sub-principal Second Violin with the National Symphony Orchestra of Ireland since 2000. She has enjoyed a varied musical life in Ireland, including performing with the Orchestra of St Cecilia as Principal Second Violin, playing all of Bach's Cantatas, and almost all of Haydn's 107 symphonies. She has also recorded for cabaret artist Camille O'Sullivan, the Irish Film Orchestra and artist Jaki Irvine, at IMMA. Brought up in a house ringing with the sound of bagpipes, accordions and fiddles, McLaren continues to play Scottish traditional music with her mum. This interview was recorded in August 2021. GET IN TOUCH WITH LIZ Twitter Facebook Mums Garden Blog GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony CREDITS Thumbnail Art || Colm MacAthlaoith Song || Bittersweet Symphony Writers || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Sean Mac Erlaine

We'll focus on BWV 35, “Spirit and Soul Become Confused,” and BWV 170, “Contented Peace.”

Sempre festivas, obras celebram nascimento de Cristo com música da mais alta qualidade artística

We'll look at “Ich will den Kreuzstab gerne tragen,” BWV 56 (“Gladly I will carry the Cross-Staff”), and “Ich Habe Genung,” BWV 82 (“I have enough”).

It's Bach Week on The Coffee Hour! Today, Dr. Maurice Boyer, professor of music at Concordia University Chicago and director of the American Kantorei (a group dedicated to the performance of J.S. Bach's music), joins Andy and Sarah to talk about Bach's theology in his sacred chorale cantatas. Hear about the place of the cantata or passion in the liturgy of a Sunday morning, how these cantatas follow our Church Year, what makes a chorale a unique part of the cantata, and which chorales would sound especially familiar to us.  Familiarize yourself with Bach's music that you will probably recognize! Work through this list of Chorale Cantatas by J.S. Bach with melodies contained in the Lutheran Service Book. For solid literal translations of the texts, see Emmanuel Music in Boston at emmanuelmusic.org. For lectionary readings, see the one-year lectionary found in the LSB Introduction p.xx or download at lcms.org/worship/lectionary-series. BWV 7 – Christ unser Herr zu Jordan kam (1724) St John the Baptist youtu.be/06PQgj_K8dI LSB 406: To Jordan Came the Christ, Our Lord BWV 93 – Wer nur den lieben Gott läßt walten (1724) Fifth Sunday after Trinity youtu.be/in5XDlJnrB8 LSB 750: If Thou but Trust in God to Guide Thee Organ: BWV 642 BWV 9 – Es ist das Heil uns kommen her  (1732-5) Sixth Sunday after Trinity youtu.be/zq1IAR_J0NI LSB 555: Salvation to Us Has Come Organ: BWV 638 BWV 94 – Was frag ich nach der Welt (1724) Ninth Sunday after Trinity youtu.be/UmtTuCgUeT4 LSB 730: What is the World to Me BWV 99 – Was Gott tut, das ist wohlgetan (1724) Fifteenth Sunday after Trinity youtu.be/TwmQo97zb6I LSB 760: What God Ordains Is Always Good BWV 96 – Herr Christ, der einge Gottessohn (1724) Eighteenth Sunday after Trinity youtu.be/ojRmbYXKXtc LSB 402: The Only Son from Heaven Organ: BWV 601 BWV 180 – Schmucke dich Twentieth Sunday after Trinity youtu.be/CfmPmuirwkA LSB 636: Soul, Adorn Yourself with Gladness BWV 8 – Aus Tiefer Not schrei ich zu dir (1724) Twenty-First Sunday after Trinity youtu.be/CvJDnR-bELM LSB 607: From Depths of Woe I Cry to You BWV 61 – Nun komm, der Heiden Heiland (Weimar 1714) youtu.be/MzWJsRjanC4 BWV 62 – Nun komm, der Heiden Heiland (1724) youtu.be/lGv4I7bd8JY First Sunday of Advent LSB 332: Savior of the Nations, Come Organ: BWV 599 No concerted music (i.e. with instruments) after the First Sunday of Advent until Christmas Day BWV 91 – Gelobet seist du, Jesu Christ (1724) Christmas Day youtu.be/SJa716LSba4 LSB 382: We Praise You, Jesus, at Your Birth Organ: LWV 604 BWV 125 – Mit Fried und Freud ich fahr dahin (1725) Purification (German Nunc Dimittis) youtu.be/2on7CBhCkQs LSB 938: In Peace and Joy, I Now Depart Organ: BWV 616 BWV 126 – Erhalt uns, Herr, bei deinem Wort (1725) Sexagesima (60 days before Easter) youtu.be/xSaY0fX8LiA LSB 555: Lord, Keep Us Steadfast in Your Word BWV 127 – Herr Jesu Christ, wahr Mensch und Gott (1725) Estomihi or Quinquagesima (50 Days before Easter = last Sunday before Lent) youtu.be/Fm-0GjrmDmo Quotes „Christe, du Lamm Gottes“ (German « Agnus Dei ») Organ: BWV 619 No concerted music during Lent BWV 1 – Wie schön leuchtet der Morgenstern (March 25, 1725) Annunciation (first piece after Lent since Annunciation coincided with Palm Sunday) youtu.be/ZnXMV4JcEnc LSB 395 O Morning Star, How Fair and Bright St John Passion (2nd version) with chorale movements bracketing the whole work and some changes in arias. Good Friday (1725) youtu.be/nBhALSvlujU BWV 4 – Christ lag in Todesbanden (1707?) Easter (Reprise in Leipzig 1725) youtu.be/IDMYl0YjCn0 LSB 458: Christ Jesus Lay in Death's Strong Bands Organ: BWV 625

Senhora da alta sociedade de Leipzig foi uma das mulheres que contribuíram para a carreira do compositor alemão

Obras apresentadas neste mês no Festival Bach, na Alemanha, são exibidas no programa "Manhã com Bach"

durée : 00:15:32 - Jean-Sébastien Bach : Sinfonias from Cantatas - Stefano Veggetti, Ensemble Cordia et Takashi Watanabe - Voilà un nouveau disque que l'on doit à l'ensemble Cordia et son chef Stefano Veggetti. L'ensemble qui vient de la province du sud-tyrol a fêté ses 20 ans l'année dernière et se situe à la frontière de la tradition musicale italienne et germanique.

We'll look at two of Bach's cantatas for soprano soloist: BWV 199, “My Heart Swims in Blood,” and BWV 52, “False World, I Do Not trust you.”

Obras serão apresentadas no Bachfest, o Festival Bach, que acontece neste mês em Leipzig, na Alemanha

Tradicional evento alemão dedicado à música de Johann Sebastian Bach será realizado de 11 a 15 de junho

Andy and Linda are talking about Christ, Linda's sense of humor, getting vaccinated, tennis, getting pulled over, and the most dangerous thing Andy's ever done. Please forgive the occasional echo on Andy's audio due to Linda's carphone. We are deeply sorry. Recorded on April 4th, 2021.

MÚSICA Johann Sebastian Bach - Aria: Sei getreu (Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12: 6) (CD) American Bach Soloists & Benjamin Butterfield: Bach Cantata Series, Vol. 5: Cantatas from Mühlhausen & Weimar © Amazon – www.amazon.com -- AUTOR DOS TEXTOS P. Mário Garcia, sj -- LEITORES Óscar Daniel Silva (pontos) Isabel Pereira (textos bíblicos)

01 All Eyes are Watching 02 There is No Circumcision in Christ 03 I Am the First 04 See a Virgin is Pregnant Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1270/Telemann_Cantatas.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Neste programa, o maestro João Mauricio Galindo responde perguntas sobre as diferenças entre Rondó e Rondó Caprichoso, tradição dos programas de concerto, tecnologia de gravação digital e sonatas e cantatas.

Today we celebrate hopeful beginnings – and happy endings. In Leipzig, on New Year’s Day 1724, Johann Sebastian Bach led the first performance of “Singet dem Herrn ein neues Lied“ (or “Sing to the Lord a New Song” in English) – a work we now know as his Cantata 190. About 200 of Bach’s church cantatas have survived, and for the Millennium Year 2000 the British conductor Sir John Eliot Gardiner decided to perform and record of all of them in the space of one liturgical year in historical churches in Europe and America. Starting on Christmas Day 1999, in Weimar, Germany, Gardiner, the Monteverdi Choir, and English Baroque Soloists set out to do just that. It was an ambitious undertaking, and Gardiner commented, “Just as in planning to scale a mountain or cross an ocean, you can make meticulous provision, calculate your route and get all the equipment in order, in the end you have to deal with whatever the elements – both human and physical – throw at you at any given moment.” Gardiner’s Bach Cantata Pilgrimage came to its triumphant conclusion on New Year’s Eve, 2000 at St. Bartholomew’s Church in New York City, with a performance of Bach’s Cantata 190.

Today we celebrate hopeful beginnings – and happy endings. In Leipzig, on New Year’s Day 1724, Johann Sebastian Bach led the first performance of “Singet dem Herrn ein neues Lied“ (or “Sing to the Lord a New Song” in English) – a work we now know as his Cantata 190. About 200 of Bach’s church cantatas have survived, and for the Millennium Year 2000 the British conductor Sir John Eliot Gardiner decided to perform and record of all of them in the space of one liturgical year in historical churches in Europe and America. Starting on Christmas Day 1999, in Weimar, Germany, Gardiner, the Monteverdi Choir, and English Baroque Soloists set out to do just that. It was an ambitious undertaking, and Gardiner commented, “Just as in planning to scale a mountain or cross an ocean, you can make meticulous provision, calculate your route and get all the equipment in order, in the end you have to deal with whatever the elements – both human and physical – throw at you at any given moment.” Gardiner’s Bach Cantata Pilgrimage came to its triumphant conclusion on New Year’s Eve, 2000 at St. Bartholomew’s Church in New York City, with a performance of Bach’s Cantata 190.

Eine CD von Les Abbagliati - vorgestellt auf NDR Kultur.

No início do século 18, o pastor e poeta luterano Erdmann Neumeister (1671-1756) introduziu na Alemanha um estilo de compor cantatas inspirado nas cantatas seculares italianas, que eram obras baseadas nos madrigais – canções a várias vozes, com versos livres – e dotadas de recitativos e árias. Bach adotou esse estilo em 1714, na corte de Weimar, e não mais o abandonou: as mais de 200 cantatas hoje preservadas que o compositor criou a partir de então têm a forma popularizada por Neumeister. As cantatas anteriores de Bach, compostas na cidade de Mühlhausen – das quais seis estão preservadas -, são diferentes: elas se baseiam nos antigos motetos, composições polifônicas surgidas na Idade Média. Exemplo do estilo introduzido por Neumeister e adotado por Bach é a cantata Gottlob! nun geht das Jahr zu Ende, “Louvai a Deus! Agora o ano vai para o fim” (BWV 28), que foi apresentada no programa Manhã com Bach, da Rádio USP (93,7 MHz), nos dias 7 e 8 de novembro de 2020. O programa exibiu ainda a Sonata para Flauta em Lá Maior (BWV 1032) e o Concerto para Três Cravos em Dó Maior (BWV 1064). Ouça no link acima a íntegra do programa. 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 na área de podcasts do Jornal da USP. As edições anteriores de Manhã com Bach estão disponíveis neste link.

Compositor adotou a forma das cantatas seculares italianas introduzida na Alemanha no início do século 18

Música traz elementos de obras anteriores, que serão abandonados, e características de composições posteriores

Com a apresentação de prelúdios e fugas executados por ouvintes, o programa Manhã com Bach, da Rádio USP (93,7 MHz), encerrou nos dias 27 e 28 passados o Festival Manhã com Bach, que nos quatro finais de semana de junho exibiu músicas de Bach sugeridas e interpretadas pelo público. No encerramento do festival, foram ouvidas as músicas Prelúdio e Fuga em Fá Menor (BWV 881), do livro 2 de O Cravo Bem Temperado, executada por Ester Yoshimoto, Prelúdio e Fuga em Ré Menor (BWV 851), do livro 1 de O Cravo Bem Temperado, interpretada por Gabriel Brandão, a Suíte Francesa Número 5 em Sol Maior (BWV 816), sugerida por Pérola de Castro Vasconcellos, e a cantata Ihr Menschen, rühmet Gottes Liebe, “Ó, homens, celebrai o amor de Deus” (BWV 167), solicitada por André Queiroz de Lucena. Ouça no link acima a íntegra do programa. Manhã com Bach vai ao ar pela Rádio USP sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do link da emissora no site do Jornal da USP. Às segundas-feiras ele é disponibilizado em formato de podcast na área de podcasts do site do Jornal da USP. As edições anteriores de Manhã com Bach estão disponíveis neste link.

Programa traz músicas de Johann Sebastian Bach sugeridas e executadas por ouvintes

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.

We’ll look at two cantatas from Quasimodo Geniti Sunday, the first Sunday after Easter: Cantata BWV 67, titled in English Translation “Hold in Remembrance Jesus Christ,” and BWV 42, in English Translation "On the Evening of the Same Sabbath.”

Composta em 1726 ou 1727, obra parece ter sido destinada a apresentação doméstica

Why We Should Expose Our Kids To Classical Music https://ourtownlive.net.Sebastian Bach Harpsichord Concerto no. 1 in D minorThis work, scored for harpsichord, two violins, viola and continuo section, and clocking in 22 minutes, is tought to be based o a lost violin concerto, which was later arranged as an organ concerto in 1728 for use in two of Bach's cantatas. This concerto has remained the most popular of the collection from the 19th century onwards; Felix Mendelssohn played it and Brahms wrote a cadenza for it; the first publication of it was in 1838 by the Kistner Publishing House. It was often played and recorded with the piano in the 20th century, though with the rise of historically informed performance from the 1960s, it is now regularly played on the harpsichord again.

We’re going to look at two of Bach’s Christmas Cantatas, BWV 91, “Praised Be You, Jesus Christ,” and BWV 110, “May Our Mouths be filled with Laughter.”

We'll look at two of Bach's Wedding Cantatas: BWV 202 and BWV 195.

En este capítulo de la conversación de Pepe Auth con Eduardo Carrasco abordan la "escudería" Quilapayún, el sentido de las Cantatas, la música clásica, la opera y la cultura. en Twitter https://twitter.com/pepe_auth Facebook https://www.facebook.com/pepe.auth Instagram https://www.instagram.com/pepeauthdiputado/?hl=es-la web http://pepeauth.cl/

Dr. Bruce Carvell, Artistic Director of the Collegium Vocale of St. Louis, joins Andy and Sarah to talk about the upcoming “Rejoice and Be Glad!: Four Sacred Cantatas by Christoph Graupner,” a concert of Baroque sacred music on Sunday, February 3, 2019 at 3:00 p.m. Dr. Bruce Carvell will give an introductory lecture at 2:30 p.m. to provide greater context and insight into Graupner and his music. The concert will be performed at Concordia Lutheran Church, 505 S. Kirkwood Road, 63122. Learn more about the Collegium Vocale at collegiumvocaleofsaintlouis.org and find the concert Facebook event at facebook.com/events/2166032963648935.

Populus Sion (Advent 2), BWV 36: Schwingt freudig euch empor, Sunday Cantata | Lutheran Radio UK, 09. Dec 2012 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 36 // Commentary & Guide (via Julian Mincham) » Cantatas by J. S.… Continue Reading →

Ad Te Levavi (Advent 1), BWV 61: Nun komm, der Heiden Heiland, Sunday Cantata | Lutheran Radio UK, 02. Dec 2012 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 61 // Commentary & Guide (via Julian Mincham) » Cantatas by… Continue Reading →

In this episode, we explore the exquisite vocal repertoire that the Bach Collegium Japan will be performing at Armstrong Auditorium on December 4, when it teams up with Soprano Joanne Lunn; we will also explore a concerto by Vivaldi to be performed on this program. Bach Collegium Japan at Armstrong Auditorium:www.armstrongauditorium.org/performance…egium-japan Facebook Event Page:www.facebook.com/events/451437028660130/

Twenty-fourth Sunday after Trinity, BWV 26: Ach wie flüchtig, ach wie nichtig,Sunday Cantata | Lutheran Radio UK, 10. November 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 26 // Commentary & Guide (via Julian Mincham) » Cantatas by… Continue Reading →

Festival of the Reformation, BWV 80: Ein’ feste Burg ist unser Gott, Sunday Cantata | Lutheran Radio UK, 3. November 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 80 // Commentary & Guide (via Julian Mincham) » Cantatas by… Continue Reading →

Twenty-second Sunday after Trinity, BWV 55: Ich armer Mensch, ich Sündenknecht,Sunday Cantata | Lutheran Radio UK, 27. October 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 55 // Commentary & Guide (via Julian Mincham) » Cantatas by J.… Continue Reading →

Twenty-first Sunday after Trinity, BWV 109: Ich glaube, lieber Herr, hilf meinem Unglauben! Sunday Cantata | Lutheran Radio UK, 20. October 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 109 // Commentary & Guide (via Julian Mincham) » Cantatas… Continue Reading →

We all know that the recorded music industry has gone through many changes in recent decades, but it can be interesting to take a long view of the various ways that music has been sold. Show notes: Frank Denyer: Music for Shakuhachi (http://www.anothertimbre.com/denyershakuhachi.html) Visualizing 40 Years of Music Industry Sales (Visual Capitalist) (https://t.co/hyJcgCiGkg) Ringtones Composed by Brian Eno for the Nokia 8800 Scirocco Phone (https://www.kirkville.com/ringtones-composed-by-brian-eno-for-the-nokia-8800-scirocco-phone/) Creating the Windows 95 Startup Sound (http://mentalfloss.com/article/50824/creating-windows-95-startup-sound) 48% of people who buy vinyl don't listen to the records (https://www.whathifi.com/news/48-people-who-buy-vinyl-dont-listen-to-records) Episode #119 - Caoilfhionn Rose on Gigging, Busking, Recording, and Releasing Her First Album (https://www.thenexttrack.com/122) Cassette Store Day (http://cassettestoreday.com) Episode #90 – Liz Pelly on Streaming Muzak and Playlists (https://www.thenexttrack.com/93) Our next tracks: Bach: the Cantatas for the Complete Liturgical Year, La Petite Band, Sigiswald Kuijken (https://amzn.to/2CPHLJp) PJ Harvey: Rid of Me (https://amzn.to/2PGgQTk) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

Twentieth Sunday after Trinity, BWV 180: Schmücke dich, o liebe Seele, Sunday Cantata | Lutheran Radio UK, 13. October 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 180 // Commentary & Guide (via Julian Mincham) » Cantatas by J.… Continue Reading →

Nineteenth Sunday after Trinity, BWV 56: Ich will den Kreuzstab gerne tragen, Sunday Cantata | Lutheran Radio UK, 6. October 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 56 // Commentary & Guide (via Julian Mincham) » Other Cantatas… Continue Reading →

Eighteenth Sunday after Trinity, BWV 169: Gott soll allein mein Herze haben, Sunday Cantata | Lutheran Radio UK, 29. September 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 169 // Commentary & Guide (via Julian Mincham) » Other Cantatas… Continue Reading →

Seventeenth Sunday after Trinity, BWV 47: Wer sich selbst erhöhet, der soll erniedriget werden, Sunday Cantata | Lutheran Radio UK, 22. September 2013 » Sunday Cantata – Rebroadcast on iTunes // on Feedburner (for RSS/podcatching apps) » English Translation of BWV 47 // Commentary & Guide (via Julian Mincham) »… Continue Reading →

We'll look at three of Bach's most famous secular cantatas: BWV 208, "What pleases me above all is the lively hunt" (The "Hunt" cantata); BWV 211, "Keep quiet, don't chatter" (The "Coffee" Cantata); BWV 212, "We have a new overseer" (The "Peasant" Cantata).

We'll take a look at some of Bach's sacred cantatas composed in Leipzig, notably BWV 68, "God so loved the world";  BWV 78, "Jesus, by whom my soul";  BWV 80, "A Might Fortress is my God"; BWV 140, "Wake up, the voice calls us" ("Sleepers awake");  and BWV 51, "Shout to Joy for God in every land."

Bach accepts a position at the court of Weimar and composes some of his most colorful cantatas. We’ll take a closer look at three sacred cantatas: BWV 182, "King of heaven, welcome"; BWV 31, "The heavens laugh";  and BWV 63, "Christians, engrave this day."

We begin with a quick overview of Bach’s early years and takes a closer look at some of his earliest scared cantatas, including  BWV 131, "Out of the depths I cry, Lord, to you"; BWV 4, "Christ lay in death's bonds"; and BWV 106, "God's time is the very best time," composed while living in Arnstadt and Muhlhausen.

Scott Allen Jarrett speaks with WDAV about the Bach Akademie of Charlotte’s upcoming concerts in Davidson and Charlotte. Scott spoke about the program of sacred music by the Bach Family, which also features renowned countertenor Reginal Mobley and the North Carolina Baroque Orchestra. Pictured: Scott Allen Jarrett Learn more about the Bach Family Motets and Cantatas concerts

This autumn, the Orchestra of the Age of Enlightenment launches a brand-new Sunday morning concert series for inquiring and curious minds. Ben Eshmade chats to the OAE's Chief Executive, Crispin Woodhead, and Professor Carlos Frenk who is part of the first concert on 22 Oct. kingsplace.co.uk/bachcantatas

Martin Feinstein’s acclaimed Bach Weekend returns to Kings Place with its unique combination of informality and outstanding performances. The line-up includes Swedish lutenist Jakob Lindberg and other renowned musicians and ensembles. 7–9 Apr kingsplace.co.uk/bach

We are also podcasting three Christian cantatas from Mozart, Handel and Bach. They are presented by Chris Whiting and were broadcast on 13Nov16 on 88.3 Southern FM. ‘Cantiam le glorie’ from David Penitente by W A Mozart – Neville Mariner with the Radio-Sinfonieorchester Stuttgart and the Sudfunk Choir ‘Hallelujah Chorus’ from F Handel’s Messiah (HWV … Continue reading "Three cantatas"

Johann Sebastian Bach: Kantaten BWV 82 "Ich habe genug" & BWV 170 "Vergnügte Ruh" | Georg PhilippTelemann: Kantaten TWV 1: 364 "Der am Ölberg zagende Jesus" & TWV 1: 983 "Jesus liegt in letzten Zügen" | Philippe Jaroussky (Countertenor) | Freiburger Barockorchester

The cantatas of JS Bach are very close to the heart of broadcaster and performer Sandy Burnett (BBC Radio 3), who focuses on Cantata 127 "Herr Jesu Christ, wahr' Mensch und Gott" in this pre-concert talk.   Recorded live at Milton Court Concert Hall, London.

Produced by ricepudding

Produced by ricepudding

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

Collegium Vocale Gent and Bach Collegium Japan in two new releases of Bach cantatas.

Marian music by Giovanni Battista Pergolesi (Harmonia Mundi) and George Frideric Handel (Archiv Produktion).

Well, are you ready?  "Ready for what?" you ask.You know, Christmas.  The crowded shopping Malls.  The extra five pounds we put on from boatloads of cookies and cakes and peanuts covered with a caramel glaze that we shove in our faces.  Oh, and how about all the Living Nativities and the Singing Christmas Trees and the countless Christmas Musicals and Cantatas that we sit through.  Well, are you ready?  Really ready?Is that how we try to put Christ back in Christmas?  Well, stay tuned and let's find out.